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The Borgias #2
In the Name of the Family
`It is better to be feared than loved' - Niccolo Machiavelli
In the bear pit of renaissance politics, a young Florentine diplomat finds himself first hand observer on the history's most notorious family - the Borgias.
In the Name of the Family - as Blood and Beauty did before - holds up a mirror to a turbulent moment of history, sweeping aside the myths to bring alive the real Borgia family; complicated, brutal, passionate and glorious. Here is a thrilling exploration of the House of Borgia's doomed years, in the company of a young diplomat named Niccolo Machiavelli.
It is 1502 and Rodrigo Borgia, a self-confessed womaniser and master of political corruption is now on the Papal throne as Alexander VI. His daughter Lucrezia, aged twenty-two, already thrice married and a pawn in her father's plans, is discovering her own power. And then there is Cesare Borgia: brilliant, ruthless and increasingly unstable; it is his relationship with the diplomat Machiavelli which offers a master class on the dark arts of power and politics. What Machiavelli learns will go on to inform his great work of modern politics, The Prince.
But while the pope rails against old age and his son's increasing maverick behavior it is Lucrezia who will become the Borgia survivor: taking on her enemies and creating her own place in history.
Conjuring up the past in all its complexity, horror and pleasures, In The Name of the Family confirms Sarah Dunant's place as the leading novelist of the Renaissance and one of the most acclaimed historical fiction writers of our age.
In the bear pit of renaissance politics, a young Florentine diplomat finds himself first hand observer on the history's most notorious family - the Borgias.
In the Name of the Family - as Blood and Beauty did before - holds up a mirror to a turbulent moment of history, sweeping aside the myths to bring alive the real Borgia family; complicated, brutal, passionate and glorious. Here is a thrilling exploration of the House of Borgia's doomed years, in the company of a young diplomat named Niccolo Machiavelli.
It is 1502 and Rodrigo Borgia, a self-confessed womaniser and master of political corruption is now on the Papal throne as Alexander VI. His daughter Lucrezia, aged twenty-two, already thrice married and a pawn in her father's plans, is discovering her own power. And then there is Cesare Borgia: brilliant, ruthless and increasingly unstable; it is his relationship with the diplomat Machiavelli which offers a master class on the dark arts of power and politics. What Machiavelli learns will go on to inform his great work of modern politics, The Prince.
But while the pope rails against old age and his son's increasing maverick behavior it is Lucrezia who will become the Borgia survivor: taking on her enemies and creating her own place in history.
Conjuring up the past in all its complexity, horror and pleasures, In The Name of the Family confirms Sarah Dunant's place as the leading novelist of the Renaissance and one of the most acclaimed historical fiction writers of our age.
426 pages, Kindle Edition
First published March 1, 2017
566 people are currently reading
7020 people want to read
About the author
Sarah Dunant
28 books1,609 followersSarah Dunant is a cultural commentator, award-winning thriller writer and author of five novels set in Renaissance Italy exploring women’s lives through art, sex and religion. She has two daughters, and lives in London and Florence.
Sarah’s monthly history program and podcast on history can be found via the BBC website.
Sarah’s monthly history program and podcast on history can be found via the BBC website.
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Displaying 1 - 30 of 566 reviews
March 14, 2017
This turned out to be the right book at the right time for me . I was craving a little historical fiction as well as a reprieve from the hangover I had from some grief filled books that I recently read. This gave me both. I give it 3.5 stars, and I can't round up to 4 stars because at times it felt somewhat dragged out. The other criticism I have is that some of the dialogue felt more modern than I would have thought.
An unscrupulous man juggling the power of the papacy and the politics of Rome and the royal courts of the country, his ruthless illegitimate son with ambitions set on acquiring more land and riches, his beautiful illegitimate daughter, a diplomat in a sense and playing a role in making alliances by her marriages to help her father, certainly make for an intriguing story . These are the Borgias - Alexander VI, Cesare and Lucrezia, the ruling family of church and state in Rome and other cities, in the early 1500's. I didn't really like any of them but I definitely enjoyed the intrigue, the history of this time and place. There are many other characters to keep tract of, but the main narratives move between the multiple points of view of Alexander, Cesare, Lucrezia, and also Nicolo Machiavelli. I found Machiavelli to be one of the most interesting characters and have read that his inspiration for The Prince was Cesare Borgia.
"In Rome, revenge is the fashion of the season." While this quote comes fairly late in the book, it reflects a lot of what happens here.
"...perhaps the Pope is growing frightened of his own son." There are power shifts within the Borgia family as Cesare moves without consulting his father let alone seeking his approval, already wondering about who the conclave of cardinals will choose to replace his father , even before his father is dead.
How accurate is the history? I didn't have any real knowledge to speak of about the Borgias , but the list of sources reflect that Dunant has done significant research. I would recommend this to those who enjoy historical fiction.
I received an advanced copy of this book from Random House Publishing Group - Random House through NetGalley.
March 14, 2017
Renaissance, Italy and the Borgias never fail to attract my notice. Such conflicted times, the church all powerful, the Borgias at the height of their powers. A corrupt Pope, his acknowledged children, the power they wield and of course Lucrezia. Tales of poison, excess, positioning of strengths, all enticing subjects but I had very mixed reaction to this book by an author whose work I had wonderful reading experiences in the past.
The atmosphere was lacking, many times things were said or thought that I felt would not have been applicable to this time period. Just didn't feel enmeshed in the late 1500's. Felt the characters, except maybe for Lucrezia, were wooden, they just didn't bring me into their story. The parts with Lucrezia were my favorite, this woman who because of her sex should have been powerless but a lifetime of working behind the scenes, a political pawn, made her anything but. It was interesting to see how much she used subtle manipulation and an understanding of the politics involved, to get her way. This is what kept me reading.
