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Immortal
In an age of wonderous beauty and terrible secrets,
one man searches for his destiny...
In the majestic heart of Florence, a beautiful golden-haired boy is abandoned and subjected to cruelty beyond words. But Luca Bastardo is anything but an ordinary boy. Across two centuries of passion and intrigue, Luca will discover an astonishing gift—one that will lead him to embrace the ancient mysteries of alchemy and healing and to become a trusted confidant to the powerful Medicis…even as he faces persecution from a sadistic cabal determined to wrest his secrets for themselves.
But as the Black Death and the Inquisition wreak havoc on his beloved city, Luca’s survival lies in the quest to solve two riddles. One is the enigma of his parents and his ageless beauty. The other is a choice between immortality and the only chance to find his one true love. As Luca journeys through the heights of the Renaissance, befriends Giotto and Leonardo Da Vinci—140 years apart—and pursues the most closely guarded secrets of religious faith and science for the answers to his own burning questions, his remarkable search will not only change him…but will change the course of history.
one man searches for his destiny...
In the majestic heart of Florence, a beautiful golden-haired boy is abandoned and subjected to cruelty beyond words. But Luca Bastardo is anything but an ordinary boy. Across two centuries of passion and intrigue, Luca will discover an astonishing gift—one that will lead him to embrace the ancient mysteries of alchemy and healing and to become a trusted confidant to the powerful Medicis…even as he faces persecution from a sadistic cabal determined to wrest his secrets for themselves.
But as the Black Death and the Inquisition wreak havoc on his beloved city, Luca’s survival lies in the quest to solve two riddles. One is the enigma of his parents and his ageless beauty. The other is a choice between immortality and the only chance to find his one true love. As Luca journeys through the heights of the Renaissance, befriends Giotto and Leonardo Da Vinci—140 years apart—and pursues the most closely guarded secrets of religious faith and science for the answers to his own burning questions, his remarkable search will not only change him…but will change the course of history.
515 pages, Paperback
First published January 1, 2002
25 people are currently reading
915 people want to read
About the author
Traci L. Slatton
17 books245 followersTraci L. Slatton, author of FALLEN and COLD LIGHT, is a graduate of Yale (84) and Columbia (88). She lives in Manhattan, and her love for Renaissance Italy inspired her historical novel IMMORTAL and her contemporary vampire art history mystery THE BOTTICELLI AFFAIR. FALLEN is the first in a romantic trilogy set during the end times; COLD LIGHT and FAR SHORE further the dystopian tale. DANCING IN THE TABERNACLE is her first book of poetry. She also wrote a sculpture book, THE ART OF LIFE, with her husband. THE LOVE OF MY (OTHER) LIFE is a bittersweet rom-com that addresses the question: What worlds would you move to be with your soulmate?
Her latest book is a manual for do-it-yourselfers entitled HOW TO WRITE, PUBLISH, AND MARKET YOUR BOOK YOURSELF, A Manual for the courageous and persistent.
For more information please visit http://www.tracilslatton.com
Her latest book is a manual for do-it-yourselfers entitled HOW TO WRITE, PUBLISH, AND MARKET YOUR BOOK YOURSELF, A Manual for the courageous and persistent.
For more information please visit http://www.tracilslatton.com
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Displaying 1 - 30 of 125 reviews
May 7, 2019
Florence, 1330: Luca the Bastard is nine years old. He is homeless, but he has a thirst for learning, and remembers whatever he hears.
What gives him even more strength are stranger’s words. “We Florentines have great souls. We’re imaginative, creative, spirited; we make the best artists and merchants. That’s why we’re famous for our sharp wit and intelligence, our ingegno. You have it, too, or you wouldn’t survive on the streets! (…) When you’re faced with superior strength and numbers, when you’re faced with a challenge, you must go inside yourself, find that ingegno, and use it. (…) You’re clever, if you pay attention to people who know more than you do. You can come up with a sideways strategy, something unexpected, to defend yourself. Surprise, strategy, and subterfuge, those are your weapons! (…) What’s inside you is the gate to everything.”
Deception happens and his freedom of the streets is taken from him. He is forced into a brothel.
I was hoping that at page 100 his story would be already progressing outside brothel, but that’s not the case.
It seems as the story progresses around the same thing and around two people: Giotto, the artist whom he’d met and a poet Dante, who was a friend of Giotto. There is not much progression in Luca’s journey.
As the Black Death reaches Florence and Jews are blamed for it, Luca’s path now crosses with a Jewish physician. He encourages Luca to find a way out of brothel, “You can defend yourself.”
At last, outside the brothel and with the help of the Jewish physician’s daughter, Luca’s lessons start with learning how to write and read.
Nevertheless, Luca’s story continues to progress slowly with the same repetition of him trying to find out who his parents were.
@FB/BestHistoricalFiction
What gives him even more strength are stranger’s words. “We Florentines have great souls. We’re imaginative, creative, spirited; we make the best artists and merchants. That’s why we’re famous for our sharp wit and intelligence, our ingegno. You have it, too, or you wouldn’t survive on the streets! (…) When you’re faced with superior strength and numbers, when you’re faced with a challenge, you must go inside yourself, find that ingegno, and use it. (…) You’re clever, if you pay attention to people who know more than you do. You can come up with a sideways strategy, something unexpected, to defend yourself. Surprise, strategy, and subterfuge, those are your weapons! (…) What’s inside you is the gate to everything.”
Deception happens and his freedom of the streets is taken from him. He is forced into a brothel.
I was hoping that at page 100 his story would be already progressing outside brothel, but that’s not the case.
It seems as the story progresses around the same thing and around two people: Giotto, the artist whom he’d met and a poet Dante, who was a friend of Giotto. There is not much progression in Luca’s journey.
As the Black Death reaches Florence and Jews are blamed for it, Luca’s path now crosses with a Jewish physician. He encourages Luca to find a way out of brothel, “You can defend yourself.”
At last, outside the brothel and with the help of the Jewish physician’s daughter, Luca’s lessons start with learning how to write and read.
Nevertheless, Luca’s story continues to progress slowly with the same repetition of him trying to find out who his parents were.
@FB/BestHistoricalFiction
March 14, 2008
I love historical fiction because I'm always fascinated by different times and places. Yet, it's surprisingly hard to find a historical novel with just the right mix of period detail, character development and plot intensity. I picked up Immortal and from the first page I thought "this is what I've been waiting for".
The only life Luca Bastardo has known is life on the cruel streets of Florence. He doesn't yet know that he possesses an incredible gift that gives him great longevity and eternal beauty. At least, it should be a gift, but for Luca who endures unimaginable suffering, his gift far too often seems like a curse.
Traci Slatton's writing is spare yet sensual and the world of Renaissance Florence really comes to life. The textures and smells and all the details become immediate through her writing, but she never makes the mistake that so many historical writers do by becoming bogged down in world building. All the major figures and painters make their appearance but the story is about Luca and the focus remains on him throughout a plot that's thrumming with tension. Remarkably for a book that spans almost two hundred years, Slatton manages to make Luca's life seem too short. I kept reading, knowing what was coming and thinking "no, not yet".
One of the things that comes through most strongly in the novel is human cruelty and human limitations but also our potential for good. I feel like part of the tragedy of Luca's story is that he'd suffered so much that he'd come to believe more in the cruelty than the kindness of humans and the divine. Perhaps if he'd been more decisive, and felt more deserving of happiness he could have changed how things turned out.
My only quibble with this book was the portrayal of female characters. Too often I felt they were more representative than three-dimensional. We're told that they're smart and brave but they seemed to be waiting to be saved more than anything else. The author also seemed to struggle at times with the topic of homosexuality and how to present it but it wasn't handled in a way that was unrealistic given the context. Overall I enjoyed Immortal immensely. A sad but also satisfying read.
