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Рим по времето на изпълненото с блясък и поквара владичество на Борджиите.
Родриго Борджия, папа Александър VI, изпраща куртизанката Дамиата в далечния планински град Имола, за да открие истината за убийството на любимия му син и неин любовник Хуан. Дамиата знае, че провали ли се, ще плати цената със свободата на собственото си дете. В Имола обаче я чака не само конфликтът между прославения Чезаре Борджия и наемните генерали, помогнали му да постигне славата си, а и поредица от страховити убийства, която се оказва необяснимо свързана със собствената й задача. С помощта на никому неизвестния флорентински дипломат Николо Макиавели и ексцентричния военен инженер Леонардо да Винчи, Дамиата се заема да разбере значението на загадъчните улики, които им предоставя убиецът. Триото разполага единствено с три оръжия: уменията на Дамиата за оцеляване, новаторската „наука на наблюдението“ на Леонардо и невижданата досега „наука за хората“ на Макиавели. Само тези три неща стоят между Италия… и абсолютната катастрофа.
Макиавели и Да Винчи не са просто поредната двойка Холмс – Уотсън. Двете ренесансови личности имат уникален подход към престъпленията в една епоха, в която дори най-основните техники на криминалистиката биха били считани за ерес.
„Далас Морнинг Нюз“
Родриго Борджия, папа Александър VI, изпраща куртизанката Дамиата в далечния планински град Имола, за да открие истината за убийството на любимия му син и неин любовник Хуан. Дамиата знае, че провали ли се, ще плати цената със свободата на собственото си дете. В Имола обаче я чака не само конфликтът между прославения Чезаре Борджия и наемните генерали, помогнали му да постигне славата си, а и поредица от страховити убийства, която се оказва необяснимо свързана със собствената й задача. С помощта на никому неизвестния флорентински дипломат Николо Макиавели и ексцентричния военен инженер Леонардо да Винчи, Дамиата се заема да разбере значението на загадъчните улики, които им предоставя убиецът. Триото разполага единствено с три оръжия: уменията на Дамиата за оцеляване, новаторската „наука на наблюдението“ на Леонардо и невижданата досега „наука за хората“ на Макиавели. Само тези три неща стоят между Италия… и абсолютната катастрофа.
Макиавели и Да Винчи не са просто поредната двойка Холмс – Уотсън. Двете ренесансови личности имат уникален подход към престъпленията в една епоха, в която дори най-основните техники на криминалистиката биха били считани за ерес.
„Далас Морнинг Нюз“
576 pages, Paperback
First published January 1, 2012
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2402 people want to read
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June 13, 2025
Τολμώ να πω πως το συγκεκριμένο με δίχασε.
Και όχι από άποψη τρομερής πλοκής και συναισθημάτων που μού προξένησε, αλλά επειδή δεν ξέρω σε ποιο 'ράφι' του Goodreads να το βάλω. Μαζί με αυτά που ήταν decent αλλά κάτι τους έλειπε και μάλλον δεν θα ξαναδιαβάσω, ή με τα βαρετά/απογοητευτικά, μιας και είχα πολύ μεγάλες προσδοκίες από το συγκεκριμένο, στις οποίες ποτέ δεν ανταποκρίθηκε;
Η ιστορία ξεκινά το 1502, ή μάλλον πιο σωστά, η ιστορία ξεκινά με τον θάνατο του Ιωάννη Βοργία, του αγαπημένου γιού του πάπα Αλέξανδρου του έκτου, το 1497.
Από τότε, ο Πάπας έχει προσπαθήσει μάταια να ανακαλύψει τον δολοφόνο του γιού του.
Μια μέρα λοιπόν, ο Πάπας βάζει να απαγάγουν την Νταμιάτα, μια (πρώην) εταίρα, την οποία έβλεπε ο Ιωάννης την περίοδο που πέθανε προκειμένου να την ανακρίνει. Αυτό όμως που καταλήγει να κανει, είναι να τη βαλει να ερευνήσει για να μάθει την αλήθεια για το γιο του. Προκειμένου να την έχει του χεριού του, απαγάγει μαζί και τον γιο της τον Τζοβάννι, που ειναι και εγγονός του, κι έτσι εξασφαλίζει την υποταγή της.
Η Νταμιάτα είναι η πρωταγωνίστρια της ιστορίας για το πρώτο μισό του βιβλίου και το κομμάτι της, λειτουργεί σαν ένα γράμμα προς τον γιο της, κατά τη διάρκεια του οποίου εξιστορεί γεγονότα που συμβαίνουν στο 'παρόν' αλλά θυμάται και τη σχέση της με τον Ιωάννη και το πως έγινε εταίρα στα 12.
Στα μισά του βιβλίου, ο πρωταγωνιστής/αφηγητής, αλλάζει. Αντί για την Νταμιάτα, βλέπουμε τα γεγονότα από την οπτική του Νικολό Μακιαβέλι, ο οποίος τη γνωρίζει και δημιουργεί μαζί της μια σημαντική για εκείνον σχέση. Το μισό του Μακιαβέλι λειτουργεί σαν μια επιστολή σε έναν φίλο του, το οποίο γράφει καιρό αφού συνέβησαν τα γεγονότα, για αυτό κι έχουμε κι αναφορές σε γεγονότα της ζωής του που δεν έχουν συμβεί ακόμα.
Μυστήριο όμως δεν αποτελεί μόνο το ποιος σκότωσε τον Ιωάννη. Ακρωτηριασμένα μέλη γυναικών κανουν την εμφάνισή τους, σκορπισμένα σε διάφορες πόλεις της Ιταλίας και η Νταμιάτα μαζί με τον Μακιαβέλι προσπαθούν να 'σπάσουν τον κώδικα' του δολοφόνου και να ανακαλύψουν την ταυτότητα του.
Σε αυτό, θα τους βοηθήσει ο Λεονάρντο Ντα Βίντσι με τους δυο ακουλούθους του.
Παρόντες στην ιστορία είναι κι άλλες ιστορικές φυσιογνωμίες, με τους Βοργίες να είναι ίσως οι πιο γνωστοί, μαζί με τον Μακιαβέλι και τον Ντα Βίντσι φυσικά.
Η ιστορία, ωφείλω να παραδεχτώ πως έχει ενδιαφέρουσα δράση (και βια). Αλλά στα σημεία που δεν υπήρχε δραση, του έδινε και καταλάβαινε αδερφακι μου! Οι εσωτερικοί μονόλογοι ήταν τόσο εκτενείς, που υπήρχαν στιγμές που ξέχναγα τι είχα διαβάσει δυο σελίδες πριν κι ένιωθα ελαφρώς χαμένη.
Επίσης, κανένας από τους χαρακτήρες δεν με έκανε να νιώσω ιδιαίτερα συναισθήματα. Ναι, στεναχωρήθηκα εκεί που διαβαζα για ένα 12χρονο να πωλείται σαν πόρνη, αλλά μέχρι εκεί. Ναι, ο Μακιαβέλι φαίνεται πως είναι μορφωμένος, αλλά μέχρι εκεί. Η εξέλιξη των χαρακτήρων κατά τη γνώμη μου χρειαζόταν δουλειά.
Μεγαλύτερό μου παράπονο σε σχέση με αυτό, είναι ίσως ο χαρακτήρας του Ντα Βίντσι. Σε άλλες κριτικές διαβασα πως κάποιοι αναγνώστες είχαν εκνευριστεί επειδή παρουσιάζεται απλά σαν ένα γκέι στερεότυπο. Σε αυτό θα διαφωνήσω, μιας και η σεξουαλικότητα του δεν αποτελεί θέμα συζήτησης μεταξύ των ηρώων. Αυτό όμως που κανείς δεν αναφέρει, είναι πως εδώ είναι ένας χαρακτήρας που μιλαει σχεδόν σαν ρομπότ και πέρα από κατι μετρήσεις που κάνει, δεν έχει σκοπό ύπαρξης στο βιβλίο.
Κάτι που επίσης σχολίαζα έντονα κατά τη διάρκεια της ανάγνωσης, είναι η έλλειψη ερωτικής χημείας μεταξύ Νταμιάτα και Μακιαβέλι. Σκέφτομαι μήπως αυτό είναι κάποια αδυναμία του συγγραφέα να δημιουργήσει μια ηρωίδα έξω από τα πλαίσια μιας ερωτικής σχέσης με έναν αντρα. Περίμενα η σχέση τους να μείνει πλατωνική και ίσως το να βάλει τον Μακιαβέλι να κάνει επικίνδυνα πράγματα για την Νταμιάτα, να ήταν πιο πρωτότυπο αν ήταν λόγω δυνατής φιλίας. But that might be just me.
Επιπλέον, κάπου στα μισά του βιβλίου, οι τεμαχισμένες γυναίκες τις οποίες βρίσκουν, θεωρείται πως ίσως έχουν κάποια σύνδεση με το θάνατο του Ιωάννη και όλο αυτό, συνδέεται έπειτα με κάτι παγανιστικές τελετές. Μη με ρωτάτε πως και γιατί, ακόμα δεν έχω καταλάβει τι έπαιζε με αυτό, ακόμα και 512 σελίδες αργότερα.
Τέλος, ας μιλήσουμε λίγο για την αποκαλυψη του ενόχου.
Ο δολοφόνος του Ιωάννη και εκείνων των κοριτσιών, ήταν ο αδερφός του πρώτου, ο Καίσαρας.