Still I applaud this author for continually bringing to our notice these women who managed to supersede their sex at a time when this was virtually null or at least very unusual. She rounded out the character of Lucrezia for me, this political pawn with a horrific historical reputation.
ARC from Random House.
The atmosphere was lacking, many times things were said or thought that I felt would not have been applicable to this time period. Just didn't feel enmeshed in the late 1500's. Felt the characters, except maybe for Lucrezia, were wooden, they just didn't bring me into their story. The parts with Lucrezia were my favorite, this woman who because of her sex should have been powerless but a lifetime of working behind the scenes, a political pawn, made her anything but. It was interesting to see how much she used subtle manipulation and an understanding of the politics involved, to get her way. This is what kept me reading.
Still I applaud this author for continually bringing to our notice these women who managed to supersede their sex at a time when this was virtually null or at least very unusual. She rounded out the character of Lucrezia for me, this political pawn with a horrific historical reputation.
ARC from Random House.
March 1, 2017
I have loved or at least really liked the Sarah Dunant books I've read in the past. So, I was thrilled to get an ARC of this novel concerning the Borgias. I did not read Blood and Beauty, which is the predecessor to this book, detailing the early years of Pope Alexander VI’s reign. This novel details his later years and the rise of his son, Cesare and daughter, Lucrezia.
The book is told from multiple points of view. Each chapter is another character and you're inside someone else’s head. Despite that intimacy, I had trouble connecting with any of the characters. The book seemed very dry despite the thoughts of so many individuals.
Certain historical facts made for interesting reading, especially the prevalence of the French pox on so many of the nobility, doctors’ efforts to treat it and their belief that wives didn't get it from husbands that strayed. Cesare’s ability as a commander was intriguing. I never read Machievelli’s The Prince so am unable to comment on how well Dunant portrays Machiavelli or Cesare, on whom it is based.
In the end, I was very lukewarm about this book.
My thanks to netgalley and Virago for an advance copy of this book.
The book is told from multiple points of view. Each chapter is another character and you're inside someone else’s head. Despite that intimacy, I had trouble connecting with any of the characters. The book seemed very dry despite the thoughts of so many individuals.
Certain historical facts made for interesting reading, especially the prevalence of the French pox on so many of the nobility, doctors’ efforts to treat it and their belief that wives didn't get it from husbands that strayed. Cesare’s ability as a commander was intriguing. I never read Machievelli’s The Prince so am unable to comment on how well Dunant portrays Machiavelli or Cesare, on whom it is based.
In the end, I was very lukewarm about this book.
My thanks to netgalley and Virago for an advance copy of this book.
February 7, 2017
When I like Sarah Dunant's books I LOVE them. I got an ARC of The Birth of Venus thirteen years ago, and I stayed up all night to finish reading it. I savored every bit of Sacred Hearts, and it became one of the books I forced people to buy when I worked in the bookstore because I thought everyone in the world should love it as much as I did. But when I don't like Sarah Dunant's books I drag my feet through them like a cranky child, and then I'm mad that I wasted my time. It was like that for me with In the Company of the Courtesan and Blood and Beauty. I had hoped that this second novel of the Borgias would be more interesting to me. For some reason that I am having trouble remembering now, I was really, really excited to read this, and I looked forward to starting it.
My enthusiasm for this book hit the bottom pretty quickly. I simply could not get into the book, and all the inner thoughts of all the characters (every. frigging. character. has an inner voice, no matter how inane) drove me nuts after twenty pages. It literally took me months to get through the first chapter. By then I was very grudgingly invested in the story, mostly I suspect, because I've read a lot of history of the Borgias already, so I was familiar with the key characters and events. I read on (and on and on) but the story never once grabbed me, although I did appreciate that Lucrecia was portrayed as a charming, thoughtful, creative woman.
The historical books I've read about the Borgias were much more interesting and flowed so much better than this book. Sarah Dunant is a good writer, and she has proven that she can write some powerful, gripping historical fiction. This one just didn't do it for me.
My enthusiasm for this book hit the bottom pretty quickly. I simply could not get into the book, and all the inner thoughts of all the characters (every. frigging. character. has an inner voice, no matter how inane) drove me nuts after twenty pages. It literally took me months to get through the first chapter. By then I was very grudgingly invested in the story, mostly I suspect, because I've read a lot of history of the Borgias already, so I was familiar with the key characters and events. I read on (and on and on) but the story never once grabbed me, although I did appreciate that Lucrecia was portrayed as a charming, thoughtful, creative woman.
The historical books I've read about the Borgias were much more interesting and flowed so much better than this book. Sarah Dunant is a good writer, and she has proven that she can write some powerful, gripping historical fiction. This one just didn't do it for me.
April 28, 2017
It's April and this is firmly, absolutely, on my 'Books of the Year' list - no doubt about it at all.
Dunant's been a 3-starrer for me until her Blood and Beauty and this sequel. She's adept at getting beneath the skin of figures made bloated and almost cartoonish via the scandalous historical gossip which has fed lurid novels and TV series sold on sex'n'murder. Dunant, instead, goes back to the sources and the scholarship and has fleshed them out so that Roderigo, Lucrezia and Cesare are real people. On top of that, Dunant's ironic commentary, though not quite as prominent as in the first book, offers up a sly, often sardonic view of history.
I was disappointed that the book ends where it does so that there's a slightly rushed feel to the conclusion. But this is so good that I'm not even going to knock off half a star.
A brilliant portrait of a family and Renaissance Italy in all its splendor and squalor, glitter and cruelty.