The only life Luca Bastardo has known is life on the cruel streets of Florence. He doesn't yet know that he possesses an incredible gift that gives him great longevity and eternal beauty. At least, it should be a gift, but for Luca who endures unimaginable suffering, his gift far too often seems like a curse.
Traci Slatton's writing is spare yet sensual and the world of Renaissance Florence really comes to life. The textures and smells and all the details become immediate through her writing, but she never makes the mistake that so many historical writers do by becoming bogged down in world building. All the major figures and painters make their appearance but the story is about Luca and the focus remains on him throughout a plot that's thrumming with tension. Remarkably for a book that spans almost two hundred years, Slatton manages to make Luca's life seem too short. I kept reading, knowing what was coming and thinking "no, not yet".
One of the things that comes through most strongly in the novel is human cruelty and human limitations but also our potential for good. I feel like part of the tragedy of Luca's story is that he'd suffered so much that he'd come to believe more in the cruelty than the kindness of humans and the divine. Perhaps if he'd been more decisive, and felt more deserving of happiness he could have changed how things turned out.
My only quibble with this book was the portrayal of female characters. Too often I felt they were more representative than three-dimensional. We're told that they're smart and brave but they seemed to be waiting to be saved more than anything else. The author also seemed to struggle at times with the topic of homosexuality and how to present it but it wasn't handled in a way that was unrealistic given the context. Overall I enjoyed Immortal immensely. A sad but also satisfying read.
June 2, 2010
Set in 14th and 15th century Italy, Immortal is the story of Luca Bastardo, a striking child who grew up orphaned on the streets of Florence. Telling his story from his current predicament - in a cell, freshly tortured and awaiting execution for being a witch and an abomination - Luca recalls the last 180 years or so of his life with vivid detail. He has lived that long, and barely looks to be in his mid-twenties. Growing up without knowledge of who he is or why he ages as he does has left Luca thirsty for knowledge, and truth.
Tracing a life of forced child prostitution, a friendship with a dying alchemist, training to be a physic with a Jewish family, fleeing Florence and then returning to be the childhood tutor of Leonardo da Vinci, aiding the mighty de Medici family control the city and, finally, falling in love with the beautiful Maddalena - it is a rich life Luca shares with us, one of art and alchemy, beauty and ugliness, horror and passion; and yet it is an empty and lonely life for the most part. In his travels and hunt for his parents, he questions God and faith, meets a wide host of historical figures who impart their wisdom to him, and wonders whether he really is an abomination. He makes lifelong enemies and close friends, but lives only for Maddalena.
This is an enjoyable premise and certainly a great way to delve into the art and history of 14th and 15th century Florence. It's an ambitious novel, and for the most part pulls it off. It did take me the entire month of May to read, though; mostly because my interest would wane. The problem is Luca himself. He narrates, and for someone who has lived as long as he has and seen and done the things he has, he comes across as immature, whiny, sulky, uncontrolled - a perpetual teenager. The overuse of exclamation marks in the dialogue, Luca's dialogue, only emphasises this. I would have expected to see greater character growth, especially considering all the different occupations he's had, the people he's met, the places he's seen. There is a period of several decades, skimmed over in the novel, when he is adventuring because of enemies in Florence - but he hasn't changed, when we meet up with him again.
If Luca isn't a strong narrator, he is still a sympathetic character. If at times I was irritated with his peevish ways, his demanding manner, I still kept reading because I, too, wanted to finally meet this special woman he saw in a vision, the woman he was destined to fall in love with. And to be fair, Luca isn't the only annoying character. He comes off better when in the company of the young Leonardo, whose precociousness and smarty-pants ways was rather sickening. I know Leonardo is considered a genius, a visionary, an immensely talented artist and inventor - but was he really that much of a little shit as a kid? His charm, which we are told he has, doesn't come across; a different kind of personality does, but not the one intended. Still, it was fun, and I felt sad for Leonardo, whose own great love was Luca himself - a man he could never have.
The characters discuss several big philosophical questions of the day, namely the meaning of life, love and religion; but everyone was just a bit too smug, a bit too "Oh Luca, you twit, you just don't get it - when you're our age..." I guess I like people who know doubt, who don't sound so self-righteous and pleased with themselves. And the ones who knew the truth about Luca's origins and existence, but wouldn't tell him - it wasn't long before I simply didn't care anymore. The tension, the suspense, the wanting to know, had been scoured from the pages.
For a visit to 14th century Florence, it's an interesting story. There's some great detail that brings it alive, but Luca's narration doesn't get flowery; on the downside, the simplistic descriptions failed to really bring the city to life for me.
Overall, there're good things and not so good things about this novel; and since, at the very very end, I did cry for Luca, I guess that's evidence that I really did sympathise with him, and empathise too. It may have been a somewhat disappointing read, for me, but I won't forget Luca and his incredible story.
Tracing a life of forced child prostitution, a friendship with a dying alchemist, training to be a physic with a Jewish family, fleeing Florence and then returning to be the childhood tutor of Leonardo da Vinci, aiding the mighty de Medici family control the city and, finally, falling in love with the beautiful Maddalena - it is a rich life Luca shares with us, one of art and alchemy, beauty and ugliness, horror and passion; and yet it is an empty and lonely life for the most part. In his travels and hunt for his parents, he questions God and faith, meets a wide host of historical figures who impart their wisdom to him, and wonders whether he really is an abomination. He makes lifelong enemies and close friends, but lives only for Maddalena.
This is an enjoyable premise and certainly a great way to delve into the art and history of 14th and 15th century Florence. It's an ambitious novel, and for the most part pulls it off. It did take me the entire month of May to read, though; mostly because my interest would wane. The problem is Luca himself. He narrates, and for someone who has lived as long as he has and seen and done the things he has, he comes across as immature, whiny, sulky, uncontrolled - a perpetual teenager. The overuse of exclamation marks in the dialogue, Luca's dialogue, only emphasises this. I would have expected to see greater character growth, especially considering all the different occupations he's had, the people he's met, the places he's seen. There is a period of several decades, skimmed over in the novel, when he is adventuring because of enemies in Florence - but he hasn't changed, when we meet up with him again.
If Luca isn't a strong narrator, he is still a sympathetic character. If at times I was irritated with his peevish ways, his demanding manner, I still kept reading because I, too, wanted to finally meet this special woman he saw in a vision, the woman he was destined to fall in love with. And to be fair, Luca isn't the only annoying character. He comes off better when in the company of the young Leonardo, whose precociousness and smarty-pants ways was rather sickening. I know Leonardo is considered a genius, a visionary, an immensely talented artist and inventor - but was he really that much of a little shit as a kid? His charm, which we are told he has, doesn't come across; a different kind of personality does, but not the one intended. Still, it was fun, and I felt sad for Leonardo, whose own great love was Luca himself - a man he could never have.
The characters discuss several big philosophical questions of the day, namely the meaning of life, love and religion; but everyone was just a bit too smug, a bit too "Oh Luca, you twit, you just don't get it - when you're our age..." I guess I like people who know doubt, who don't sound so self-righteous and pleased with themselves. And the ones who knew the truth about Luca's origins and existence, but wouldn't tell him - it wasn't long before I simply didn't care anymore. The tension, the suspense, the wanting to know, had been scoured from the pages.
For a visit to 14th century Florence, it's an interesting story. There's some great detail that brings it alive, but Luca's narration doesn't get flowery; on the downside, the simplistic descriptions failed to really bring the city to life for me.
Overall, there're good things and not so good things about this novel; and since, at the very very end, I did cry for Luca, I guess that's evidence that I really did sympathise with him, and empathise too. It may have been a somewhat disappointing read, for me, but I won't forget Luca and his incredible story.
December 7, 2018
This book will go straight to my list of 'favorites'. It has the exact right mix of historical fiction, magic and mystery.