Να πω ότι δεν το περίμενα; Το περίμενα κάργα.
Ο λόγος όμως που το περίμενα, δεν ήταν τα στοιχεία που άφηνε ο συγγραφέας εδώ κι εκεί, αλλά το ότι όταν είχε πεθανει in real life ο Ιωάννης, ο Καίσαρας είχε θεωρηθεί ύποπτος.
Τις κοπέλες, υπονοείται πως τις σκότωσε γιατί η βια είχε ουσιαστικά γίνει για εκείνον η δεύτερη φύση του. Βέβαια ακόμα δεν βγάζει νόημα το όλο "παιχνιδάκι" με την τοποθέτηση των πτωμάτων και ο συμβολισμός που προσπάθησαν να μας πλασσάρουν πίσω από αυτό.
At this point, δεν ξέρω αν έχεις αποτύχει σαν συγγραφέας μυστηρίου, αφού το twist -μισό ντοκιμαντέρ για τους Βοργίες να έχεις δει- δεν είναι twist. Ακόμα και ο τρόπος που χειρίστηκε ο συγγραφέας την "αποκάλυψη" ήταν τόσο... φλου, που ούτε κι αυτό μού έκανε κάποια αίσθηση.
Ακόμα, ας μιλήσουμε μισό λεπτό για τον τρόπο με τον οποίο προσπάθησε ο Μακιαβέλι να λύσει το έγκλημα.
Προσπάθησε να συγκρίνει άλλα ιστορικά "τέρατα" (π.χ. Νέρωνας) με τον δολοφόνο.
Τον δολοφόνο για τον οποίο δεν είχε σχεδόν καμιά πληροφορία...
Τουλάχιστον, όσο αφορούσε τον θάνατο του Ιωάννη, μπορούσε να βρει την λύση πολύ πιο εύκολα, θέτοντας το ερώτημα "ποιος είχε να κερδίσει πιο πολλά αν αυτό το άτομο έφευγε από τη μέση;" αλλά όχι, έπρεπε να το πάει μέσω Λαμίας!
Αγόρασα αυτό το βιβλίο τέσσερα χρόνια πριν, την περίοδο που έβλεπα τη σειρά Da Vinci's Demons (κι άλλες όπως το Borgia: Faith and Fear) και δεν είχα υπολογιστή για να δω την τελευταία σεζόν. Ήλπιζα ότι θα κατάφερνε να με κάνει να νιώσω την ίδια αγωνία και τον ίδιο ενθουσιασμό όπως και εκείνες οι σειρές, αλλά δυστυχώς έπεσα έξω.
Η ιστορία σίγουρα είχε προοπτικές, αλλά ο χειρισμός της ήταν ελαφρώς αδέξιος κι όχι όπως προσωπικά εγώ θα ήθελα.
If you made it this far, congratulations!
'Til next time, take care :) :) :)
Και όχι από άποψη τρομερής πλοκής και συναισθημάτων που μού προξένησε, αλλά επειδή δεν ξέρω σε ποιο 'ράφι' του Goodreads να το βάλω. Μαζί με αυτά που ήταν decent αλλά κάτι τους έλειπε και μάλλον δεν θα ξαναδιαβάσω, ή με τα βαρετά/απογοητευτικά, μιας και είχα πολύ μεγάλες προσδοκίες από το συγκεκριμένο, στις οποίες ποτέ δεν ανταποκρίθηκε;
Η ιστορία ξεκινά το 1502, ή μάλλον πιο σωστά, η ιστορία ξεκινά με τον θάνατο του Ιωάννη Βοργία, του αγαπημένου γιού του πάπα Αλέξανδρου του έκτου, το 1497.
Από τότε, ο Πάπας έχει προσπαθήσει μάταια να ανακαλύψει τον δολοφόνο του γιού του.
Μια μέρα λοιπόν, ο Πάπας βάζει να απαγάγουν την Νταμιάτα, μια (πρώην) εταίρα, την οποία έβλεπε ο Ιωάννης την περίοδο που πέθανε προκειμένου να την ανακρίνει. Αυτό όμως που καταλήγει να κανει, είναι να τη βαλει να ερευνήσει για να μάθει την αλήθεια για το γιο του. Προκειμένου να την έχει του χεριού του, απαγάγει μαζί και τον γιο της τον Τζοβάννι, που ειναι και εγγονός του, κι έτσι εξασφαλίζει την υποταγή της.
Η Νταμιάτα είναι η πρωταγωνίστρια της ιστορίας για το πρώτο μισό του βιβλίου και το κομμάτι της, λειτουργεί σαν ένα γράμμα προς τον γιο της, κατά τη διάρκεια του οποίου εξιστορεί γεγονότα που συμβαίνουν στο 'παρόν' αλλά θυμάται και τη σχέση της με τον Ιωάννη και το πως έγινε εταίρα στα 12.
Στα μισά του βιβλίου, ο πρωταγωνιστής/αφηγητής, αλλάζει. Αντί για την Νταμιάτα, βλέπουμε τα γεγονότα από την οπτική του Νικολό Μακιαβέλι, ο οποίος τη γνωρίζει και δημιουργεί μαζί της μια σημαντική για εκείνον σχέση. Το μισό του Μακιαβέλι λειτουργεί σαν μια επιστολή σε έναν φίλο του, το οποίο γράφει καιρό αφού συνέβησαν τα γεγονότα, για αυτό κι έχουμε κι αναφορές σε γεγονότα της ζωής του που δεν έχουν συμβεί ακόμα.
Μυστήριο όμως δεν αποτελεί μόνο το ποιος σκότωσε τον Ιωάννη. Ακρωτηριασμένα μέλη γυναικών κανουν την εμφάνισή τους, σκορπισμένα σε διάφορες πόλεις της Ιταλίας και η Νταμιάτα μαζί με τον Μακιαβέλι προσπαθούν να 'σπάσουν τον κώδικα' του δολοφόνου και να ανακαλύψουν την ταυτότητα του.
Σε αυτό, θα τους βοηθήσει ο Λεονάρντο Ντα Βίντσι με τους δυο ακουλούθους του.
Παρόντες στην ιστορία είναι κι άλλες ιστορικές φυσιογνωμίες, με τους Βοργίες να είναι ίσως οι πιο γνωστοί, μαζί με τον Μακιαβέλι και τον Ντα Βίντσι φυσικά.
Η ιστορία, ωφείλω να παραδεχτώ πως έχει ενδιαφέρουσα δράση (και βια). Αλλά στα σημεία που δεν υπήρχε δραση, του έδινε και καταλάβαινε αδερφακι μου! Οι εσωτερικοί μονόλογοι ήταν τόσο εκτενείς, που υπήρχαν στιγμές που ξέχναγα τι είχα διαβάσει δυο σελίδες πριν κι ένιωθα ελαφρώς χαμένη.
Επίσης, κανένας από τους χαρακτήρες δεν με έκανε να νιώσω ιδιαίτερα συναισθήματα. Ναι, στεναχωρήθηκα εκεί που διαβαζα για ένα 12χρονο να πωλείται σαν πόρνη, αλλά μέχρι εκεί. Ναι, ο Μακιαβέλι φαίνεται πως είναι μορφωμένος, αλλά μέχρι εκεί. Η εξέλιξη των χαρακτήρων κατά τη γνώμη μου χρειαζόταν δουλειά.
Μεγαλύτερό μου παράπονο σε σχέση με αυτό, είναι ίσως ο χαρακτήρας του Ντα Βίντσι. Σε άλλες κριτικές διαβασα πως κάποιοι αναγνώστες είχαν εκνευριστεί επειδή παρουσιάζεται απλά σαν ένα γκέι στερεότυπο. Σε αυτό θα διαφωνήσω, μιας και η σεξουαλικότητα του δεν αποτελεί θέμα συζήτησης μεταξύ των ηρώων. Αυτό όμως που κανείς δεν αναφέρει, είναι πως εδώ είναι ένας χαρακτήρας που μιλαει σχεδόν σαν ρομπότ και πέρα από κατι μετρήσεις που κάνει, δεν έχει σκοπό ύπαρξης στο βιβλίο.
Κάτι που επίσης σχολίαζα έντονα κατά τη διάρκεια της ανάγνωσης, είναι η έλλειψη ερωτικής χημείας μεταξύ Νταμιάτα και Μακιαβέλι. Σκέφτομαι μήπως αυτό είναι κάποια αδυναμία του συγγραφέα να δημιουργήσει μια ηρωίδα έξω από τα πλαίσια μιας ερωτικής σχέσης με έναν αντρα. Περίμενα η σχέση τους να μείνει πλατωνική και ίσως το να βάλει τον Μακιαβέλι να κάνει επικίνδυνα πράγματα για την Νταμιάτα, να ήταν πιο πρωτότυπο αν ήταν λόγω δυνατής φιλίας. But that might be just me.
Επιπλέον, κάπου στα μισά του βιβλίου, οι τεμαχισμένες γυναίκες τις οποίες βρίσκουν, θεωρείται πως ίσως έχουν κάποια σύνδεση με το θάνατο του Ιωάννη και όλο αυτό, συνδέεται έπειτα με κάτι παγανιστικές τελετές. Μη με ρωτάτε πως και γιατί, ακόμα δεν έχω καταλάβει τι έπαιζε με αυτό, ακόμα και 512 σελίδες αργότερα.
Τέλος, ας μιλήσουμε λίγο για την αποκαλυψη του ενόχου.