Dunant's been a 3-starrer for me until her Blood and Beauty and this sequel. She's adept at getting beneath the skin of figures made bloated and almost cartoonish via the scandalous historical gossip which has fed lurid novels and TV series sold on sex'n'murder. Dunant, instead, goes back to the sources and the scholarship and has fleshed them out so that Roderigo, Lucrezia and Cesare are real people. On top of that, Dunant's ironic commentary, though not quite as prominent as in the first book, offers up a sly, often sardonic view of history.
I was disappointed that the book ends where it does so that there's a slightly rushed feel to the conclusion. But this is so good that I'm not even going to knock off half a star.
A brilliant portrait of a family and Renaissance Italy in all its splendor and squalor, glitter and cruelty.
March 2, 2017
This is the second in Sarah Dunant’s series of book about the Borgias but it works well as a standalone novel. However, on the strength of this, I will definitely be adding the earlier one to my TBR pile.
Sarah Dunant injects colour and life into a cast of real life characters who were already pretty colourful.
Rodrigo Borgia, risen to become Pope Alexander VI, despite siring illegitimate children, including Cesare and Lucrezia, with a series of mistresses: ‘For all the bombast and hyperbole about the wonders of Rome, it was Valencia that had made Rodrigo Borgia what he is: a man in love with women, wealth, orange blossom and the taste of sardines.’
Cesare Borgia, the brilliant soldier and tactician who eschews sleep in order to wrong-foot his enemies (and sometimes his allies): ‘This is who he is, who he has always been, pressing onwards, thinking on his feet, delighting in being three steps ahead of the next man. If there is any other way of living then Cesare Borgia does not know it.’
The beautiful Lucrezia Borgia, ‘the family’s prize marriage pawn’, deployed like a weapon in pursuit of the Borgias territorial ambitions: ‘The Pope’s daughter conquering city after city with charm rather than cannon.’
The story of the Borgias has it all: intrigue, murder, betrayal, corruption, power, politics, jealousy, revenge and...a bit more murder for good measure. The author does a good job of guiding the reader through the power struggles, alliances, territorial gains and losses whilst keeping the entertainment level high. Perfect for lovers of historical fiction, my only reservation with the book is that it ends quite suddenly, skipping forward ten years to a short epilogue. I would have liked to learn in more detail what happened to Lucrezia and Macchiavelli in the intervening years.
I received an advance reader copy courtesy of NetGalley and publishers, Little Brown Group/Virago, in return for an honest review.
To read this and review of other great books, visit my blog: https://whatcathyreadnext.wordpress.com/
Sarah Dunant injects colour and life into a cast of real life characters who were already pretty colourful.
Rodrigo Borgia, risen to become Pope Alexander VI, despite siring illegitimate children, including Cesare and Lucrezia, with a series of mistresses: ‘For all the bombast and hyperbole about the wonders of Rome, it was Valencia that had made Rodrigo Borgia what he is: a man in love with women, wealth, orange blossom and the taste of sardines.’
Cesare Borgia, the brilliant soldier and tactician who eschews sleep in order to wrong-foot his enemies (and sometimes his allies): ‘This is who he is, who he has always been, pressing onwards, thinking on his feet, delighting in being three steps ahead of the next man. If there is any other way of living then Cesare Borgia does not know it.’
The beautiful Lucrezia Borgia, ‘the family’s prize marriage pawn’, deployed like a weapon in pursuit of the Borgias territorial ambitions: ‘The Pope’s daughter conquering city after city with charm rather than cannon.’
The story of the Borgias has it all: intrigue, murder, betrayal, corruption, power, politics, jealousy, revenge and...a bit more murder for good measure. The author does a good job of guiding the reader through the power struggles, alliances, territorial gains and losses whilst keeping the entertainment level high. Perfect for lovers of historical fiction, my only reservation with the book is that it ends quite suddenly, skipping forward ten years to a short epilogue. I would have liked to learn in more detail what happened to Lucrezia and Macchiavelli in the intervening years.
I received an advance reader copy courtesy of NetGalley and publishers, Little Brown Group/Virago, in return for an honest review.
To read this and review of other great books, visit my blog: https://whatcathyreadnext.wordpress.com/
November 23, 2021
Autoarea a făcut o alegere, să se concentreze pe crearea atmosferei și a personajelor, iar eu, pur și simplu, nu am fost de acord cu ea. Asta e tot. E a treia carte de Dunant pe care o citesc și mereu mă captivează subiectele, doar că nu mă pot obișnui cu stilul ei atât de detaliat și cu descrierile atât de elaborate. Scriiturile ca ale ei mă fac să simt că îmi pierd răbdarea pentru că aș putea să citesc nonficțiune în acel timp și să învăț ceva, în loc să aflu cum arătau pantofii Lucreziei. Însă, obiectiv vorbind, nu pot să nu remarc și să admir imaginația ei.
O lectură care a decurs destul de greu pentru mine, dar care ar putea oferi celor cu mai multă răbdare scene vii și prezentate cu minuțiozitate din Italia renascentistă, înfățișând o familie care încă fascinează oamenii după aproape jumătate de mileniu: familia Borgia, un nume sinonim cu numeroase crime, corupție, desfrâu, sadism și bogăție folosită în scopuri machiavelice. Recenzia aici: https://bit.ly/30Mv1kE.
,,Pe când ultimele dangăte de clopot se sting, de undeva, din apropiere, se aud strigătele înăbușite ale unui bărbat. O ultimă împreunare în pat, în ciuda orei târzii, sau câteva lovituri de cuțit în burtă, la primele ore ale dimineții? Niccolò zâmbește. Astea sunt sunetele orașului său drag - de fapt, sunetul întregii Italii.''