The concept of being able to live for centuries is intriguing. When everyone you've ever known and loved is destined to age and die before you, it really isn't such a blessing. You can never truly settle anywhere and live in peace, because your eternal youth will always attract attention.
I love that Luca's life is intertwined with Florence and the Renaissance. He meets many interesting people during his exceptionally long life, like Giotto, Petrarca, the Medici's and Leonardo. All along he is looking for his true origins and The One. From the very beginning it is clear that it could never end well, but I always seem to love stories like this the most!
The concept of being able to live for centuries is intriguing. When everyone you've ever known and loved is destined to age and die before you, it really isn't such a blessing. You can never truly settle anywhere and live in peace, because your eternal youth will always attract attention.
I love that Luca's life is intertwined with Florence and the Renaissance. He meets many interesting people during his exceptionally long life, like Giotto, Petrarca, the Medici's and Leonardo. All along he is looking for his true origins and The One. From the very beginning it is clear that it could never end well, but I always seem to love stories like this the most!
June 29, 2010
Hated it. You have to be immortal just to read it.
February 16, 2010
This is an amazing debut novel! The story of Luca Bastardo who is born of parents he can't remember and sold into prostitution by his best friend, takes place in renaissance Italy. Luca inexplicably discovers that he has a much longer than average life span and wanders through the years searching for the woman he has seen in a vision and who will be his soul's mate. Along the way, he befriends Giotto and DaVinci, works for the de'Medici family, becomes a physician, and learns of his Cathar heritage, which may explain much about his life and history. This novel may not be for the faint of heart, however. Slatton pulls no punches in the scenes of prostitution, violence, and revenge. Even when things are going well for Luca, you get the impression that more darkness is right around the corner. I'd highly recommend this to readers who enjoyed Slammerkin by Emma Donoghue or The Dress Lodger by Sheri Holman, both also portrayals of the seamy underside of society.
All in all, Immortal is full of gritty realism and that, juxtaposed with the golden scenes of the renaissance, makes this truly a book to remember and recommend. And, as a bonus, when I spoke to Traci at her book signing, she told me that she is currently working on a sequel to the story. I won't let the cat out of the bag, but the storylines she kept unravelled at the end of the book definitely left me wanting more!
All in all, Immortal is full of gritty realism and that, juxtaposed with the golden scenes of the renaissance, makes this truly a book to remember and recommend. And, as a bonus, when I spoke to Traci at her book signing, she told me that she is currently working on a sequel to the story. I won't let the cat out of the bag, but the storylines she kept unravelled at the end of the book definitely left me wanting more!
June 25, 2008
This book was shaped like a U: In other words, a great beginning and a stirring ending (when everything FINALLY gets revealed and tied together), but a sagging middle.
I picked up this book on a scan of the first couple of chapters, expecting a neat story of a homeless ragamuffin sold into slavery who eventually discovers alchemy and becomes, as the title suggests, Immortal.
However, I was shocked to find this a dull read, the literary equivalent of slogging uphill through mud. It was a Da Vinci Code ripoff at too many moments to count, without the pacd excitement.
To be honest, I scanned the last hundred pages because I was sick of the thing, and then--shocking for a bibliophile like me--I threw it away. Save yourself the money; buy it used, go to the library, or just skip this one.
I picked up this book on a scan of the first couple of chapters, expecting a neat story of a homeless ragamuffin sold into slavery who eventually discovers alchemy and becomes, as the title suggests, Immortal.
However, I was shocked to find this a dull read, the literary equivalent of slogging uphill through mud. It was a Da Vinci Code ripoff at too many moments to count, without the pacd excitement.
To be honest, I scanned the last hundred pages because I was sick of the thing, and then--shocking for a bibliophile like me--I threw it away. Save yourself the money; buy it used, go to the library, or just skip this one.
March 27, 2008
I picked this book up on impulse, mostly becuase I liked the cover, and I'm so glad I did. This was an interesting read, full of compelling characters, both good and bad. There were times I could hardly put it down. The plot and characters are well-rounded and well developed.
The story of one man's journey of personal discovery and the quest for what is really important in life. There were some interesting points on morality, and what cost and individual is willing to pay for what they hold most dear. This is one of those books I'll still be thinking about weeks from now, long after I've finished reading it.
The story of one man's journey of personal discovery and the quest for what is really important in life. There were some interesting points on morality, and what cost and individual is willing to pay for what they hold most dear. This is one of those books I'll still be thinking about weeks from now, long after I've finished reading it.
April 16, 2023
Una de las peores novelas que he leído . Aburrida sin chispa, repetitiva , cansina …
August 30, 2016
Traci L. Slatton’s ‘Immortal’ (Delta, $14, 515 pages) can be found in Target – and not to disparage one of my wife’s favorite stores, there’s a reason.
‘Immortal’ is a mass market, little-bit-of-everything product that, though somewhat satisfying, is well below elite status. It’s mostly historical fiction, with some elements of fantasy, periodic philosophical byplay (musings on the nature of god) and a semi-love story. In short, it tries to do too much and winds up doing not quite enough.
We are introduced to Luca Bastardo as a street urchin in Florence in 1324. He is a beautiful boy and is soon hauled off to a brothel where he is trapped for years. There, it is discovered that he does not age as others do, and that he is immune to sickness and heals very quickly.
As it turns out, Luca lives for 180 years, always wondering why he does so, and where his parents are. He encounters a few other long-lived folks who don’t really help him on his quest, and the magical moments in the book are left hanging, and their consequences are unexplored.
In the same way, the historical tour of Renaissance Florence is more surface than substance. The painter Giotto shows up early, Petrach has a few lines, Boccaccio even fewer, and even though Cosimo de Medici gets more space, his character is barely developed. Leonardo da Vinci is Luca’s student for a while, and though he is given the most attention by Slatton, he is more sideshow than center stage.
The discussion of God and his role in human life also doesn’t go quite deep enough. Luca doesn’t think much of how God runs the world, and the Albigensian heresy, promulgated by a group called the Cathars, is given some examination. There is the obligatory Jewish connection (I think it’s a rule in publishing houses that every historical fiction novel must have a Jewish family, almost always with beautiful daughters), and there is persecution and horror.
In the end (don’t read the next three paragraphs if you don’t want to learn the plot), Luca’s great love is given short shrift, and he winds up as one of the victims of religious zealot Savanarola. He is burned at the stake, finally, having found a deus ex machina peace in the last pages.
The reader, however, is left to ponder exactly what has just transpired. Was this a book about historical Florence? Perhaps, but it is hardly complete. Was it a fantasy? Not really, though magic was a consistent theme. Was it about the nature of God? Again, not really, as the deathbed conversion seemed forced, especially as it was the supposed agents of God who tortured and burned the hero. Though I seldom feel books should be longer, Slatton’s many themes might have been better served by two or three books, so she could have developed them enough to justify their inclusion. As it is, ‘Immortal’ is disappointing, for a book that doesn’t dig deep has a hard time offsetting so much pain and suffering.
Finally, it is interesting that Slatton leaves Luca when she does, with Savanarola in command of Florence, and the powers of religious fundamentalists in full bloom. Historically, Savanarola’s time in power was brief, and he too was tortured and burned at the stake – but Slatton, reflecting the concerns of the present day, emphasizes the inescapable power of religious conservatives rather than any hope of redemption.
‘Immortal’ is a mass market, little-bit-of-everything product that, though somewhat satisfying, is well below elite status. It’s mostly historical fiction, with some elements of fantasy, periodic philosophical byplay (musings on the nature of god) and a semi-love story. In short, it tries to do too much and winds up doing not quite enough.
We are introduced to Luca Bastardo as a street urchin in Florence in 1324. He is a beautiful boy and is soon hauled off to a brothel where he is trapped for years. There, it is discovered that he does not age as others do, and that he is immune to sickness and heals very quickly.