Ο δολοφόνος του Ιωάννη και εκείνων των κοριτσιών, ήταν ο αδερφός του πρώτου, ο Καίσαρας.
Να πω ότι δεν το περίμενα; Το περίμενα κάργα.
Ο λόγος όμως που το περίμενα, δεν ήταν τα στοιχεία που άφηνε ο συγγραφέας εδώ κι εκεί, αλλά το ότι όταν είχε πεθανει in real life ο Ιωάννης, ο Καίσαρας είχε θεωρηθεί ύποπτος.
Τις κοπέλες, υπονοείται πως τις σκότωσε γιατί η βια είχε ουσιαστικά γίνει για εκείνον η δεύτερη φύση του. Βέβαια ακόμα δεν βγάζει νόημα το όλο "παιχνιδάκι" με την τοποθέτηση των πτωμάτων και ο συμβολισμός που προσπάθησαν να μας πλασσάρουν πίσω από αυτό.
At this point, δεν ξέρω αν έχεις αποτύχει σαν συγγραφέας μυστηρίου, αφού το twist -μισό ντοκιμαντέρ για τους Βοργίες να έχεις δει- δεν είναι twist. Ακόμα και ο τρόπος που χειρίστηκε ο συγγραφέας την "αποκάλυψη" ήταν τόσο... φλου, που ούτε κι αυτό μού έκανε κάποια αίσθηση.
Ακόμα, ας μιλήσουμε μισό λεπτό για τον τρόπο με τον οποίο προσπάθησε ο Μακιαβέλι να λύσει το έγκλημα.
Προσπάθησε να συγκρίνει άλλα ιστορικά "τέρατα" (π.χ. Νέρωνας) με τον δολοφόνο.
Τον δολοφόνο για τον οποίο δεν είχε σχεδόν καμιά πληροφορία...
Τουλάχιστον, όσο αφορούσε τον θάνατο του Ιωάννη, μπορούσε να βρει την λύση πολύ πιο εύκολα, θέτοντας το ερώτημα "ποιος είχε να κερδίσει πιο πολλά αν αυτό το άτομο έφευγε από τη μέση;" αλλά όχι, έπρεπε να το πάει μέσω Λαμίας!
Αγόρασα αυτό το βιβλίο τέσσερα χρόνια πριν, την περίοδο που έβλεπα τη σειρά Da Vinci's Demons (κι άλλες όπως το Borgia: Faith and Fear) και δεν είχα υπολογιστή για να δω την τελευταία σεζόν. Ήλπιζα ότι θα κατάφερνε να με κάνει να νιώσω την ίδια αγωνία και τον ίδιο ενθουσιασμό όπως και εκείνες οι σειρές, αλλά δυστυχώς έπεσα έξω.
Η ιστορία σίγουρα είχε προοπτικές, αλλά ο χειρισμός της ήταν ελαφρώς αδέξιος κι όχι όπως προσωπικά εγώ θα ήθελα.
If you made it this far, congratulations!
'Til next time, take care :) :) :)
October 1, 2012
I had very high hopes for this book--set in early 16th century Italy, based with careful attention to detail on actual events, and involving Machiavelli and Leonardo da Vinci as detectives (!) solving a murder. A fascinating preface, a good map, a list of dramatis personae, and a recognition that despite the religious orthodoxy of the time, the popular belief was that that bitch the goddess Fortuna, not God, ran human affairs. What's not to like? But I gave up after about 70 pages. The story wasn't going anywhere. The dialog didn't sound like any human beings I know actually talk. The exposition was clumsy. Almost immediately, the first main character, a courtesan named Damiata is abducted by Vatican officials, bound, gagged (with a block of wood that completely dried all the saliva in her mouth), and dragged to the papal offices. There, when the block is pried out with the point of a knife, despite her tortured face muscles and dry mouth, she launches into a speech of more than 200 words, mostly telling the pope history he already knows, but which we need to learn. Realistic? Not especially. And in spite of the historical accuracy, not humanly accurate at all.
September 16, 2012
This isn't a horrible; in fact the premise caught my attention. It has many famous characters such as Cesare Borgia (Rodrigo, the pope's middle son, who was a cardinal and after his brother, Juan, was killed Cesare was released from the church as he'd been wanting to be and took over Juan's duties as head of Rodrigo's army), Niccolo Machaivelli, and Leonardo Da Vinci. I hated the characterization Da Vinci, making him into almost a caricature of what some people consider homosexual behavior. That was the only part that really grated; the other 60% (I couldn't force myself to continue) was so, so. There wasn't enough of a mystery or utilization of these famed people to compel me to read on. I hate abandoning books unread but I hate worse being kept from better stories and better writing.
This review is based on an e-galley provided by the publisher. Perhaps it was better reading in the finished version?
This review is based on an e-galley provided by the publisher. Perhaps it was better reading in the finished version?
December 13, 2012
Annoying is the best way I can sum up my characterization of this book based on how I felt when I was reading it: annoyed. I won't add to the reviews already posted that gave it one or two stars, but I will say that this is one of the VERY few books I have ever abandoned mid-read (I quit on page 100 or so) and i will echo the sentiments already expressed in many of these reviews: The constant intrusion of Italian words with no definition and often not definable based on context clues. We get it, Ennis. You're erudite and clever. But I don't feel that I should have to have an Italian dictionary next to me. The second sentiment I echo is regarding the characters of Machiavelli and Da Vinci--I know a bit about both these figures and their depiction in this book is very historically inaccurate. I know--authors have artistic license, but the depiction of these characters goes way beyond license.
I like historical fiction very much, but this one is not worth your time. In my humble opinion.
I like historical fiction very much, but this one is not worth your time. In my humble opinion.
March 18, 2019
Damiata, a mother of grandson to the Pope Alexander (Rodrigo Borgia), becomes a pawn in Borgia’s scheme. He takes her son and sends her to the remote fortress city of Imola to learn the truth behind the murder of his son Juan. Once at Imola, she gets summoned by Duke Valentino to come to Rocca. He wants to build a great city designed by Maestro Leonardo da Vinci. And his other message is that she is no longer Rome’s concern. He can better determine her usefulness.
I enjoyed the historical facts, especially those rarely mentioned or not at all in other novels, for example Leonardo’s vision of a great city, “where plagues cannot be spread” as his vision was of a very clean city. He recognized that plague was connected with filth.
However, the spy game, who is watching whom and who is scheming with whom did not hold my interest. But I also need to mention that this is a personal preference, in general I don’t like the tone of thrillers or mystery.
@FB/BestHistoricalFiction
I enjoyed the historical facts, especially those rarely mentioned or not at all in other novels, for example Leonardo’s vision of a great city, “where plagues cannot be spread” as his vision was of a very clean city. He recognized that plague was connected with filth.
However, the spy game, who is watching whom and who is scheming with whom did not hold my interest. But I also need to mention that this is a personal preference, in general I don’t like the tone of thrillers or mystery.
@FB/BestHistoricalFiction
May 27, 2014
“With its vivid, well-defined array of characters, The Malice of Fortune captures the glorious and gritty details of Renaissance Italy in a propulsive story. Ennis has achieved a great accomplishment, historical fiction that places us right into the characters' present.” —Matthew Pearl, author of The Monster of Florence and The Technologists
“The Malice of Fortune is more than a thriller--it's a tender love story, a grim exploration of the nature of human evil, and an immersive tour of Renaissance Italy as courageous, perceptive young Niccolo Machiavelli fights for his life against ruthless Borgia factions. A novel written with gusto, panache, and intellectual rigor.” —Lyndsay Faye, author of Gods of Gotham and Dust and Shadows
"A true masterpiece... Michael Ennis has poured the knowledge and wisdom of many lifetimes into the exquisite form of a mystery so dark, so labyrinthine. The Malice of Fortune is stunning, terrifying, and utterly mesmerizing. I can honestly say I never fully appreciated the genius of Machiavelli, or the savagery of the Borgias, until now." —Ann eFortier, author of Juliet
“Michael Ennis bring the Renaissance alive in this tour-de-force: The Malice of Fortune dishes out a simmering stew, thick with chicanery, bloodshed, dastardly deeds, code-breaking, puzzle-solving, and a cast of characters that includes Leonardo da Vinci, Niccolò Machiavelli, Francesco Guicciardini, Cesare Borgia—and Damiata, the real-life courtesan whose brassiness, brains, and beauty dazzle even her employer and nemesis: the Pope.” —Katherine Neville, author of The Eight and The Fire
“For readers who've been waiting all these years for the next The Name of the Rose—here it is. Michael Ennis brings a scholar’s mind and a writer’s heart to this beautifully crafted work of Renaissance intrigue that has a rare quality of feeling ancient and modern at the same time. A powerful thinking-man’s thriller.” —Glenn Cooper, author of Library of the Dead and Book of Souls
“This is a fascinating novel, filled with extraordinary, well-realized historical characters and a plot that is engrossing and wickedly clever. The Malice of Fortune is an excellent, beautifully researched, and well-written novel that has a fine, fine sense of place. It captured my attention up front and kept me turning the pages to the very end." —Douglas Preston, co-author of The Monster of Florence
December 10, 2014
When I started reading this, my first reaction was that this seemed to be a more literate Da Vinci Code. In a historical setting rather than the present, and with da Vinci as an actual character rather than the architect of the puzzle. Still, people being killed in a theatrical manner and left in patterns for the pursuers to solve? It does sound a bit familiar, does it not?