O lectură care a decurs destul de greu pentru mine, dar care ar putea oferi celor cu mai multă răbdare scene vii și prezentate cu minuțiozitate din Italia renascentistă, înfățișând o familie care încă fascinează oamenii după aproape jumătate de mileniu: familia Borgia, un nume sinonim cu numeroase crime, corupție, desfrâu, sadism și bogăție folosită în scopuri machiavelice. Recenzia aici: https://bit.ly/30Mv1kE.
,,Pe când ultimele dangăte de clopot se sting, de undeva, din apropiere, se aud strigătele înăbușite ale unui bărbat. O ultimă împreunare în pat, în ciuda orei târzii, sau câteva lovituri de cuțit în burtă, la primele ore ale dimineții? Niccolò zâmbește. Astea sunt sunetele orașului său drag - de fapt, sunetul întregii Italii.''
March 18, 2017
I knew little about the Borgia family of the early 1500's going into this book, and I have not read Blood and Beauty...but this books seems to stand alone, and it's a whopper. I am always intrigued and appalled at the cruelty, lust for power - and plain lust - and moral depravity of these times. Sarah Dunant brought the Borgias - Pope Alexander VI (Rodrigo Borgia), son Cesare, and daughter Lucretia, to vivid life, as well as Niccolo Machiavelli, author of The Prince. The Borgia's lives are all intertwined with one another, and I was both taken aback, and mesmerized by this family. I especially liked the story of Lucretia. Dunant utilized a vast amount of letters, diaries, writings from many sources as a base for this historical fiction, and is up front about where she veered from history into fiction.
March 5, 2017
For my full review: http://girlwithherheadinabook.co.uk/2...
Having moved directly from Blood and Beauty to In The Name Of The Family, this is not so long-awaited a sequel as it will have been for many other readers. I have to admit though that given the emotional high note that Blood and Beauty concluded on, I was very grateful to have the next book on hand. Sarah Dunant is a highly skilled and compelling author with clear enthusiasm for her subject and in many ways, this novel felt less of a follow-up piece and instead more of a direct continuation of the first novel. Still, at eight-hundred and odd combined pages, this would have been quite the behemoth so perhaps she has done us a favour by splitting the story into two volumes. Picking up where the first novel left off, Dunant continues with the lives of the Borgia family as their stranglehold on Italy seems inescapable - while Pope Alexander speaks for God and for the Church, it seems clear that his deeds are motivated in the name of the family.
One senses that Dunant has a particular soft spot for Lucrezia who is the obvious heroine of both books. She has grown up from the doe-eyed child who dreamed of Lancelot and Guinevere and has a far more pragmatic, even cynical, view of what her life will be. Having lost her second husband, her first Alfonso, the novel opens with her moving on to her second Alfonso and third husband. Having been forced to leave her child behind, she tries to move forward with her life with a positive attitude but having to find a place in a court which loathes her family and all it stands for means that right from the beginning, her life is complicated. Her attempts to create a court of culture and to find again her love for poetry always feels ill-starred.
Further away, back in Rome, Pope Alexander's body is failing, he is grown more corpulent and he is more inclined to sit and enjoy his sardines and reminisce about the orange blossom of his youth. Some even think that he has grown afraid of his dark son Cesare who appears capable of anything. One character who was notable by their absence was the youngest brother Jofre - neither he nor indeed his promiscuous wife made an appearance, which struck me as strange. Sancia's story felt incomplete at the end of Blood and Beauty and I had hoped to hear more of her. However, In The Name Of The Family takes less of a focus on the intimate domestic scenes, so we hear little from Vannozza, mother to Alexander's children and only occasional glimpses of Giulia Farnese, the slip of a girl who continues to warm the Pope's bed, increasingly more by habit than by any particular desire on either side.
The emerging character of the novel was Niccolo Machiavelli, who arrives as Florence's envoy and speedily takes up a keen interest in Cesare's antics. His infamous work The Prince was based on his observations of Cesare and so his appearance is natural, but yet I did not find him as compelling a character as the Borgias themselves. There were a number of awkward phrases within the text, all of which seemed to crop up during one of the chapters dedicated to his perspective. His references to his 'boss' struck me as quite jarring, as did his complaints about the other diplomats 'bitching' - in a novel that was otherwise so seamless, this stuck out to me. A bigger issue was probably that he did not encounter Lucrezia and Dunant could not even fudge events enough to fabricate a meeting - Machiavelli was part of the Borgia story but he could not be involved with the heart of this depiction of it.
Cesare Borgia is known for having planned for all eventualities other than his own illness - he spends much of the novel gradually crumbling as he attempts to fight back against the pox. One has to feel a reluctant admiration for a man who fights so hard against this physical complaint, who is able to ride to his sister's bedside, to go into battle and win time and again, to fight, betray and murder, all the while suffering and in pain. Still, his mood swings and high temper, while no doubt accurate in terms of his mental state, did make him a slightly less fleshed-out character than he was in Blood and Beauty. The ambitious young man who was once a cardinal has become an unhinged psychopath from whom nobody is safe.
Strangely, I found the character of Johannes Burchard to be curiously compelling. Master of Ceremonies to the Pope, it is his job to keep a blank face and show no judgment, so matter how wild the behaviour of the Borgia clan. Pope Alexander witters away about this or that anecdote from his youth, lets slip various titbits about his children and throughout both books, Burchard has shown no reaction - but he has kept a diary. He is us, the reader, standing appalled at the latest hypocrisy or blatant corruption, this betrayal of the church values. Every so often, Alexander will look up at him, smiling brightly and reassure Burchard that he would have been bored witless with a humourless Pope who prayed all the time. And indeed, during their final encounter as Burchard prepares for the final ceremony, Alexander's funeral, Burchard is surprised to find himself genuinely mourning - as indeed does the reader. Pope Alexander, Rodrigo di Borgia as once was - he has been carnal, venal and vain, but he has also adored his children, sat happily at the table and nibbled on sardines as if they were the greatest delicacy the world could offer and has sincerely adored the Virgin Mary. Despite everything, he does not feel like a villain.