As it turns out, Luca lives for 180 years, always wondering why he does so, and where his parents are. He encounters a few other long-lived folks who don’t really help him on his quest, and the magical moments in the book are left hanging, and their consequences are unexplored.
In the same way, the historical tour of Renaissance Florence is more surface than substance. The painter Giotto shows up early, Petrach has a few lines, Boccaccio even fewer, and even though Cosimo de Medici gets more space, his character is barely developed. Leonardo da Vinci is Luca’s student for a while, and though he is given the most attention by Slatton, he is more sideshow than center stage.
The discussion of God and his role in human life also doesn’t go quite deep enough. Luca doesn’t think much of how God runs the world, and the Albigensian heresy, promulgated by a group called the Cathars, is given some examination. There is the obligatory Jewish connection (I think it’s a rule in publishing houses that every historical fiction novel must have a Jewish family, almost always with beautiful daughters), and there is persecution and horror.
In the end (don’t read the next three paragraphs if you don’t want to learn the plot), Luca’s great love is given short shrift, and he winds up as one of the victims of religious zealot Savanarola. He is burned at the stake, finally, having found a deus ex machina peace in the last pages.
The reader, however, is left to ponder exactly what has just transpired. Was this a book about historical Florence? Perhaps, but it is hardly complete. Was it a fantasy? Not really, though magic was a consistent theme. Was it about the nature of God? Again, not really, as the deathbed conversion seemed forced, especially as it was the supposed agents of God who tortured and burned the hero. Though I seldom feel books should be longer, Slatton’s many themes might have been better served by two or three books, so she could have developed them enough to justify their inclusion. As it is, ‘Immortal’ is disappointing, for a book that doesn’t dig deep has a hard time offsetting so much pain and suffering.
Finally, it is interesting that Slatton leaves Luca when she does, with Savanarola in command of Florence, and the powers of religious fundamentalists in full bloom. Historically, Savanarola’s time in power was brief, and he too was tortured and burned at the stake – but Slatton, reflecting the concerns of the present day, emphasizes the inescapable power of religious conservatives rather than any hope of redemption.
This entire review has been hidden because of spoilers.
July 26, 2008
Have you ever wondered what it would be like to live to be 180 years old? If given the chance to experience such longevity, would your ambitions, goals and pursuits change or would your priorities remain the same? Does a long life necessarily mean it will be richer, happier and more fulfilling?
These questions and more are addressed in the historical novel, 'Immortal,' by first-time author Traci L. Slatton as she explores the city of Florence in the 14th and 15th centuries through the eyes and voice of Luca Bastardo, a rare individual who ages at an extremely slow pace.
As the story opens we are made aware of the fact that Luca is reflecting on his unusually long life as he awaits his death. He is not relaying his life experiences to be vain or boastful; instead he is offering them, "to those whose souls long to know the soul of the world. From almost two centuries of living may be learned what matters in life, what is truly valuable upon this earth, and in what music the voice of the Laughing God leaves behind irony and becomes immortal song."
The tale is not merely a fantastic chronicle of an ageless, near-immortal man. What makes it so endearing is the character of Luca himself, who is not a brilliant philosopher, artist or poet. Although his life is touched by people who could be described as all three, the protagonist is a very ordinary man living in extraordinary circumstances. He longs for love, acceptance and familial relationships. He is at times frustrated, cynical, angry and immature; all human reactions to the situations in which he finds himself.
In Luca, Slatton has created a memorable character who will stay with you long after you have finished reading his story. This is a book which refuses to be put on a shelf and ignored. You will find yourself wanting to return again and again to Luca's world, marvelling at the friendships he forms and the wisdom he finally achieves.
These questions and more are addressed in the historical novel, 'Immortal,' by first-time author Traci L. Slatton as she explores the city of Florence in the 14th and 15th centuries through the eyes and voice of Luca Bastardo, a rare individual who ages at an extremely slow pace.
As the story opens we are made aware of the fact that Luca is reflecting on his unusually long life as he awaits his death. He is not relaying his life experiences to be vain or boastful; instead he is offering them, "to those whose souls long to know the soul of the world. From almost two centuries of living may be learned what matters in life, what is truly valuable upon this earth, and in what music the voice of the Laughing God leaves behind irony and becomes immortal song."
The tale is not merely a fantastic chronicle of an ageless, near-immortal man. What makes it so endearing is the character of Luca himself, who is not a brilliant philosopher, artist or poet. Although his life is touched by people who could be described as all three, the protagonist is a very ordinary man living in extraordinary circumstances. He longs for love, acceptance and familial relationships. He is at times frustrated, cynical, angry and immature; all human reactions to the situations in which he finds himself.
In Luca, Slatton has created a memorable character who will stay with you long after you have finished reading his story. This is a book which refuses to be put on a shelf and ignored. You will find yourself wanting to return again and again to Luca's world, marvelling at the friendships he forms and the wisdom he finally achieves.
December 23, 2008
I found this book a little hard to get into in the beginning. However, once I reached the middle I was starting to become intrigued by what would happen next and the struggles that the main character faced while being faced with a "freakish" condition that was very misunderstood among his peers. All he longs for is his one true love, but he seems to lose just about everything else along the way. I don't want to spoil it for anyone else who may want to read this, but this books seems to really make one spellbound toward the end just to find out what happens in the end.
One of the interesting things about this books also is how the main character befriends such men as Leonardo DaVinci and other artists that lived during those times. That aspect makes reading "Immortal" truly interesting.
One of the interesting things about this books also is how the main character befriends such men as Leonardo DaVinci and other artists that lived during those times. That aspect makes reading "Immortal" truly interesting.
October 24, 2024
Отзыв только на первую часть, так как у меня как раз то издательство в двух частях.
Эта книга давненько стояла на моих полках и я ни разу не читала аннотацию. Знала, что там что-то историческое, что действие происходит в Италии и в целом, на этом всё. Этих двух пунктов было достаточно, а остальное меня не волновало. Поэтому, когда рука потянулась к ней, а глаза забегали по тексту, удивлению не было конца. Беспризорники, Флоренция, бордель, чума и жестокие убийства, а посреди всего этого главный герой: юный, не знающий иной жизни, брошенный родителями ещё в младенчестве. И тут я должна была забросить чтение, но, как бы, это оказалось именно то, что мне хотелось прочитать. Чтобы мир вокруг был ужасным, герой страдал на каждой странице, а люди, окружавшие его заслуживали, если не смерти, то хотя бы, хорошей трёпки.
А, и да, забыла добавить - это фэнтези, историческое, но всё же. С работающей алхимией, обладающим необычными способностями героем и непосредственно вписанными известными историческими личностями в сюжет.
Лука не помнит, как выглядели его родители и почему они избавились от него. В его памяти словно стёрлись первые годы и он "познал" себя уже семилетним, живущим на улице. Вместе с двумя такими же беспризорниками, он промышляет воровством и ему удаётся выкручиваться, чтобы не попасть в беду, пока один из его "друзей" не продаёт его. И не кому-то, а хозяину борделя, пользующимся дурной репутацией. Бордель, где любой желающий, имеющий деньги, может позволить себя развлечься с ребёнком. Бордель, где детей выкидывают в реку, когда они больше не могут приносить прибыль. Лука довольно быстро становится "популярным" среди клиентов: красивый и словно застывший в юном возрасте, чем не идеальное приобретение.
Предпринятая попытка бегства ставит крест на любой борьбе и вскоре герой просто плывёт по течению, не сопротивляясь. Пока во Флоренцию не приходит чума.