Note: The rest of this review has been withdrawn due to the changes in Goodreads policy and enforcement. You can read why I came to this decision here.
In the meantime, you can read the entire review at Smorgasbook
Note: The rest of this review has been withdrawn due to the changes in Goodreads policy and enforcement. You can read why I came to this decision here.
In the meantime, you can read the entire review at Smorgasbook
September 29, 2012
This review proves the adage "never say never." I never thought I would give a 1-star review.
First, I respect authors and feel that the only thing more difficult than getting a book published is *writing* a book (something I wish I could do, but can not. So forgive me from throwing stones from my glass house). Second, in a rare instance of personal self-esteem, I feel I am pretty darn good at picking out books. We are given far too little time on this planet to read all the books one would want, so I just don't pick out many clunkers. Lastly, I am stubborn. With regularity, I contemplated abandoning this book. If you are looking for a redeeming feature in this review, it is that read the whole thing!
So why the heck did I read it in the first place? I love Italy. If somehow I stumbled into financial independence, I'd quite likely have a flat in Florence and you'd never hear from me again (Well, you probably would, what else would I have to do but read books and write espresso or chianti-fueled Goodreads reviews?!). Next, I love the Showtime series The Borgias, so much so that a while back I wished that there was a historical fiction novel about them. And voila (or should I say Prego!), here comes The Malice of Fortune, a novel that not features the Borgias but pairs them up with their even more renowned Italian contemporaries, Niccolò Machiavelli and Leonardo da Vinci. Sounds like a slam dunk, right!?!
Well, I should have been wary when the marketing blitz for the book (including right here on Goodreads) which made it sound like the new Da Vinci Code and/or Italian Renaissance CSI (or NCIS?). I will plead guilty as charged at turning up my nose at the Dan Brown book(s) and acroynmed TV police procedural shows, but I fear I may even be insulting those two crowd favorites by making this comparison here. And besides, I can't quite figure out if LL Cool J would play da Vinci or Machiavelli??!
The generic mash-up of words that make up the book's title should have been another tip-off. Fortune (or Fortuna) is mentioned so frequently, I should have made a drinking game out of it. And more often than not it was done in such a melodramatic manner, that I created my own ominous theme music in my head after its every mention. Fortuna! Da da da dummmmm!
While this book has claims of being historical fiction (I refuse to virtually shelved it there), it struck me more as casting historical figures into a fairly cheesy serial-killer story. There is historical "substance" in it, but one never gets the sense of knowing or learning about any of these historical figures. At its finest, historical fiction is a rich tapestry, where this resembled more of a cartoon. And while I am sure The Borgias on Showtime takes it fair share of historical liberties and does at times have a "guilty pleasure" feel to it, it is always fascinating, well-executed and entertaining. But alas, none of those adjectives are springing forth from my fingers as I type this, though the Author's Notes at the back were pretty interesting.
But what ultimately solidified this first ever 1-star rating was looking at my recent 2-star books and feeling that I clearly enjoyed them more and/or they had more (in some cases, *much* more) literary merit. I still feel kind of bad, but if I have one 1-star book for every 208 books I log here on Goodreads, I'll take it! Congrats to those of you who enjoyed this, but I confess I am quite bewildered.
First, I respect authors and feel that the only thing more difficult than getting a book published is *writing* a book (something I wish I could do, but can not. So forgive me from throwing stones from my glass house). Second, in a rare instance of personal self-esteem, I feel I am pretty darn good at picking out books. We are given far too little time on this planet to read all the books one would want, so I just don't pick out many clunkers. Lastly, I am stubborn. With regularity, I contemplated abandoning this book. If you are looking for a redeeming feature in this review, it is that read the whole thing!
So why the heck did I read it in the first place? I love Italy. If somehow I stumbled into financial independence, I'd quite likely have a flat in Florence and you'd never hear from me again (Well, you probably would, what else would I have to do but read books and write espresso or chianti-fueled Goodreads reviews?!). Next, I love the Showtime series The Borgias, so much so that a while back I wished that there was a historical fiction novel about them. And voila (or should I say Prego!), here comes The Malice of Fortune, a novel that not features the Borgias but pairs them up with their even more renowned Italian contemporaries, Niccolò Machiavelli and Leonardo da Vinci. Sounds like a slam dunk, right!?!
Well, I should have been wary when the marketing blitz for the book (including right here on Goodreads) which made it sound like the new Da Vinci Code and/or Italian Renaissance CSI (or NCIS?). I will plead guilty as charged at turning up my nose at the Dan Brown book(s) and acroynmed TV police procedural shows, but I fear I may even be insulting those two crowd favorites by making this comparison here. And besides, I can't quite figure out if LL Cool J would play da Vinci or Machiavelli??!
The generic mash-up of words that make up the book's title should have been another tip-off. Fortune (or Fortuna) is mentioned so frequently, I should have made a drinking game out of it. And more often than not it was done in such a melodramatic manner, that I created my own ominous theme music in my head after its every mention. Fortuna! Da da da dummmmm!
While this book has claims of being historical fiction (I refuse to virtually shelved it there), it struck me more as casting historical figures into a fairly cheesy serial-killer story. There is historical "substance" in it, but one never gets the sense of knowing or learning about any of these historical figures. At its finest, historical fiction is a rich tapestry, where this resembled more of a cartoon. And while I am sure The Borgias on Showtime takes it fair share of historical liberties and does at times have a "guilty pleasure" feel to it, it is always fascinating, well-executed and entertaining. But alas, none of those adjectives are springing forth from my fingers as I type this, though the Author's Notes at the back were pretty interesting.
But what ultimately solidified this first ever 1-star rating was looking at my recent 2-star books and feeling that I clearly enjoyed them more and/or they had more (in some cases, *much* more) literary merit. I still feel kind of bad, but if I have one 1-star book for every 208 books I log here on Goodreads, I'll take it! Congrats to those of you who enjoyed this, but I confess I am quite bewildered.
March 22, 2013
Fantastic cast of characters, Borgias, da Vinci, Machiavelli - now I must get "The Prince" out of storage and read it - "Machiavellian - today is arguably the most misunderstood and dangerously misused adjective in the popular lexicon".
I did not know about much of the history of "Malice", but what I watched on HBO's "The Borgias" so interesting! I have read some Borgia books, but why did I not know "The Prince" was modeled on Duke Valentino - Cesare Borgia?
Must.Find.Out.More.
I did not know about much of the history of "Malice", but what I watched on HBO's "The Borgias" so interesting! I have read some Borgia books, but why did I not know "The Prince" was modeled on Duke Valentino - Cesare Borgia?
Must.Find.Out.More.
July 20, 2012
Michael Ennis has woven an elaborate Renaissance tapestry with his novel "Malice of Fortune". He's embedded a good old-fashioned murder mystery within a tale of corrupt priests and mercilessly unrepentant Italian warlords, who live in a world struggling to actualize and accept that science and religion can coexist.
Two-thirds of the tale is written from the perspective of Niccolo Machiavelli as he details his activities in trailing Cesare Borgia on behalf of his Florentine government, while Borgia conquers eastern Italy and battles his on-again off-again allied mercenaries. The other third is written from the viewpoint of a courtesan, Damiata, who finds she and her son caught up in the mystery of who murdered Cesare’s brother, and Pope Alexander VI’s son, Juan Borgia.
Damiata and Niccolo find themselves in mortal danger as Ennis slowly unravels a multi-threaded string of ongoing murders, connected to the death of Juan, while being inextricably linked to the political machinations of the Pope, Cesare and the mercenaries. Leonardo DaVinci plays a small but critical role as a high functioning savant that provides an anchor-point for Ennis’ discussions around the role of science during the High Renaissance. The interwoven plots, and pseudo scientifically based processing of clues reads like a combination of CSI, Silence of the Lambs and The Godfather.
This story has every opportunity to be great. The writing vividly recreates an early 16th century Italy ruled by the Borgias, and contains such all-world personalities like Niccolo Machiavelli and Leonardo DaVinci. Ennis' book, though, just misses - primarily from his presentation of disjointed, rushed, and simply befuddling clues. A clue to the disconnectedness of the plot points perhaps resides within Ennis' acknowledgements, where he thanks what appears to me to be too many editors involved in the project.
Ennis' themes cover love, fate and science.
Fate takes the form in the goddess Fortuna, a driving force in all of the main characters in the book. With Fortuna such an all-pervading entity in their lives, Leonardo provides an enlightened perspective. "We have been given the means to hold in our hands the entre orb of the earth. We need only measure it in order to posses it. But we need not turn this new world of ours over to Fortune, chaos, and war." DaVinci reflects on the world that's at a tipping point where science is starting to equal religion and battle superstition. Leonardo, of course, was at the forefront of that change at the height of the Renaissance.
Niccolo plays the role of a modern FBI profiler, working to understand the seemingly horrific nature of the perpetrator of what becomes a significant series of murders reaching beyond the Juan Borgia. So while Leonardo has his science of mathematics and measurement, Niccolo has his science of the mind and the nature of man. He looks to histories' greatest psychotics to understand the underlying perspectives and motivations of this serial killer. DaVinci and Nicollo don’t agree on the best ways to pursue and identify the killer, but the combination of each discipline leads the reader down a satisfying path.
In reality, Niccolo Machiavelli used Cesare Borgia campaigns during the early 16th century as his basis for “The Prince”. Armed with that knowledge, I found the development of Nicollo and Ceasre’s characters to be quite enlightening.