It is strange thing though that Alexander's children should have their fate linked to a man so elderly, who could not possibly shield them forever. Lucrezia goes to her third husband because her father-in-law has been paid a record-breaking dowry to take her. It is impossible to know the truth of her heart at this far remove - Dunant imagines that she loved her second husband, that his murder at her brother's hands broke her heart. This new Alfonso is rough-spoken man with little patience for courtly manners and Lucrezia's domestic battle for dominance is hard-fought - not only is her father-in-law rude but her sister-in-law Isabella of Mantua is determined to outflank her. Yet there is a darker secret at work, one that I found truly upsetting - a running thread through both books becomes unexpectedly painful.
Dunant has herself in Twitter interactions made comparisons between Pope Alexander and Donald Trump - it is interesting to read this book in that context, certainly we are in a different world to that in which Blood and Beauty hit the shelves back in 2013. The greed of Alexander and of Cesare, that inability to rest with what they had already, the drive to always reach out for more - we cannot say that this is an urge which no longer motivates humanity. Dunant's success with these two books has been in humanising figures who have been demonised down the centurie - if they truly had been diabolical, the rejoicing in their demise might have seemed just. But they were real people, people who saw something and wanted it and made sure that they got it. Lucrezia's sincere grief for her father and memory of his paternal embrace is affecting to anyone who has ever lost someone who was really good at hugs - but what struck me as strange was how a trio of people who were motivated by their family name managed to out-manoeuvre themselves to the extent where family life was destroyed. Lucrezia had to leave her child behind and in so doing also left behind her father. Cesare never saw his daughter. They gained glory and they achieved notoriety and infamy - what was the truth of them?
In The Name Of The Family ends rather abruptly and leaves little room for Dunant to make this into a trilogy, but there would most certainly have been more to develop - although perhaps Cesare's final descent into syphilitic madness and Lucrezia's demise in childbirth would have been a little too grim. I had only ever known the Borgias by reputation and the only one I could have named individually would have been Lucrezia - Dunant has brought them to life. If I had to pick, I found that Blood and Beauty was a story better suited to stand-alone but In The Name Of The Family was a very welcome continuation and companion - while the Tudors are written and re-written, it was wonderful to be reminded of all those other families in history whose lives were truly stranger than fiction and who, through the pen of an adept author, are ready to capture our imaginations all over again.
Extract available here: http://girlwithherheadinabook.co.uk/2...
Having moved directly from Blood and Beauty to In The Name Of The Family, this is not so long-awaited a sequel as it will have been for many other readers. I have to admit though that given the emotional high note that Blood and Beauty concluded on, I was very grateful to have the next book on hand. Sarah Dunant is a highly skilled and compelling author with clear enthusiasm for her subject and in many ways, this novel felt less of a follow-up piece and instead more of a direct continuation of the first novel. Still, at eight-hundred and odd combined pages, this would have been quite the behemoth so perhaps she has done us a favour by splitting the story into two volumes. Picking up where the first novel left off, Dunant continues with the lives of the Borgia family as their stranglehold on Italy seems inescapable - while Pope Alexander speaks for God and for the Church, it seems clear that his deeds are motivated in the name of the family.
One senses that Dunant has a particular soft spot for Lucrezia who is the obvious heroine of both books. She has grown up from the doe-eyed child who dreamed of Lancelot and Guinevere and has a far more pragmatic, even cynical, view of what her life will be. Having lost her second husband, her first Alfonso, the novel opens with her moving on to her second Alfonso and third husband. Having been forced to leave her child behind, she tries to move forward with her life with a positive attitude but having to find a place in a court which loathes her family and all it stands for means that right from the beginning, her life is complicated. Her attempts to create a court of culture and to find again her love for poetry always feels ill-starred.
Further away, back in Rome, Pope Alexander's body is failing, he is grown more corpulent and he is more inclined to sit and enjoy his sardines and reminisce about the orange blossom of his youth. Some even think that he has grown afraid of his dark son Cesare who appears capable of anything. One character who was notable by their absence was the youngest brother Jofre - neither he nor indeed his promiscuous wife made an appearance, which struck me as strange. Sancia's story felt incomplete at the end of Blood and Beauty and I had hoped to hear more of her. However, In The Name Of The Family takes less of a focus on the intimate domestic scenes, so we hear little from Vannozza, mother to Alexander's children and only occasional glimpses of Giulia Farnese, the slip of a girl who continues to warm the Pope's bed, increasingly more by habit than by any particular desire on either side.
The emerging character of the novel was Niccolo Machiavelli, who arrives as Florence's envoy and speedily takes up a keen interest in Cesare's antics. His infamous work The Prince was based on his observations of Cesare and so his appearance is natural, but yet I did not find him as compelling a character as the Borgias themselves. There were a number of awkward phrases within the text, all of which seemed to crop up during one of the chapters dedicated to his perspective. His references to his 'boss' struck me as quite jarring, as did his complaints about the other diplomats 'bitching' - in a novel that was otherwise so seamless, this stuck out to me. A bigger issue was probably that he did not encounter Lucrezia and Dunant could not even fudge events enough to fabricate a meeting - Machiavelli was part of the Borgia story but he could not be involved with the heart of this depiction of it.
Cesare Borgia is known for having planned for all eventualities other than his own illness - he spends much of the novel gradually crumbling as he attempts to fight back against the pox. One has to feel a reluctant admiration for a man who fights so hard against this physical complaint, who is able to ride to his sister's bedside, to go into battle and win time and again, to fight, betray and murder, all the while suffering and in pain. Still, his mood swings and high temper, while no doubt accurate in terms of his mental state, did make him a slightly less fleshed-out character than he was in Blood and Beauty. The ambitious young man who was once a cardinal has become an unhinged psychopath from whom nobody is safe.