Иногда ты читаешь то, что, вроде, и не должно тебе нравиться (в моём случае, это вся линия с алхимией. Не люблю, не интересуюсь, не увлекает совершенно и этот роман не стал исключением), но написано так, что невозможно оторваться. Несмотря на насилие, как физическое, так и сексуальное. Несмотря на развернувшуюся чуму и в подробностях описанные смерти. Не взирая на все мерзости, которых в романе предостаточно, текст невероятно красивый. Тут даже вера в бога подана нестандартно и всё благодаря личности героя. Лука половину книги упорно прячет неподчинение внутрь себя, чтобы сохранить себе жизнь и помочь другим хоть чем-то, а другую половину бросается на врагов с мечом, обещая мучить их до того, пока они не познают долю страданий, которые причинили невинным. И за этим хочется наблюдать и наблюдать. Троп мести буквально такой: "ты не зря страдала, глядя на педофилию и развратных мужиков".
Герой ничего не ждёт от мира и людей, потому что никогда они не приносили ему что-то хорошее. Он ненавидит ту религиозность, которую охватила Флоренцию и всех тех священников, говорящих сладкие слова. Он видит божественное в картинах и текстах. И когда он раз за разом оказывается на дне, лишь это даёт ему силу двигаться дальше, не взирая на постоянные страдания. Мне очень понравился Лука. Он не потерял человечность, взрастил в себе любовь и выжил вопреки. Ну, и я просто хочу пожать руку авторки за то, как она прописала романтическую часть. Её, по сути, тут практически нет, но даже коротких упоминаний хватает, чтобы полюбить героя.
Роман описывает путь героя: из беспризорника в шлюху, из шлюхи в ученика доктора. Всё как в хорошем приключенческом фэнтези, где обязательно в противовес будет злодей, не дающий герою получить своё долго и счастливо. И всё это не теряя исторического контекста: как жили тогда во Флоренции, как властвовала чума, как здравомыслие сменилось криками: "все беды от колдунов и ведьм". В книге много персонажей. Некоторые весьма второстепенные, но каждый так или иначе поспособствовал в развитии героя. И в��е персонажи не какие-то там статисты. Они хорошо прописаны, даже если появлялись редко или вообще умерли ещё в начале.
О том, что герой получился замечательным уже говорила. Также порадовала жена врача, приютившего героя и, как ни удивительно это звучало, антагонист второй части романа. Женщина своеобразная, но очень яркая. Что до антагониста, то дело не в его личности (если его не сожгут во второй части, буду протестовать), а в том, как меняется сам герой в его присутствии. Ты ощущаешь всю ту ненависть, которую они несут в себе и она накрывает тебя волной. Сцена, где герой идёт забирать "свой подарок", оставленный для него антагонистом в борделе, ранит в самое сердце. Предсказуемо, не спорю, но зато как описано. Я словно сама была там и наблюдала за всем, с��оя за спиной героя.
Вообще, я бы поставила пять, не будь в книге основной линии, завязанной на алхимии. Мне так скучно про неё читать, причём совершенно неважно, кто про неё пишет. Настолько не моя тема, что даже красивый язык не помогает вникнуть в происходящее. А так четвёрка и желание скорее взяться за вторую часть. Я предчувствую, что в ней мне будет куда больнее.
Великий мастер когда-то давно сказал мне, что Бог надо мной смеется, и я понял, что он прав и что Бог смеется не только надо мной. Он смеется над всеми. Мы знаем это, потому что иногда чудеса случаются посреди событий столь ужасных, что для них не находится слов. Это словно видение картины посреди зверства. А порой вдруг нечто ужасное врывается туда, где царила радость, например, чума, погубившая жену и детей человека, который был с ними так счастлив. Противоречия существуют везде. И в каком-то смысле, если отвлечься от человеческих чувств, это даже забавно. Сладкая горечь, горькая сладость! И очень смешная.
Эта книга давненько стояла на моих полках и я ни разу не читала аннотацию. Знала, что там что-то историческое, что действие происходит в Италии и в целом, на этом всё. Этих двух пунктов было достаточно, а остальное меня не волновало. Поэтому, когда рука потянулась к ней, а глаза забегали по тексту, удивлению не было конца. Беспризорники, Флоренция, бордель, чума и жестокие убийства, а посреди всего этого главный герой: юный, не знающий иной жизни, брошенный родителями ещё в младенчестве. И тут я должна была забросить чтение, но, как бы, это оказалось именно то, что мне хотелось прочитать. Чтобы мир вокруг был ужасным, герой страдал на каждой странице, а люди, окружавшие его заслуживали, если не смерти, то хотя бы, хорошей трёпки.
А, и да, забыла добавить - это фэнтези, историческое, но всё же. С работающей алхимией, обладающим необычными способностями героем и непосредственно вписанными известными историческими личностями в сюжет.
Лука не помнит, как выглядели его родители и почему они избавились от него. В его памяти словно стёрлись первые годы и он "познал" себя уже семилетним, живущим на улице. Вместе с двумя такими же беспризорниками, он промышляет воровством и ему удаётся выкручиваться, чтобы не попасть в беду, пока один из его "друзей" не продаёт его. И не кому-то, а хозяину борделя, пользующимся дурной репутацией. Бордель, где любой желающий, имеющий деньги, может позволить себя развлечься с ребёнком. Бордель, где детей выкидывают в реку, когда они больше не могут приносить прибыль. Лука довольно быстро становится "популярным" среди клиентов: красивый и словно застывший в юном возрасте, чем не идеальное приобретение.
Предпринятая попытка бегства ставит крест на любой борьбе и вскоре герой просто плывёт по течению, не сопротивляясь. Пока во Флоренцию не приходит чума.
Иногда ты читаешь то, что, вроде, и не должно тебе нравиться (в моём случае, это вся линия с алхимией. Не люблю, не интересуюсь, не увлекает совершенно и этот роман не стал исключением), но написано так, что невозможно оторваться. Несмотря на насилие, как физическое, так и сексуальное. Несмотря на развернувшуюся чуму и в подробностях описанные смерти. Не взирая на все мерзости, которых в романе предостаточно, текст невероятно красивый. Тут даже вера в бога подана нестандартно и всё благодаря личности героя. Лука половину книги упорно прячет неподчинение внутрь себя, чтобы сохранить себе жизнь и помочь другим хоть чем-то, а другую половину бросается на врагов с мечом, обещая мучить их до того, пока они не познают долю страданий, которые причинили невинным. И за этим хочется наблюдать и наблюдать. Троп мести буквально такой: "ты не зря страдала, глядя на педофилию и развратных мужиков".
Герой ничего не ждёт от мира и людей, потому что никогда они не приносили ему что-то хорошее. Он ненавидит ту религиозность, которую охватила Флоренцию и всех тех священников, говорящих сладкие слова. Он видит божественное в картинах и текстах. И когда он раз за разом оказывается на дне, лишь это даёт ему силу двигаться дальше, не взирая на постоянные страдания. Мне очень понравился Лука. Он не потерял человечность, взрастил в себе любовь и выжил вопреки. Ну, и я просто хочу пожать руку авторки за то, как она прописала романтическую часть. Её, по сути, тут практически нет, но даже коротких упоминаний хватает, чтобы полюбить героя.
Роман описывает путь героя: из беспризорника в шлюху, из шлюхи в ученика доктора. Всё как в хорошем приключенческом фэнтези, где обязательно в противовес будет злодей, не дающий герою получить своё долго и счастливо. И всё это не теряя исторического контекста: как жили тогда во Флоренции, как властвовала чума, как здравомыслие сменилось криками: "все беды от колдунов и ведьм". В книге много персонажей. Некоторые весьма второстепенные, но каждый так или иначе поспособствовал в развитии героя. И в��е персонажи не какие-то там статисты. Они хорошо прописаны, даже если появлялись редко или вообще умерли ещё в начале.