The book is good, but not great. The time period is fascinating, and the specific characters around which with the plot orbits are all based on historical characters. If this era is of interest, I definitely recommend the read.
I received this book through the Amazon Vine program.
Two-thirds of the tale is written from the perspective of Niccolo Machiavelli as he details his activities in trailing Cesare Borgia on behalf of his Florentine government, while Borgia conquers eastern Italy and battles his on-again off-again allied mercenaries. The other third is written from the viewpoint of a courtesan, Damiata, who finds she and her son caught up in the mystery of who murdered Cesare’s brother, and Pope Alexander VI’s son, Juan Borgia.
Damiata and Niccolo find themselves in mortal danger as Ennis slowly unravels a multi-threaded string of ongoing murders, connected to the death of Juan, while being inextricably linked to the political machinations of the Pope, Cesare and the mercenaries. Leonardo DaVinci plays a small but critical role as a high functioning savant that provides an anchor-point for Ennis’ discussions around the role of science during the High Renaissance. The interwoven plots, and pseudo scientifically based processing of clues reads like a combination of CSI, Silence of the Lambs and The Godfather.
This story has every opportunity to be great. The writing vividly recreates an early 16th century Italy ruled by the Borgias, and contains such all-world personalities like Niccolo Machiavelli and Leonardo DaVinci. Ennis' book, though, just misses - primarily from his presentation of disjointed, rushed, and simply befuddling clues. A clue to the disconnectedness of the plot points perhaps resides within Ennis' acknowledgements, where he thanks what appears to me to be too many editors involved in the project.
Ennis' themes cover love, fate and science.
Fate takes the form in the goddess Fortuna, a driving force in all of the main characters in the book. With Fortuna such an all-pervading entity in their lives, Leonardo provides an enlightened perspective. "We have been given the means to hold in our hands the entre orb of the earth. We need only measure it in order to posses it. But we need not turn this new world of ours over to Fortune, chaos, and war." DaVinci reflects on the world that's at a tipping point where science is starting to equal religion and battle superstition. Leonardo, of course, was at the forefront of that change at the height of the Renaissance.
Niccolo plays the role of a modern FBI profiler, working to understand the seemingly horrific nature of the perpetrator of what becomes a significant series of murders reaching beyond the Juan Borgia. So while Leonardo has his science of mathematics and measurement, Niccolo has his science of the mind and the nature of man. He looks to histories' greatest psychotics to understand the underlying perspectives and motivations of this serial killer. DaVinci and Nicollo don’t agree on the best ways to pursue and identify the killer, but the combination of each discipline leads the reader down a satisfying path.
In reality, Niccolo Machiavelli used Cesare Borgia campaigns during the early 16th century as his basis for “The Prince”. Armed with that knowledge, I found the development of Nicollo and Ceasre’s characters to be quite enlightening.
The book is good, but not great. The time period is fascinating, and the specific characters around which with the plot orbits are all based on historical characters. If this era is of interest, I definitely recommend the read.
I received this book through the Amazon Vine program.
January 9, 2013
I almost gave this a 1, but then again, I finished it. The story has great possibilities: Damiata, a courtesan and mistress to the illegitimate son of Pope Alexander (a Borgia) teams up with Niccolo Machiavelli and Leonardo da Vinci to identify the murderer of Juan of Gandia (said illegitimate son). The first third of the book, told in Damiata's voice, is pretty compelling - lots of sex and violence, but she's good at heart, so a sympathetic character with an interesting back story. Then she decides she's going to die (she doesn't) and turns the story over to Machiavelli - whose narration turns the whole thing into a dull, wordy mess - 250 pages of it, in spite of a pretty good story line. The line is that the bad guy in the story was the inspiration for The Prince. Whatever. The change of voice was a really bad decision. Add to it the wordiness of the story, the constant dropping of undefined Italian words in place where you need to know what they mean, and some pretty rambling and fantasitcal action, and you've got a book I simply cannot recommend. I can't imagine where all the good reviews came from.
December 4, 2025
This novel about Machiavelli may surprise you
If you’ve read The Prince, you probably think you know the work of Niccolo Machiavelli. Chances are, you think of him—as I always did—as the Renaissance propagandist who lionized a lying, cheating, brutal scoundrel as the ideal political and military leader. Having read The Malice of Fortune, I know better now. This book about Machiavelli as a private eye questions the myth.
This historical novel, framed as a murder mystery, lays out the basis on which he wrote The Prince and illuminates his relationship with Cesare Borgia. known then as Duke Valentino. The Malice of Fortune is based on historian and journalist Michael Ennis’ intensive research into primary sources, Its characters and the events it portrays are all solidly grounded in historical evidence. Machiavelli and Borgia did, indeed, have a relationship that verged on intimate.
Roaming through 16th-century Italy
The novel is set in Central Italy in 1502-3, with the action moving to and from Rome and through a succession of minor cities and towns where Duke Valentino and his troops were billeted. Machiavelli has been dispatched by the town fathers of Florence to follow Valentino and report his observations along the way.
Their city feared a calamitous attack by the mercenary condottieri with whom Valentino was then negotiating a peace treaty. In the town of Imola, Machiavelli meets the bewitching courtesan known as Madonna Damiata, who has come in search of evidence that will point to the murder of Duke Gandia, her lover and father of her son. She quickly embroils Machiavelli in her search. They proceed on the assumption that one of the leaders of the condottieri is the murderer. But which one, and under what circumstances, is entirely unclear.
A murder connects to the Pope’s son
The Duke of Gandia, born Giovanni or Juan Borgia, is Duke Valentino’s, or Cesare Borgia’s, younger brother. The two are sons of the then-reigning Pope, the notoriously corrupt Rodrigo Borgia, who ruled as Pope Alexander VI. (He was the same Pope who dictated the treaty of Tordesillas in 1494 that divided the New World between Spain and Portugal. (That treaty resulted in Brazilians speaking Portuguese today while the rest of the region speaks Spanish.) The two men’s notorious sister, Lucrezia, also figures in the story but in the background, never appearing on-scene.
Together, Machiavelli and Damiata, now a couple in love, pursue the truth through a tangle of murky circumstances that grow more confounding by the day. The quartered remains of a woman’s headless body are found in the vicinity of Imola with an amulet that had belonged to Juan Borgia. The two amateur sleuths uncover a lead to a brothel in Imola inhabited by whores who are also witches, and through them they learn that a certain Zeja Caterina, a noted witch, may be the key to learning the truth of Juan’s murder.
Their visit to her home in the countryside triggers a number of new murders (including Zeja Caterina’s). It also thrusts them into such great danger that they must go into hiding. Yet more murders come to light—and it becomes apparent that a single man, a serial murderer, is responsible.
A story in four parts
Ennis tells his story in four parts, the first couched as a letter from Damiata to her young son, Giovanni, for him to read when he turns twenty. The remaining three parts are written from Machiavelli’s perspective. The language mimics the formality of Renaissance Italy and employs a generous number of Italian words.
Interestingly, regional linguistic differences play a part in the tale as well: it was not until the nineteenth century that serious efforts got underway to establish a uniform national Italian tongue. During the Renaissance, such differences as those between Tuscan and Romagnola made the various dialects almost mutually unintelligible. Ennis, a more than competent historical scholar, appears to get it right.
Ennis’ introductory and closing remarks about (not in) the novel considerably enrich the reading experience. He first sets the historical context and lists the principal characters, then, at the end, clarifies Niccolo Machiavelli’s views on leadership and on Duke Valentino, his subject in The Prince.
The Malice of Fortune is an amazing story, and it just might be true.
About the author
Google Books describes Michael Ennis as follows: “Michael Ennis taught art history at the University of Texas, developed museum programs as a Rockefeller Foundation Fellow, and worked as an independent curator and consultant. He has won several awards for art criticism, and written for such magazines as Esquire and Architectural Digest and is a regular contributor to Texas Monthly. He is the author of two previous historical novels, Byzantium and The Duchess of Milan. Michael lives in Dallas with his wife, Ellen, a television producer, and their daughter Arielle. The author lives in Dallas, Texas.”
If you’ve read The Prince, you probably think you know the work of Niccolo Machiavelli. Chances are, you think of him—as I always did—as the Renaissance propagandist who lionized a lying, cheating, brutal scoundrel as the ideal political and military leader. Having read The Malice of Fortune, I know better now. This book about Machiavelli as a private eye questions the myth.
This historical novel, framed as a murder mystery, lays out the basis on which he wrote The Prince and illuminates his relationship with Cesare Borgia. known then as Duke Valentino. The Malice of Fortune is based on historian and journalist Michael Ennis’ intensive research into primary sources, Its characters and the events it portrays are all solidly grounded in historical evidence. Machiavelli and Borgia did, indeed, have a relationship that verged on intimate.
Roaming through 16th-century Italy
The novel is set in Central Italy in 1502-3, with the action moving to and from Rome and through a succession of minor cities and towns where Duke Valentino and his troops were billeted. Machiavelli has been dispatched by the town fathers of Florence to follow Valentino and report his observations along the way.
Their city feared a calamitous attack by the mercenary condottieri with whom Valentino was then negotiating a peace treaty. In the town of Imola, Machiavelli meets the bewitching courtesan known as Madonna Damiata, who has come in search of evidence that will point to the murder of Duke Gandia, her lover and father of her son. She quickly embroils Machiavelli in her search. They proceed on the assumption that one of the leaders of the condottieri is the murderer. But which one, and under what circumstances, is entirely unclear.