Strangely, I found the character of Johannes Burchard to be curiously compelling. Master of Ceremonies to the Pope, it is his job to keep a blank face and show no judgment, so matter how wild the behaviour of the Borgia clan. Pope Alexander witters away about this or that anecdote from his youth, lets slip various titbits about his children and throughout both books, Burchard has shown no reaction - but he has kept a diary. He is us, the reader, standing appalled at the latest hypocrisy or blatant corruption, this betrayal of the church values. Every so often, Alexander will look up at him, smiling brightly and reassure Burchard that he would have been bored witless with a humourless Pope who prayed all the time. And indeed, during their final encounter as Burchard prepares for the final ceremony, Alexander's funeral, Burchard is surprised to find himself genuinely mourning - as indeed does the reader. Pope Alexander, Rodrigo di Borgia as once was - he has been carnal, venal and vain, but he has also adored his children, sat happily at the table and nibbled on sardines as if they were the greatest delicacy the world could offer and has sincerely adored the Virgin Mary. Despite everything, he does not feel like a villain.
It is strange thing though that Alexander's children should have their fate linked to a man so elderly, who could not possibly shield them forever. Lucrezia goes to her third husband because her father-in-law has been paid a record-breaking dowry to take her. It is impossible to know the truth of her heart at this far remove - Dunant imagines that she loved her second husband, that his murder at her brother's hands broke her heart. This new Alfonso is rough-spoken man with little patience for courtly manners and Lucrezia's domestic battle for dominance is hard-fought - not only is her father-in-law rude but her sister-in-law Isabella of Mantua is determined to outflank her. Yet there is a darker secret at work, one that I found truly upsetting - a running thread through both books becomes unexpectedly painful.
Dunant has herself in Twitter interactions made comparisons between Pope Alexander and Donald Trump - it is interesting to read this book in that context, certainly we are in a different world to that in which Blood and Beauty hit the shelves back in 2013. The greed of Alexander and of Cesare, that inability to rest with what they had already, the drive to always reach out for more - we cannot say that this is an urge which no longer motivates humanity. Dunant's success with these two books has been in humanising figures who have been demonised down the centurie - if they truly had been diabolical, the rejoicing in their demise might have seemed just. But they were real people, people who saw something and wanted it and made sure that they got it. Lucrezia's sincere grief for her father and memory of his paternal embrace is affecting to anyone who has ever lost someone who was really good at hugs - but what struck me as strange was how a trio of people who were motivated by their family name managed to out-manoeuvre themselves to the extent where family life was destroyed. Lucrezia had to leave her child behind and in so doing also left behind her father. Cesare never saw his daughter. They gained glory and they achieved notoriety and infamy - what was the truth of them?
In The Name Of The Family ends rather abruptly and leaves little room for Dunant to make this into a trilogy, but there would most certainly have been more to develop - although perhaps Cesare's final descent into syphilitic madness and Lucrezia's demise in childbirth would have been a little too grim. I had only ever known the Borgias by reputation and the only one I could have named individually would have been Lucrezia - Dunant has brought them to life. If I had to pick, I found that Blood and Beauty was a story better suited to stand-alone but In The Name Of The Family was a very welcome continuation and companion - while the Tudors are written and re-written, it was wonderful to be reminded of all those other families in history whose lives were truly stranger than fiction and who, through the pen of an adept author, are ready to capture our imaginations all over again.
Extract available here: http://girlwithherheadinabook.co.uk/2...
February 1, 2018
Italien im Zeitalter der Renaissance in den Jahren 1502 und 1503: Rodrigo Borgia sitzt als Alexander VI. auf dem Papstthron. Um seine attraktive Tochter Lucrezia brodelt die Gerüchteküche. Ihr wird eine Affäre mit ihrem Bruder Cesare und eine verbotene Liebe zu ihrem alternden Vater unterstellt. Von Mord, Korruption, Orgien und anderen Schändlichkeiten ist die Rede. Doch dort, wo Lucrezia Borgia selbst auftaucht, kann sie die Höfe Italiens bezaubern. Dabei haben die Gerüchte durchaus einen wahren Hintergrund: Tatsächlich hat Cesare aus Eifersucht Lucrezias Ehemann ermordet. Aber für Zorn und Trauer hat die Borgia-Tochter keine Zeit: Eine neue Stadt wartet auf sie, eine neue Liebe und das nächste gefährliche Spiel um Macht und Reichtum. Lucrezia macht sich auf den Weg, ihren dritten Ehemann, den Herzog von Ferrara, Alfonso d‘Este, zu heiraten.
„Die letzte Borgia“ ist die Fortsetzung des historischen Romans „Der Palast der Borgia“ von Sarah Dunant.
Meine Meinung:
Unterteilt ist der Roman in 45 Kapitel von angenehmer Länge. Sie werden umrahmt von einem Epilog und einem Prolog. Erzählt wird die Geschichte nicht nur aus der Sicht von Lucrezia, sondern auch aus der ihres Vaters, ihres Bruders und eines Diplomaten.
Der Schreibstil ist eher anspruchsvoll. Durch einige verschachtelte Sätze erfordert das Lesen etwas Aufmerksamkeit. Insgesamt ist der Erzählstil jedoch noch recht flüssig, sodass ich trotz der hohen Seitenzahl ganz gut durch das Buch gekommen bin.