О том, что герой получился замечательным уже говорила. Также порадовала жена врача, приютившего героя и, как ни удивительно это звучало, антагонист второй части романа. Женщина своеобразная, но очень яркая. Что до антагониста, то дело не в его личности (если его не сожгут во второй части, буду протестовать), а в том, как меняется сам герой в его присутствии. Ты ощущаешь всю ту ненависть, которую они несут в себе и она накрывает тебя волной. Сцена, где герой идёт забирать "свой подарок", оставленный для него антагонистом в борделе, ранит в самое сердце. Предсказуемо, не спорю, но зато как описано. Я словно сама была там и наблюдала за всем, с��оя за спиной героя.
Вообще, я бы поставила пять, не будь в книге основной линии, завязанной на алхимии. Мне так скучно про неё читать, причём совершенно неважно, кто про неё пишет. Настолько не моя тема, что даже красивый язык не помогает вникнуть в происходящее. А так четвёрка и желание скорее взяться за вторую часть. Я предчувствую, что в ней мне будет куда больнее.
November 16, 2010
The same person who referred me to The Help and Cutting for Stone told me I HAD to read this book. She warned that I would hate it at first, but that it would get better and better. I kept waiting for it to get better, and it never did. I didn't care about the main character, Luca, a decendent from Seth who inheriets an extra-long life span. Despite living for almost 2 centuries, he never seems to learn anything. He has special powers and yet he hardly ever uses them for anything other than killing. He is the same at the beginning as he is at the end. The only redeeming quality about this boring book is that it does detail the history of Florence. That's it.
May 8, 2008
Dull, episodic travelogue through Renaissance Florence complete with name-dropping and heavy doses of theology and Neoplatonic philosophy, with a light dusting of unsatisfying fantasy on top. Leonardo da Vinci comes across as a kid with ADD; Lorenzo de' Medici is an inexplicable choice of antagonist; and our hero Luca, despite his strange longevity and unearthly beauty, lacks wisdom and charm. When at the end he asks whether he brought his tragedy on himself, it's impossible not to scream: "Well, duh, you stupid putz!"
September 4, 2008
The start of this book had potential, but the author dropped the ball about 150 pages into the story. The middle part of this novel is the portion of the story where Statton introduces Florentine artists and philsophers to the story, and it's ridiculous. Her portrayal of the great Renaissance artists and thinkers was embarassingly dull and elementary. How could someone portray Da Vinci, Botticelli, Lorenzo Medici, and Boccaccio in such a trivial manner?
August 12, 2022
Initially, I thought this book would earn 5 stars, but the longer I read the text, the more apparent things became that it would not earn more than 3. The book begins with Luca, a young a street urchin, who has no recollection of his past. What he does learn about his past later is shrouded in mystery. The setting is Renaissance Florence, and Luca meets a myriad of important Florentines including the Neoplatonist, Marsilio Ficino, artists, Leonardo Da Vinci and Botticelli, and several members of the Medici family.
The main protagonist, Luca, is not very likeable. Despite hanging with various thinkers for generations, he seems to learn little. He is often very obstinate and obsessive. He learns multiple languages and travels the world, but remains hung up on fulfilling the secret of alchemy: turning lead into gold. He is given the choice between true love or a longer life. He selects love, but we aren't introduced to this special lady until the latter portion of the book. Instead of being an interesting, unique character, Slatton paints her as one-dimensional.
The frustrating parts: Luca continues to use his full name (Luca Bastardo), despite it's connection to enemies and danger in Florence. He refers to this name each time he meets someone. Would you keep doing that if the bad guys were out to find you? Second, he continues to remain in Florence, despite it being the epicenter for his damnation. Why would you live in Florence when it's so dangerous, especially since you're putting your wife and daughter at risk? Third, the ending. I'll leave that for readers to explore.
Much of the middle part of the book drags on, with a major focus on Luca's relationship with a young Leonardo Da Vinci and Lorenzo Medici. Barely anything is learned regarding his mysterious past (at least until the end). The penultimate event with the radical Savonarola and the ending feels thrown together as well.
The beginning is reminiscent of Anne Rice's works. For those interested in the Italian Renaissance also see: Sarah Dunant's 'The Birth of Venus' and Jaqueline Park's 'The Secret Book of Grazia dei Rossi.'
The main protagonist, Luca, is not very likeable. Despite hanging with various thinkers for generations, he seems to learn little. He is often very obstinate and obsessive. He learns multiple languages and travels the world, but remains hung up on fulfilling the secret of alchemy: turning lead into gold. He is given the choice between true love or a longer life. He selects love, but we aren't introduced to this special lady until the latter portion of the book. Instead of being an interesting, unique character, Slatton paints her as one-dimensional.
The frustrating parts: Luca continues to use his full name (Luca Bastardo), despite it's connection to enemies and danger in Florence. He refers to this name each time he meets someone. Would you keep doing that if the bad guys were out to find you? Second, he continues to remain in Florence, despite it being the epicenter for his damnation. Why would you live in Florence when it's so dangerous, especially since you're putting your wife and daughter at risk? Third, the ending. I'll leave that for readers to explore.
Much of the middle part of the book drags on, with a major focus on Luca's relationship with a young Leonardo Da Vinci and Lorenzo Medici. Barely anything is learned regarding his mysterious past (at least until the end). The penultimate event with the radical Savonarola and the ending feels thrown together as well.
The beginning is reminiscent of Anne Rice's works. For those interested in the Italian Renaissance also see: Sarah Dunant's 'The Birth of Venus' and Jaqueline Park's 'The Secret Book of Grazia dei Rossi.'
May 20, 2021
Di questo libro ho apprezzato principalmente la parte introduttiva, i cenni storici e i personaggi, a mio avviso ben delineati.
Dopo un bombardamento di informazioni e di eventi assolutamente inutili, ma soprattutto sviscerati a più non posso, sono caduta nella disperazione. Tante vicende e informazioni che non servono a colorire e creare il personaggio, ma che allungano un brodo già di per sé lento.
Luca Bastardo, protagonista di questo romanzo, sembra essere una persona alquanto camaleontica, abile a ricrearsi e rimodellarsi a seconda degli eventi e delle situazioni che lo circondano. E' stato dottore, alchimista, viaggiatore, collezionista, ecc ecc ecc... mille volti per un solo viso.
Queste numerose esperienze l'hanno portato a legarsi a tanti personaggi storici come Leonardo, Cosimo e Lorenzo de Medici, Giotto, Petrarca... insomma ce n'è per tutti.
A volte less is more, e credo che in questo caso dare un taglio più semplice e ben centrato su un unico obiettivo avrebbe potuto dare spessore al romanzo.
Dopo un bombardamento di informazioni e di eventi assolutamente inutili, ma soprattutto sviscerati a più non posso, sono caduta nella disperazione. Tante vicende e informazioni che non servono a colorire e creare il personaggio, ma che allungano un brodo già di per sé lento.
Luca Bastardo, protagonista di questo romanzo, sembra essere una persona alquanto camaleontica, abile a ricrearsi e rimodellarsi a seconda degli eventi e delle situazioni che lo circondano. E' stato dottore, alchimista, viaggiatore, collezionista, ecc ecc ecc... mille volti per un solo viso.
Queste numerose esperienze l'hanno portato a legarsi a tanti personaggi storici come Leonardo, Cosimo e Lorenzo de Medici, Giotto, Petrarca... insomma ce n'è per tutti.
A volte less is more, e credo che in questo caso dare un taglio più semplice e ben centrato su un unico obiettivo avrebbe potuto dare spessore al romanzo.
July 9, 2017
We follow the story of Luca Bastardo through his extremely long and unbelievably fascinating life. He lived for over one hundred and eighty years. He was a homeless thief, a slave in a pleasure house, a gravedigger. He lived through plagues and wars, was taught secrets of the alchemy, worked as a doctor and was a captain of the pirate ship. He met and befriended the most amazing people, was a teacher (albeit a reluctant one) of Leonardo da Vinci, provided help for the Medici household.