A murder connects to the Pope’s son
The Duke of Gandia, born Giovanni or Juan Borgia, is Duke Valentino’s, or Cesare Borgia’s, younger brother. The two are sons of the then-reigning Pope, the notoriously corrupt Rodrigo Borgia, who ruled as Pope Alexander VI. (He was the same Pope who dictated the treaty of Tordesillas in 1494 that divided the New World between Spain and Portugal. (That treaty resulted in Brazilians speaking Portuguese today while the rest of the region speaks Spanish.) The two men’s notorious sister, Lucrezia, also figures in the story but in the background, never appearing on-scene.
Together, Machiavelli and Damiata, now a couple in love, pursue the truth through a tangle of murky circumstances that grow more confounding by the day. The quartered remains of a woman’s headless body are found in the vicinity of Imola with an amulet that had belonged to Juan Borgia. The two amateur sleuths uncover a lead to a brothel in Imola inhabited by whores who are also witches, and through them they learn that a certain Zeja Caterina, a noted witch, may be the key to learning the truth of Juan’s murder.
Their visit to her home in the countryside triggers a number of new murders (including Zeja Caterina’s). It also thrusts them into such great danger that they must go into hiding. Yet more murders come to light—and it becomes apparent that a single man, a serial murderer, is responsible.
A story in four parts
Ennis tells his story in four parts, the first couched as a letter from Damiata to her young son, Giovanni, for him to read when he turns twenty. The remaining three parts are written from Machiavelli’s perspective. The language mimics the formality of Renaissance Italy and employs a generous number of Italian words.
Interestingly, regional linguistic differences play a part in the tale as well: it was not until the nineteenth century that serious efforts got underway to establish a uniform national Italian tongue. During the Renaissance, such differences as those between Tuscan and Romagnola made the various dialects almost mutually unintelligible. Ennis, a more than competent historical scholar, appears to get it right.
Ennis’ introductory and closing remarks about (not in) the novel considerably enrich the reading experience. He first sets the historical context and lists the principal characters, then, at the end, clarifies Niccolo Machiavelli’s views on leadership and on Duke Valentino, his subject in The Prince.
The Malice of Fortune is an amazing story, and it just might be true.
About the author
Google Books describes Michael Ennis as follows: “Michael Ennis taught art history at the University of Texas, developed museum programs as a Rockefeller Foundation Fellow, and worked as an independent curator and consultant. He has won several awards for art criticism, and written for such magazines as Esquire and Architectural Digest and is a regular contributor to Texas Monthly. He is the author of two previous historical novels, Byzantium and The Duchess of Milan. Michael lives in Dallas with his wife, Ellen, a television producer, and their daughter Arielle. The author lives in Dallas, Texas.”
June 25, 2012
This is an interesting book rich in history as Ennis weaves together the lives of Niccollo Macchiavelli, Leonardo da Vinci, Duke Valentino and a mysterious woman named Damiata. Constructing a story about how Macchiavellia came to write The Prince formed the basis of Ennis' premise. While something of a fantasy, the book is well-researched as Ennis portrays the contrasting cultures that exist during the brutal regime of the Borgias and then established characters that symbolize these cultures. The book explores good and evil as Macchiavelli tries to explain the motivations of men. His focus on human nature starkly contrasts with da Vinci's focus on reason and order as defining the cosmos.
Stretching historical fact almost beyond belief, Ennis writes of political intrigue, murder, love, and religion that has been perverted by the papacy and throughout the culture.
This book is a good choice if you are a fan of historical fiction and can accept building a fantasy around historical characters. There is enough action and suspense to keep the reader engaged. Ennis is especially effective in his descriptive language and his ability to build suspense throughout.
Stretching historical fact almost beyond belief, Ennis writes of political intrigue, murder, love, and religion that has been perverted by the papacy and throughout the culture.
This book is a good choice if you are a fan of historical fiction and can accept building a fantasy around historical characters. There is enough action and suspense to keep the reader engaged. Ennis is especially effective in his descriptive language and his ability to build suspense throughout.
December 31, 2012
Michael Ennis’ The Malice of Fortune is a dark mystery revolving around the Roman Catholic Pope Alexander’s son, Duke Valentino. Its main voices are those of Damiata, a courtesan whose life is wrapped up with the Borgias, and Niccolo Machiavelli, sent to Valentino’s court to protect the interests of Florence, albeit without any authority to negotiate.
The background of political intrigue and the potential of war add tension to the story, and the murders leave a gruesome undertone. What shines through are the characters – Leonardo da Vinci as CSI, deciphering the clues left at the crime scenes. Niccolo as profiler, trying to figure out who the perpetrator is. Damiata as desperate mother, using all her skills to find out who killed the Pope’s younger son.
The Malice of Fortune is an engrossing read. The crimes are a bit revolting, and some parts of the plot are predictable, but overall this is a fascinating take on history, with some pretty famous people. All in all, this is definitely worth adding to your reading list, especially if you’re a fan of historical fiction!
drey’s rating: Excellent!
The background of political intrigue and the potential of war add tension to the story, and the murders leave a gruesome undertone. What shines through are the characters – Leonardo da Vinci as CSI, deciphering the clues left at the crime scenes. Niccolo as profiler, trying to figure out who the perpetrator is. Damiata as desperate mother, using all her skills to find out who killed the Pope’s younger son.
The Malice of Fortune is an engrossing read. The crimes are a bit revolting, and some parts of the plot are predictable, but overall this is a fascinating take on history, with some pretty famous people. All in all, this is definitely worth adding to your reading list, especially if you’re a fan of historical fiction!
drey’s rating: Excellent!
September 6, 2012
Set in one of my favorite periods in history, the Renaissance, Ennis delivers a fascinating story. Full of historical figures, Da Vinci, Machiavelli, and the corruptible Borgia, the reader is treated to a novel that fully immerses them in this time period; the sights, sounds and full political machinations. What a fascinating time this was; the church all powerful and trying to stay that way, some of the greatest thinkers and philosophers are present and change is everywhere. This was a fantastic novel, very detailed and full of depth. Appreciated the afterword where much is explained. Highly recommend.
ARC from NetGalley.
ARC from NetGalley.
August 21, 2018
"The times change, but the nature of men does not. Such men ... will only find our new age more favorable, and they will tell us that their evils are only necessities of the times. But they will linger in the house of the Devil, savor his vintage, and acquire a taste for it."
Michael Ennis
multi-layered storytelling which transcends the crime fiction / mystery genres.
now I want to re-read The Prince (which I have not done since college) and then read this wonderful book again.
Michael Ennis
multi-layered storytelling which transcends the crime fiction / mystery genres.
now I want to re-read The Prince (which I have not done since college) and then read this wonderful book again.
started_finish_later
September 14, 2012loved Byzantium but this one just did not work for me
April 24, 2018
Passable. Didn't go anywhere fast, with not-too-deep characters and a story told better at other venues.
June 4, 2020
I desperately wanted to like this book. It had it all a time period and historical characters I enjoy, plus the twist of a mystery. In the end, I came away with a profound disappointment at the opportunity that was missed. It wasn’t a horrible book, but then neither was it great, and it could have been.
July 21, 2017
I will also do a video review here at my channel: http://www.youtube.com/magicofbooks
In "The Malice of Fortune" by Michael Ennis, Vatican courtesan, Damiata, is ordered by Pope Alexander VI to discover the truth about the murder of his son Juan Borgia. Damiata becomes a pawn in the political intrigues of the pope's surviving son, Cesare Borgia, also known as Duke Valentino, whose own life is threatened by mercenary warlords. Damiata suspects Juan's murderer is one of these warlords. As her mission grows urgent, Damiata finds the help of two of Renaissance Italy's most prolific figures: Niccolo Machiavelli and Leonardo Da Vinci. What the trio discovers will shake the very foundation of Western civilization, ultimately becoming the basis for Machiavelli's "The Prince."
I was really looking forward to reading this book because I love all things Borgias related. Plus it had the additional element of being a mystery/thriller involving Machiavelli and Da Vinci. I found myself not enjoying this as much as I was hoping. Let's get this out of the way: this is not a bad book by any means. I think it suffered a bit from information density. I often found myself being a little bored, slogging through pages, sometimes not entirely understanding what's going on. And maybe it was just me, but I felt like scene transitions were really abrupt to the point that I got confused. What I enjoyed the most was definitely the murder mystery involving the pope's son, Juan Borgia, and the characters realizing they are on the search for a serial killer as they find more and more bodies mutilated in similar fashions. I think another big problem with the book was simply the characters. They aren't as fleshed out as I would have liked, they are all rather one dimensional in there way. You have Damiata who shows promise, but she's wrapped in mystery and intrigue. I think Michael Ennis had some great things going on with Da Vinci, but Da Vinci was more of a supporting character. I did also like Machiavelli, but again, one dimensional. The big theme of this book is about this whole idea of Fortuna versus the ability to control your own fate. Do you control your fate or does some greater power guide your fate? Also the idea of nature versus nuture. Are you a product of your DNA or a product of your surroundings? And I liked how Machiavelli and Da Vinci, though both intelligent men, they each had their own "sciences" in trying to figure out how to hunt the serial killer. Da Vinci is of the opinion that things can be scientifically explained by examination and experimentation, but Machiavelli believes things can be explained by learning from history, looking at those who have come before to figure out the psychology of somebody. It should have all been quite compelling, but it was often a little meandering and lengthy, sometimes repetitive. And another thing that bugged me, Michael Ennis throws in a relationship between Machiavelli and Damiata, exploring this idea of soul mates, which quite honestly, felt forced into the narrative. Why did there have to be a sexual relationship? Why couldn't they have a relationship built of respect and admiration only? The novel was already exploring another as it was, a relationship didn't need to be there. And I've gone this whole time not mentioned Cesare Borgia, Duke Valentino. I loved Michael Ennis' interpretation of Valentino, easily one of the most captivating characters in the novel. If you know anything about "The Prince," you know that Machiavelli based a lot of what he was talking about on of the successes of Valentino, and that if others wanted to be successful, they needed to follow him as an example. And I loved Michael Ennis' paving stones of setting up Machiavelli getting his inspiration and why.