Das historische Setting und die Auswahl der Charaktere konnten mich vollends überzeugen. Die Borgia-Familie ist zwar kein gänzlich neuer Romanstoff, hat mich für aber nichts von ihrem Reiz verloren. Die Charaktere werden detailreich und authentisch dargestellt, blieben mir beim Lesen aber etwas zu unnahbar. Mir hat wiederum gut gefallen, dass auch Niccolo Machiavelli in der Geschichte auftaucht. Ohnehin mag ich Romane, die auf tatsächlichen Begebenheiten basieren, recht gerne.
Die Handlung wirkt auf mich stimmig und kann einige Wendungen vorweisen, sodass ich den Roman alles in allem unterhaltsam und spannend fand. Obwohl ich den Vorgängerband von Sarah Dunant nicht gelesen hatte, konnte ich dem Geschehen gut folgen. Nur wenige Stellen habe ich als etwas langatmig empfunden.
Positiv hervorzuheben ist, dass es gelungen ist, interessante Informationen einzuflechten. Ein weiteres Plus sind der Zeitstrahl mit ausgewählten Daten aus der Geschichte der Borgias und das aufschlussreiche Nachwort. Sie belegen die Recherchearbeit der Autorin. Damit ist die Lektüre ziemlich lehrreich.
Das Cover finde ich sehr ansprechend. Es passt darüber hinaus gut zum Thema. Der deutsche Titel weicht zwar deutlich vom englischen Original ab („In the name of the family“), ist allerdings treffend.
Mein Fazit:
Mit „Die letzte Borgia“ ist Sarah Dunant ein unterhaltsamer und informativer Historienroman gelungen, den ich vor allem Geschichtsfans empfehlen kann.
„Die letzte Borgia“ ist die Fortsetzung des historischen Romans „Der Palast der Borgia“ von Sarah Dunant.
Meine Meinung:
Unterteilt ist der Roman in 45 Kapitel von angenehmer Länge. Sie werden umrahmt von einem Epilog und einem Prolog. Erzählt wird die Geschichte nicht nur aus der Sicht von Lucrezia, sondern auch aus der ihres Vaters, ihres Bruders und eines Diplomaten.
Der Schreibstil ist eher anspruchsvoll. Durch einige verschachtelte Sätze erfordert das Lesen etwas Aufmerksamkeit. Insgesamt ist der Erzählstil jedoch noch recht flüssig, sodass ich trotz der hohen Seitenzahl ganz gut durch das Buch gekommen bin.
Das historische Setting und die Auswahl der Charaktere konnten mich vollends überzeugen. Die Borgia-Familie ist zwar kein gänzlich neuer Romanstoff, hat mich für aber nichts von ihrem Reiz verloren. Die Charaktere werden detailreich und authentisch dargestellt, blieben mir beim Lesen aber etwas zu unnahbar. Mir hat wiederum gut gefallen, dass auch Niccolo Machiavelli in der Geschichte auftaucht. Ohnehin mag ich Romane, die auf tatsächlichen Begebenheiten basieren, recht gerne.
Die Handlung wirkt auf mich stimmig und kann einige Wendungen vorweisen, sodass ich den Roman alles in allem unterhaltsam und spannend fand. Obwohl ich den Vorgängerband von Sarah Dunant nicht gelesen hatte, konnte ich dem Geschehen gut folgen. Nur wenige Stellen habe ich als etwas langatmig empfunden.
Positiv hervorzuheben ist, dass es gelungen ist, interessante Informationen einzuflechten. Ein weiteres Plus sind der Zeitstrahl mit ausgewählten Daten aus der Geschichte der Borgias und das aufschlussreiche Nachwort. Sie belegen die Recherchearbeit der Autorin. Damit ist die Lektüre ziemlich lehrreich.
Das Cover finde ich sehr ansprechend. Es passt darüber hinaus gut zum Thema. Der deutsche Titel weicht zwar deutlich vom englischen Original ab („In the name of the family“), ist allerdings treffend.
Mein Fazit:
Mit „Die letzte Borgia“ ist Sarah Dunant ein unterhaltsamer und informativer Historienroman gelungen, den ich vor allem Geschichtsfans empfehlen kann.
August 19, 2022
Fără îndoiala Sarah Dunant este o scriitoare excepțională și fără îndoială ,,În numele familiei’’ merită citit. În prim plan avem familia Borgia la final de secol XVI și început de secol XVII, când Italia era divizată și mușcată de francezi,spanioli și numeroasele familii ce își împart puterea,se luptă și ajung să se înrudească uneori.
Foarte interesant este modul în sunt expuse mentalitățile oamenilor din toate straturile societății, relația acestora cu divinitatea și biserica, reacția în fața bolii și în fața morții.
Cartea se încadrează în categoria romanului istoric combinat, bineînțeles, cu ficțiunea, Sarah Dunant reușind să șocheze și să uimească negativ, dar și să își facă cititorii să se îndrăgostească de Italia și frumusețile ei arhitecturale.
Personaj important este și Niccolo Machiavelli, momentele lui aducând un aer foarte rafinat.
Nu este o comoară literară, dar merită citită.
Foarte interesant este modul în sunt expuse mentalitățile oamenilor din toate straturile societății, relația acestora cu divinitatea și biserica, reacția în fața bolii și în fața morții.
Cartea se încadrează în categoria romanului istoric combinat, bineînțeles, cu ficțiunea, Sarah Dunant reușind să șocheze și să uimească negativ, dar și să își facă cititorii să se îndrăgostească de Italia și frumusețile ei arhitecturale.
Personaj important este și Niccolo Machiavelli, momentele lui aducând un aer foarte rafinat.
Nu este o comoară literară, dar merită citită.
March 6, 2017
A longer review is available on my blog:
http://reviewsofbooksonmynightstand.b...