He endured the unfathomable amount of suffering, but according to Luca himself, he wouldn't have changed a thing. Because in the end, it brought him the thing he wanted the most - love, even if only for a little while.
I took my time reading the story and I'm glad that I was able to savor every word and every page. I did not expect to love this story so much when I started reading it, but I think it will stay on my mind for a long time.
He endured the unfathomable amount of suffering, but according to Luca himself, he wouldn't have changed a thing. Because in the end, it brought him the thing he wanted the most - love, even if only for a little while.
I took my time reading the story and I'm glad that I was able to savor every word and every page. I did not expect to love this story so much when I started reading it, but I think it will stay on my mind for a long time.
September 9, 2020
This book was so predictable. It did have lots of beautiful scenery and interesting historical characters but over all it had no depth. No real details of characters especially females were fleshed out. Events were put into motion without any real reason and were not again “fleshed out”. The whole book is him looking for his parents which he finds in the last two pages. His history is quickly explained away and he is killed. It’s a lot of info in those last pages. I had a very hard time finishing it.
This entire review has been hidden because of spoilers.
February 4, 2018
This book had so much potential and just got lost. The author was strangely detailed about things that didn't matter and then just flew right by important historical events and characters. A lot of this feels like the author picked up an annotated art history book and threw in whatever facts were highlighted. The paragraph on Donatellos David is the perfect example. This story should have been so interesting, but it took me 4 times to read.
March 4, 2023
This one took me so long because life got in the way. This is a beautiful tale of a boy who lived an extraordinarily long life. He's from a very old race that if they were known to exist, would have changed the face of religion in the 1400's. His early life was lived in brutal circumstances in Florence, Italy. It's by turns gritty, brutal, and full of cruelty, but has its moments of joy, love, family, kindness, & wonder.
January 7, 2018
A sad tale full of wonderful wisdom and beautiful prose, spanning two decades of the most glorious time in Italy's history--il Rinascimento. Following along with young Luca as he met some of Italy's most renowned artists and rulers in his quest to find his parents was fascinating as well as intriguing. My only pause was that I found it a bit heavy on philosophy and religion.
June 6, 2021
This book has left an impression on me for my entire life. It definitely helped articulate feelings I have and love the historical pieces woven with fiction. It’s often difficult to read, and not always because of the language used but rather the uncomfortable situations the protagonist ends up in. Still a very unique story and I am glad I found it years ago in a now closed Borders.
October 22, 2025
That boy changed my life. He had appointed me his teacher and then had taught me the most important lessons: what it meant to be close to someone, how to share thoughts and secrets in total safety. There were people along the way for whom I had cared and whom I had partly trusted, men like Giotto and Petrarca and Cosimo de’ Medici. There was no one, before Leonardo, whom I had trusted fully.
May 22, 2012
Od samego początku lektury wiemy, że Luca Bastardo umrze. Że umrze w płomieniach. Całą opowieść żyjący od prawie stu osiemdziesięciu lat bękart konstruuje pospiesznie przed śmiercią, której spodziewa się niebawem, skatowany i zamknięty w celi, stale sugerując nam, trop po tropie, jakie będą te jego ostatnie chwile. Powracający od czasu do czasu motyw czerwonego pióra z ciała martwego ptaka, pojawiający się niespodziewanie na drodze Luki potomkowie Silvana (nos i podbródek zawsze takie same - to dzięki nim identyfikujemy czarne charaktery, których po kilkuset stronach boimy się nie mniej niż Bastardo), nawet bezpośrednie konstatacje narratora, ciągłe nawiązania do nieuchronnego, smutnego końca - tak zbudowana powieść nosi tytuł "Nieśmiertelny", co zdaje się być nie tyleż groteskową, co niepomiernie smutną ironią.
Taką ironią, jaką początkowo wydaje się życie złotowłosego Luki.
Luca Bastardo przedstawia się nam jako ośmioletni, osierocony chłopiec z florenckiej ulicy. Okrutnie zdradzony przez towarzysza niedoli, trafia do domu publicznego, w którym spędza osiemnaście lat. Do tych dramatycznych osiemnastu lat Luca wielokrotnie wraca pamięcią. Głęboka rana, jaką w duszy chłopca - a później mężczyzny - pozostawił pobyt u Silvana, nigdy się nie zagoi. Będzie przemierzać wraz z bohaterem kolejne miejsca i przeżywać kolejne lata, niemalże sto osiemdziesiąt, podążać za nim tak samo jak groźba okrutnej śmierci. Będzie mu towarzyszyć już zawsze.
Gdy kroczymy z Luką przez grzęzawisko życia, naznaczonego śmiercią bliskich i własną przedłużającą się młodością, nieustannym strachem przed spaleniem na stosie za rzekome uprawianie czarów i szukającą zemsty rodziną Silvano, boimy się wraz z nim, marzymy wraz z nim, kochamy wraz z nim, aż w końcu umieramy u jego boku. Umierający Luca mówi, że niczego nie żałuje i niczego by w swoim życiu nie zmienił. Zgodnie z wyborem, dokonanym u Gebera, pragnie pozostać wierny miłości do Magdaleny, odebranej mu jak wszystko inne za życia.
Pierwsza część powieści - to znaczy te osiemnaście lat w burdelu - to horror i dramat. Czytamy o gwałconych i torturowanych dzieciach, którym - jak małej Ingrid - pomóc może tylko śmierć; o pięknej przyjaźni z tragicznym końcem, i wreszcie - o zemście. O zemście nierozwiązującej żadnego problemu, a tylko skazującej prawie niewinnego, bezlitośnie potraktowanego przez los chłopca na prawie sto osiemdziesiąt lat udręki.
Tyle że nie jest to tak całkiem udręka, bo odbywa się głównie w pięknej czternasto- i piętnastowiecznej Florencji. Ponieważ Luca jest - a przynajmniej powinien być - nieśmiertelny, ma sposobność - i niezwykłe szczęście - poznania wybitnych artystów florenckich tamtych czasów. Zaprzyjaźnia się z Giottem, poznaje Boccacia, Petrarcę, Botticellego. Tło historyczne, serwujące z dużą dbałością o szczegóły lekcję historii sztuki, zgrabnie komponuje się z opowieścią bękarta i czyni powieść tym bardziej fascynującą w niepopadającej w przesadę wielowątkowości i mnogości postaci, które urzekają różnorodnością postaw i charakterów. Rodzina Żydów, zwłaszcza Rebeka i Rachela, alchemik Geber, tajemniczy Wędrowiec, wzruszający wątek z czasów epidemii dżumy, gdy Luca pracował jako grabarz - wszystkie amalgamaty tworzą symbiotyczną całość, z której nadal da się wyekstrahować pojedyncze elementy, wedle gustu czytelnika, które, rozpatrywane pojedynczo, pozwalają wczuć się w rolę każdego z bohaterów, a przede wszystkim zobaczyć Florencję taką, jaką widział ją Luca na przestrzeni bardzo długiego życia. I to, mimo wszystko, jest piękne.