Overall, maybe this book wasn't entirely for me. Maybe I was missing the points of some of the things going on. I feel like Michael Ennis had great historical material to go off of, but he was trying to balance a little too much. I do recommend this if you are looking for a good mystery/thriller and if you are a fan of the Borgia era.
In "The Malice of Fortune" by Michael Ennis, Vatican courtesan, Damiata, is ordered by Pope Alexander VI to discover the truth about the murder of his son Juan Borgia. Damiata becomes a pawn in the political intrigues of the pope's surviving son, Cesare Borgia, also known as Duke Valentino, whose own life is threatened by mercenary warlords. Damiata suspects Juan's murderer is one of these warlords. As her mission grows urgent, Damiata finds the help of two of Renaissance Italy's most prolific figures: Niccolo Machiavelli and Leonardo Da Vinci. What the trio discovers will shake the very foundation of Western civilization, ultimately becoming the basis for Machiavelli's "The Prince."
I was really looking forward to reading this book because I love all things Borgias related. Plus it had the additional element of being a mystery/thriller involving Machiavelli and Da Vinci. I found myself not enjoying this as much as I was hoping. Let's get this out of the way: this is not a bad book by any means. I think it suffered a bit from information density. I often found myself being a little bored, slogging through pages, sometimes not entirely understanding what's going on. And maybe it was just me, but I felt like scene transitions were really abrupt to the point that I got confused. What I enjoyed the most was definitely the murder mystery involving the pope's son, Juan Borgia, and the characters realizing they are on the search for a serial killer as they find more and more bodies mutilated in similar fashions. I think another big problem with the book was simply the characters. They aren't as fleshed out as I would have liked, they are all rather one dimensional in there way. You have Damiata who shows promise, but she's wrapped in mystery and intrigue. I think Michael Ennis had some great things going on with Da Vinci, but Da Vinci was more of a supporting character. I did also like Machiavelli, but again, one dimensional. The big theme of this book is about this whole idea of Fortuna versus the ability to control your own fate. Do you control your fate or does some greater power guide your fate? Also the idea of nature versus nuture. Are you a product of your DNA or a product of your surroundings? And I liked how Machiavelli and Da Vinci, though both intelligent men, they each had their own "sciences" in trying to figure out how to hunt the serial killer. Da Vinci is of the opinion that things can be scientifically explained by examination and experimentation, but Machiavelli believes things can be explained by learning from history, looking at those who have come before to figure out the psychology of somebody. It should have all been quite compelling, but it was often a little meandering and lengthy, sometimes repetitive. And another thing that bugged me, Michael Ennis throws in a relationship between Machiavelli and Damiata, exploring this idea of soul mates, which quite honestly, felt forced into the narrative. Why did there have to be a sexual relationship? Why couldn't they have a relationship built of respect and admiration only? The novel was already exploring another as it was, a relationship didn't need to be there. And I've gone this whole time not mentioned Cesare Borgia, Duke Valentino. I loved Michael Ennis' interpretation of Valentino, easily one of the most captivating characters in the novel. If you know anything about "The Prince," you know that Machiavelli based a lot of what he was talking about on of the successes of Valentino, and that if others wanted to be successful, they needed to follow him as an example. And I loved Michael Ennis' paving stones of setting up Machiavelli getting his inspiration and why.
Overall, maybe this book wasn't entirely for me. Maybe I was missing the points of some of the things going on. I feel like Michael Ennis had great historical material to go off of, but he was trying to balance a little too much. I do recommend this if you are looking for a good mystery/thriller and if you are a fan of the Borgia era.
January 30, 2013
Much like the Tudors, the Borgias have been overdone in recent releases of historical fiction. However, The Malice of Fortune provides a new perspective by creatively using the well-known history and incorporating it into a mystery/murder plot. By using lesser known players in the Borgia game, author Michael Ennis brings a fresh twist to a popular scheme. You certainly don't have to know the Borgia family history to read and enjoy the book, but for those readers who are familiar, you'll get more than a repeat telling. I've read several Borgia books and was pleased that I knew enough to add to my base knowledge, but wasn't bored or forced to re-read loads of already much published facts about the events. I did not need pages of background, and I think the way this book is set up, no one really would. However, some key information about the 'players' is listed in the front of the book, which is a helpful reference, but I don't think it is too difficult to keep up with the historical timeline or characters.
For those readers who are thinking about expanding into historical fiction, this is a good one to start with because it is more palatable than most. Without upsetting the academic critics, this novel harmonizes mystery, intrigue, murder and history without becoming dry as day old toast. It's a bit of a chunker due to the packed content, but despite the average page count, The Malice of Fortune is an attention-span friendly book especially for this genre. Ennis effectively manages to maintain a brilliant balance between intellectual fiction and entertainment, which will widen the general appeal and audience. Need a quick pitch-line to help you make up your mind? Okay, here it 'tis! A well-crafted, pre-packaged paced Three Musketeers meets The Man in the Iron Mask for the European bound traveler. A tad heavy for the beach and shorter trip, but good for a cabin getaway or longer flight.
For those readers who are thinking about expanding into historical fiction, this is a good one to start with because it is more palatable than most. Without upsetting the academic critics, this novel harmonizes mystery, intrigue, murder and history without becoming dry as day old toast. It's a bit of a chunker due to the packed content, but despite the average page count, The Malice of Fortune is an attention-span friendly book especially for this genre. Ennis effectively manages to maintain a brilliant balance between intellectual fiction and entertainment, which will widen the general appeal and audience. Need a quick pitch-line to help you make up your mind? Okay, here it 'tis! A well-crafted, pre-packaged paced Three Musketeers meets The Man in the Iron Mask for the European bound traveler. A tad heavy for the beach and shorter trip, but good for a cabin getaway or longer flight.
October 10, 2012
I was immediately captivated by the premise that this was a narrative based entirely on actual events of the late 1400s and early 1500s, with historical figures portrayed just as they were documented, but woven within a story that provided context, dimension and emotional texture. I was intrigued by the focus on Leonardo di Vinci in his engineering and scientific roles, and the far more compassionate and engaging portrait of Niccolo Macchiavelli than his distorted reputation.
The story was told first in the POV of Damiata, a once highly placed courtesan, and then Machiavelli, and I found this to work well. The voice was quite different in each case and because they were in first person, it also provided a broader perspective on the search for the murderer of Damiata's lover, the Duke of Gandia and son of Pope Alexander VI, one of the Borgias. Damiata is fighting to clear her name, having been accused by the Pope of his son's murder. Whether he actually believes it is not the point to this ruthless Pope. She will become his scapegoat if he chooses, a pawn in his game. He wants only to cement his rule, fill his coffers and expand the reach of the Papal lands in Italy and for him, blood is not necessarily thicker than water.
It was a novel of political intrigue in 15th and 16th century Italy, a murder mystery and a romance, told in an engaging style. There were parts that were a little gruesome and overwrought, but overall I really liked this book and was impressed with the author's deft hand with both history and fiction. It required enormous talent and felt quite seamless.
The story was told first in the POV of Damiata, a once highly placed courtesan, and then Machiavelli, and I found this to work well. The voice was quite different in each case and because they were in first person, it also provided a broader perspective on the search for the murderer of Damiata's lover, the Duke of Gandia and son of Pope Alexander VI, one of the Borgias. Damiata is fighting to clear her name, having been accused by the Pope of his son's murder. Whether he actually believes it is not the point to this ruthless Pope. She will become his scapegoat if he chooses, a pawn in his game. He wants only to cement his rule, fill his coffers and expand the reach of the Papal lands in Italy and for him, blood is not necessarily thicker than water.
It was a novel of political intrigue in 15th and 16th century Italy, a murder mystery and a romance, told in an engaging style. There were parts that were a little gruesome and overwrought, but overall I really liked this book and was impressed with the author's deft hand with both history and fiction. It required enormous talent and felt quite seamless.
March 3, 2013
I loved Ennis' "Duchess of Milan," was not so blown away by his other novel "Byzantium." Reading "Malice of Fortune," I think that his forte is Renaissance Italy. I really enjoyed this historical mystery.
Furious over the mysterious death of his beloved son, Pope Alexander Borgia blackmails the murdered Juan's former mistress, Damiata, into going to investigate the circumstances of his death. With the Pope holding her son hostage, and under suspicion herself, she has no choice.
Niccolo Machiavelli teams up with her, and as more and more mutilated bodies turn up around the city, even Leonardo Da Vinci gets involved, suspecting that the killer or killers are taunting him with a mathematical puzzle.
The challenge for the would-be detectives is not figuring out which of the many suspects could have committed such brutal crimes - most, if not all of the brutal condottierri lords are well known to be capable of atrocities. As far as motivation? Well, Juan was nearly universally disliked, both personally and politically.
I'm deducting a star because the whole serial-killer-creates-geometric-patterns-with-dead-bodies, in-which-a-clue-can-be-found plot, has been done until it does not need to be done any more. However, both Niccolo and Damiata are well-drawn and entertaining characters, and the story proceeds with a nice amount of complexity and thoughtfulness. An enjoyable read.
Furious over the mysterious death of his beloved son, Pope Alexander Borgia blackmails the murdered Juan's former mistress, Damiata, into going to investigate the circumstances of his death. With the Pope holding her son hostage, and under suspicion herself, she has no choice.
Niccolo Machiavelli teams up with her, and as more and more mutilated bodies turn up around the city, even Leonardo Da Vinci gets involved, suspecting that the killer or killers are taunting him with a mathematical puzzle.
The challenge for the would-be detectives is not figuring out which of the many suspects could have committed such brutal crimes - most, if not all of the brutal condottierri lords are well known to be capable of atrocities. As far as motivation? Well, Juan was nearly universally disliked, both personally and politically.
I'm deducting a star because the whole serial-killer-creates-geometric-patterns-with-dead-bodies, in-which-a-clue-can-be-found plot, has been done until it does not need to be done any more. However, both Niccolo and Damiata are well-drawn and entertaining characters, and the story proceeds with a nice amount of complexity and thoughtfulness. An enjoyable read.
July 31, 2012
A brilliantly conceived stew of murder, mystery and conniving.
Michael Ennis has woven a complex plot featuring some of history’s most intriguing characters in one of the more interesting periods of times and given them a complex puzzle to solve.
Ennis transports us to Renaissance Italy shortly after the murder of Juan, Duke of Gandia, favorite son of the manipulative Pope Alexander VI. Receiving an important clue, the pontiff holds Giovanni, the child of Juan and his mistress, Damiata, hostage. Though he suspects her of complicity in the murder, the pontiff sends Damiata on a mission to Imola in the northernmost of the Papal States where she is ordered to interpret the clue and identify the culprit.
Damiata meets Niccolo Machiavelli, who is on a diplomatic mission to the city, and Leonardo da Vinci. They form an unusual partnership and are thrown into a web of deceit and danger as more grisly murders occur. The host of suspects ranges from Valentino, brother of Juan, to members of some of Italy’s most powerful families. As they fall in love, Machiavelli even finds himself distrusting Damiata.
Machiavelli’s pioneering psychological profiling is contrasted with da Vinci’s scientific method of deduction as the two form an uneasy friendship and the bodies pile up.
This is historical fiction at its best. It may well be my favorite read this year.
Michael Ennis has woven a complex plot featuring some of history’s most intriguing characters in one of the more interesting periods of times and given them a complex puzzle to solve.
Ennis transports us to Renaissance Italy shortly after the murder of Juan, Duke of Gandia, favorite son of the manipulative Pope Alexander VI. Receiving an important clue, the pontiff holds Giovanni, the child of Juan and his mistress, Damiata, hostage. Though he suspects her of complicity in the murder, the pontiff sends Damiata on a mission to Imola in the northernmost of the Papal States where she is ordered to interpret the clue and identify the culprit.
Damiata meets Niccolo Machiavelli, who is on a diplomatic mission to the city, and Leonardo da Vinci. They form an unusual partnership and are thrown into a web of deceit and danger as more grisly murders occur. The host of suspects ranges from Valentino, brother of Juan, to members of some of Italy’s most powerful families. As they fall in love, Machiavelli even finds himself distrusting Damiata.
Machiavelli’s pioneering psychological profiling is contrasted with da Vinci’s scientific method of deduction as the two form an uneasy friendship and the bodies pile up.
This is historical fiction at its best. It may well be my favorite read this year.
October 5, 2012
I thought, as I read this book that it was interesting and ok but I find as I enter it here is was, indeed, more than that. In early Sept I read. 'The Artist, the Philosopher, and the Warrior: The Intersecting Lives of Da Vinci, Machiavelli, and Borgia and the World They Shaped'...Picking up The Malice of Fortune I didn't quite realize how SPECIFICALLY these two books - one history and very well-presented and this novel - and very emotive and atmospheric - were not just the same people but...THE SAME EVENTS. What serendipity! fabulous. Its better, I think, to have read the non-fiction prior but none the less, it lifts everything to another plane for me having the background of the first.
I did - for SURE - get into the atmospheric writing in 'persona' that the author assumes. At first I thought it a bit contrived but then - as w/ good opera (I think this is an APT symmetry here) one needs to just give over to it.
So w/ all guns loaded - well maybe THAT is not a good metaphor - let us say, w/ all channels open and receptive - this was a good read. I have no idea how this would be w/out the background so...consider loading up on the background :-]
I did - for SURE - get into the atmospheric writing in 'persona' that the author assumes. At first I thought it a bit contrived but then - as w/ good opera (I think this is an APT symmetry here) one needs to just give over to it.
So w/ all guns loaded - well maybe THAT is not a good metaphor - let us say, w/ all channels open and receptive - this was a good read. I have no idea how this would be w/out the background so...consider loading up on the background :-]
May 16, 2013
Wonderful, thoughtful and thought provoking history-mystery. An enigma wrapped in a conundrum (or vice versa) this book is a study of human nature, power, ambition, curiosity and political philosophy interwoven among and within a murder(s) mystery. It is helpful to have a familiarity with late 15th/early 16th century Italian and papal history. If all you know about it you learned from the sensationalistic and historically bogus Borgias on Showtime this book may add another dimension to the characters of Cesare Borgia and Alexander. More than that, it puts The Prince and Miachiavelli into fascinating perspective and lifts some of the embedded cynicism from contemporary attitudes.
Am now reading the Life of Cesare Borgia by Rafael Sabatini....an early 20th century apologist for Cesare. Cycles in historical popularity are fascinating and useful for understanding the political and social character of contemporary times. The efforts to rehabilitate the Borgias have been successful for Lucezia only thus far. I am doubtful about Cesare. And Alexander, lauded for some administrative skills, appeals to those who likewise were impressed with Mussolini's trains.
Am now reading the Life of Cesare Borgia by Rafael Sabatini....an early 20th century apologist for Cesare. Cycles in historical popularity are fascinating and useful for understanding the political and social character of contemporary times. The efforts to rehabilitate the Borgias have been successful for Lucezia only thus far. I am doubtful about Cesare. And Alexander, lauded for some administrative skills, appeals to those who likewise were impressed with Mussolini's trains.
October 10, 2012
I slogged through 270 pages of this rubbish, before skimming the next 100 and reading over the last few chapters. What could have been an intriguing concept turned into a disaster of a novel. I was excited about the idea of Machiavelli and DaVinci teaming up to solve murders and a Borgia conspiracy, but it was so tedious, it couldn’t hold my interest. The characters weren’t even engaging. Machiavelli brooded too much over philosophical quandaries, constantly reflecting on “Fortune,” and DaVinci was portrayed as a scatter-brained eccentric. They follow Valentino’s court from city to city, but more of nothing happens despite their location. The intrigue in 16th century Italy was just a lot of back-stabbing (sometimes literally), then more theoretical rambling, and I. Was. So. Bored.
I received a complimentary copy of this book via the Amazon Vine program.
I received a complimentary copy of this book via the Amazon Vine program.
October 22, 2012
I will admit a soft spot for historical mysteries. Anything that combines real and fictional characters in an authentic way will always get my attention. This book is no different. In 1502, according to historical record, Nicciolo Machiavelli and Leonardo Di Vinchi found themselves at the court of Cesare Borgia, son of Pope Alexander, who now goes by Duke Valentino, in Imola Italy. These are the facts. Damiata, a prostitute who was the lover of Cesare's brother, the murdered Juan, is despached by the Pope when new evidence come up in Juan's murder, holding her son hostage until she completes her task. What she find is a seriel killer. I loved the story, and the narriation was excellent, but I guess I live in too modern an age to have a letter that is hundreds of pages long. Still, a small complaint for a good story.
March 15, 2015
This is supposedly the true origins of Machievelli's The Prince. And while the eventual and interesting author's note separated fact from fiction, the fictional account of the investigation of the murder of the Pope's son, Juan of Guardia, is a convoluted love story about Machievelli and a courtesan that the Pope sends to investigate his son's death. And Leonardo da Vinci is thrown in for good measure. I listened to the audiobook. The first third is narrated by Carlotta Montanari, an Italian actress whose heavily Italian accent obscured the meaning of the words. The next two thirds are read by Adrian Paul who puts on a heavy Italian accent to obscure the words. Worse, he practically puts on a falsetto for female voices. It was such a disappointment. Between the weird story and the poor narration this was totally not the time.
August 1, 2012
Malice of fortune is an historical novel that reads like a thriller, something truly unique in this genre, which has a tendency to be a bit on the dry side. There was never a moment, for me, reading this book where I lost interest or got bored, though I will say it was pretty lengthy at nearly 400 pages long.
I loved the author's lavish descriptions that lend themselves to a vivid and full-color imagining, and there were several times while reading this book that it almost felt like I was actually watching the events first hand, a talent I especially admire in an author.
This was a great read, I really enjoyed it!
I have received this book for free through Goodreads First Reads
I loved the author's lavish descriptions that lend themselves to a vivid and full-color imagining, and there were several times while reading this book that it almost felt like I was actually watching the events first hand, a talent I especially admire in an author.
This was a great read, I really enjoyed it!
I have received this book for free through Goodreads First Reads
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