Wspominam o tej ekstrakcji nie bez powodu. Choć jako całość kronika życia Luki jest piękna, mądra i porywająca, skupienie na poszczególnych etapach jego licznych wędrówek umożliwia nam ujrzenie pewnej głębszej prawdy. Mi szczególnie przypadł do gustu wątek alchemii, podobnie uwielbiam czas w życiu Luki, gdy udzielał on lekcji młodemu Leonardowi da Vinci, a ten obdarzył go uczuciem, za które nauczyciel niemalże go znienawidził. Pierwsza z wymienionych przeze mnie rzeczy olśniewa refleksjami, niekłamaną filozofią, nadającej wyższego sensu i znaczniejszej wartości pozornie nieważkiemu życiu średniowiecznego człowieka, jakoż i człowieka jakichkolwiek innych czasów, także współczesnych, druga natomiast stanowi rewelacyjne studium psychiki skrzywdzonego dziecka. Jak wspominałam, Luca mimo upływu czasu, i to bardzo długiego - z perspektywy człowieka, nigdy nie zatarł w sobie śladu po ogromnej krzywdzie; krzywdzie, która, jakby tego było mało, u samego końca dopadła go jeszcze raz, gdy, zdawać by się mogło, zasłużył na odrobinę ulgi.
Mimo haniebnych czynów, morderstw i kłamstw, Luca jest czysty i niewinny. Piękny jako człowiek, śmiertelny czy nie. Nawet, gdy los stale go krzywdzi, Luca pozostaje człowiekiem, wbrew wszystkiemu, i uczy nas tego - uczy nas człowieczeństwa, choć tak bardzo się od nas różni.
Choć tytułowy Nieśmiertelny w końcu umiera, i nawet poznajemy tajemnicę jego długowieczności, czytelnik widzi go nadal żywego. Luca jest nieśmiertelny w dalszym ciągu - jak sztuka, miłość, prawda i piękno, cztery strony świata, do którego uciekał, gdy życie obchodziło się z nim tak bestialsko, a jednocześnie śmiertelny - jak ludzie, dla których powinien stanowić wzorzec.
Taką ironią, jaką początkowo wydaje się życie złotowłosego Luki.
Luca Bastardo przedstawia się nam jako ośmioletni, osierocony chłopiec z florenckiej ulicy. Okrutnie zdradzony przez towarzysza niedoli, trafia do domu publicznego, w którym spędza osiemnaście lat. Do tych dramatycznych osiemnastu lat Luca wielokrotnie wraca pamięcią. Głęboka rana, jaką w duszy chłopca - a później mężczyzny - pozostawił pobyt u Silvana, nigdy się nie zagoi. Będzie przemierzać wraz z bohaterem kolejne miejsca i przeżywać kolejne lata, niemalże sto osiemdziesiąt, podążać za nim tak samo jak groźba okrutnej śmierci. Będzie mu towarzyszyć już zawsze.
Gdy kroczymy z Luką przez grzęzawisko życia, naznaczonego śmiercią bliskich i własną przedłużającą się młodością, nieustannym strachem przed spaleniem na stosie za rzekome uprawianie czarów i szukającą zemsty rodziną Silvano, boimy się wraz z nim, marzymy wraz z nim, kochamy wraz z nim, aż w końcu umieramy u jego boku. Umierający Luca mówi, że niczego nie żałuje i niczego by w swoim życiu nie zmienił. Zgodnie z wyborem, dokonanym u Gebera, pragnie pozostać wierny miłości do Magdaleny, odebranej mu jak wszystko inne za życia.
Pierwsza część powieści - to znaczy te osiemnaście lat w burdelu - to horror i dramat. Czytamy o gwałconych i torturowanych dzieciach, którym - jak małej Ingrid - pomóc może tylko śmierć; o pięknej przyjaźni z tragicznym końcem, i wreszcie - o zemście. O zemście nierozwiązującej żadnego problemu, a tylko skazującej prawie niewinnego, bezlitośnie potraktowanego przez los chłopca na prawie sto osiemdziesiąt lat udręki.
Tyle że nie jest to tak całkiem udręka, bo odbywa się głównie w pięknej czternasto- i piętnastowiecznej Florencji. Ponieważ Luca jest - a przynajmniej powinien być - nieśmiertelny, ma sposobność - i niezwykłe szczęście - poznania wybitnych artystów florenckich tamtych czasów. Zaprzyjaźnia się z Giottem, poznaje Boccacia, Petrarcę, Botticellego. Tło historyczne, serwujące z dużą dbałością o szczegóły lekcję historii sztuki, zgrabnie komponuje się z opowieścią bękarta i czyni powieść tym bardziej fascynującą w niepopadającej w przesadę wielowątkowości i mnogości postaci, które urzekają różnorodnością postaw i charakterów. Rodzina Żydów, zwłaszcza Rebeka i Rachela, alchemik Geber, tajemniczy Wędrowiec, wzruszający wątek z czasów epidemii dżumy, gdy Luca pracował jako grabarz - wszystkie amalgamaty tworzą symbiotyczną całość, z której nadal da się wyekstrahować pojedyncze elementy, wedle gustu czytelnika, które, rozpatrywane pojedynczo, pozwalają wczuć się w rolę każdego z bohaterów, a przede wszystkim zobaczyć Florencję taką, jaką widział ją Luca na przestrzeni bardzo długiego życia. I to, mimo wszystko, jest piękne.
Wspominam o tej ekstrakcji nie bez powodu. Choć jako całość kronika życia Luki jest piękna, mądra i porywająca, skupienie na poszczególnych etapach jego licznych wędrówek umożliwia nam ujrzenie pewnej głębszej prawdy. Mi szczególnie przypadł do gustu wątek alchemii, podobnie uwielbiam czas w życiu Luki, gdy udzielał on lekcji młodemu Leonardowi da Vinci, a ten obdarzył go uczuciem, za które nauczyciel niemalże go znienawidził. Pierwsza z wymienionych przeze mnie rzeczy olśniewa refleksjami, niekłamaną filozofią, nadającej wyższego sensu i znaczniejszej wartości pozornie nieważkiemu życiu średniowiecznego człowieka, jakoż i człowieka jakichkolwiek innych czasów, także współczesnych, druga natomiast stanowi rewelacyjne studium psychiki skrzywdzonego dziecka. Jak wspominałam, Luca mimo upływu czasu, i to bardzo długiego - z perspektywy człowieka, nigdy nie zatarł w sobie śladu po ogromnej krzywdzie; krzywdzie, która, jakby tego było mało, u samego końca dopadła go jeszcze raz, gdy, zdawać by się mogło, zasłużył na odrobinę ulgi.
Mimo haniebnych czynów, morderstw i kłamstw, Luca jest czysty i niewinny. Piękny jako człowiek, śmiertelny czy nie. Nawet, gdy los stale go krzywdzi, Luca pozostaje człowiekiem, wbrew wszystkiemu, i uczy nas tego - uczy nas człowieczeństwa, choć tak bardzo się od nas różni.
Choć tytułowy Nieśmiertelny w końcu umiera, i nawet poznajemy tajemnicę jego długowieczności, czytelnik widzi go nadal żywego. Luca jest nieśmiertelny w dalszym ciągu - jak sztuka, miłość, prawda i piękno, cztery strony świata, do którego uciekał, gdy życie obchodziło się z nim tak bestialsko, a jednocześnie śmiertelny - jak ludzie, dla których powinien stanowić wzorzec.
This entire review has been hidden because of spoilers.
May 8, 2017
Un libro che va assaporato, un'immersione in epoche ingiallite dal tempo e dal degrado, pagina dopo pagina si vivono le avventure del protagonista col fiato sospeso dall'inizio alla fine.
Genere di scrittura MAGNETICO
Genere di scrittura MAGNETICO
August 28, 2020
The tale contradicts itself in an insipid manner - a man born to Immortals professes to want only love and peace and lives his life committing every sin he despises in others. He knows every famous person of the centuries he occupies but learns from none of them.
Vapid.
Vapid.
October 4, 2022
The story was unique. I loved Lucas, the main character, and how he grew as a person throughout the years. The author did a great job describing his actions and feelings. I gave this book three stars because of the length. Halfway through, I started skimming the pages.
May 6, 2017
I didn't actually finish this one . Somewhere in the middle of the book the story got bogged down. I put it down and never got back to it. I might go back to it at a later time.
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