The characters in this book are based on true characters and Dunant attempts to keep as much as possible to the true legends of these historical people. They are deliciously evil and I read with as much glee as horror at the murderous and manipulative ways of the family that will stop at nothing to conquer as much of Europe as they can. They are the most power hungry of power hungry royals. The characters are many, complex and incredibly interesting. At 448 pages, this historical novel is on the longer side. At times, it can seem a bit too long. There are just a few too many stories going on at one time. I would have preferred to have more of the story of the relationship between Lucrezia and Alfonso d'Este or of Cesare Borgia's exploits than to also include the family happenings of Niccolo Machiavelli. The book can read a bit slow, at times. That is not to say that I didn't enjoy the book, though. I felt myself enjoying the stories and was very interested in reading more from Dunant. The writing was fluid and felt contemporary, as opposed to ancient. I thought this was a great book for historical fiction readers and would recommend it highly.
Thank you for Netgalley and Random House for an advanced copy of this book for review purposes.
http://reviewsofbooksonmynightstand.b...
The characters in this book are based on true characters and Dunant attempts to keep as much as possible to the true legends of these historical people. They are deliciously evil and I read with as much glee as horror at the murderous and manipulative ways of the family that will stop at nothing to conquer as much of Europe as they can. They are the most power hungry of power hungry royals. The characters are many, complex and incredibly interesting. At 448 pages, this historical novel is on the longer side. At times, it can seem a bit too long. There are just a few too many stories going on at one time. I would have preferred to have more of the story of the relationship between Lucrezia and Alfonso d'Este or of Cesare Borgia's exploits than to also include the family happenings of Niccolo Machiavelli. The book can read a bit slow, at times. That is not to say that I didn't enjoy the book, though. I felt myself enjoying the stories and was very interested in reading more from Dunant. The writing was fluid and felt contemporary, as opposed to ancient. I thought this was a great book for historical fiction readers and would recommend it highly.
Thank you for Netgalley and Random House for an advanced copy of this book for review purposes.
November 5, 2016
This dazzling historical tale continues the Borgia epic that began in Blood and Beauty. Lucrezia is now on marriage three and is the newly minted duchess of Ferrara. Cesare is as power hungry as ever and is at the pinnacle of his career. Alexander VI is now an aging pope who is concerned about his family’s legacy. We see an introduction of a new voice, Niccolo Machiavelli, who is representing Florence’s interests but cannot help but be impressed by the machinations of the Borgia family. As always, Sarah Dunant succeeds in bringing history to life with her attention to detail and her well-fleshed out characters. She is not trying to erase Borgia’s bad reputation, but instead shed light on their very human motivations and desires. I appreciated that the author did not go for the story with the most scandal. Instead, she used the historical record to create a plausible telling of these characters and events. I especially enjoyed Machiavelli’s outsider perspective because it gave me an understanding of how contemporaries viewed this family. I would be hard pressed to find a complaint of this book other than I was left wishing for even more. The Borgia’s might still be a family we love to hate, but thanks to Sarah Dunant we might understand them a little more.
February 7, 2017
I stopped on page 77. Too pedestrian for me. I have put this aside for now.
February 9, 2018
Die Zeit der Renaissance in Italien hat viele starke und geschichtsträchtige Charaktere hervorgebracht, die wir teilweise auch in diesem Buch antreffen dürfen oder zumindest erwähnt werden, jedoch fällt beim Familiennamen Borgia mein erster Gedanke nicht sofort auf Rodrigo, den späteren Papst Alexander VI., sondern eher auf Lucrezia. Sie ließ sich nicht nur von ihrem Vater als Instrument in all seinen machtsichernden Verstrickungen einsetzen, sondern machte sich auch selbst einen Namen als sehr einflussreiche Frau.
Um mit der Geschichte gut klarzukommen ist es hilfreich und definitiv von Vorteil sich im allgemeinen Leben und Geschehen des anfänglichen 16. Jahrhunderts etwas auszukennen. Wer weiß, dass der Papst nicht von allen „angehimmelt“ wurde, sondern durchaus eine große Masse an Feinden hatte, wird es beim Lesen leichter haben. Bei historischen Romanen dieser Art, die vor allem im europäischen Raum platziert sind, gehe ich einmal davon aus. Dementsprechend sieht man die zu schließen notwendigen Bande, der sich auch Lucrezia unterwerfen muss, klarer.
Mir gefällt es vor allem, diese klar zugeteilten und strukturierten Familienpositionen durch das Lesen noch näher zu durchschauen, jedoch die einzelnen und ganz individuellen Charaktere zu entdecken. Die Stärke jedes Einzelnen der Familie ist gefragt und wird auch eingefordert.
Lucrezia ist in diesem Band nicht mehr das kleine Mädchen, sondern hat bereits zwei Ehen hinter sich. Ihr Wert als politisches Instrument ist trotzdem nicht zu unterschätzen, weshalb nun eine dritte Ehe ansteht. Die Autorin hat sich viel Mühe gemacht bei ihren Recherchen und die Charaktere und deren Eigenheiten meiner Meinung nach super eingefangen. Die Verruchtheit am Hof und deren intrigantes Spiel schaffen eine ideale „Spielfläche“ für die einzelnen Personen.
Insgesamt hat mir auch sehr gut gefallen, dass das Zusammenspiel aller sozialen Einflüsse, also auch die Kunst der Zeit und auch deren Figuren sowie die anderen wichtigen „Häuser“ bzw. Familien, mit in die Geschichte eingebracht wurden.
Den Erzählstil empfand ich als recht flüssig, jedoch muss man aufgrund der vielen Geschehnisse und auch geschichtlichen Anspielungen aufmerksam dabei sein, da man sonst unnötig interessante und auch relevante Details verpasst. Wie bereits erwähnt, bin ich der Meinung, dass man besonders durch bereits vorhandenes historisches Wissen, was die Familienverstrickungen, Feinde aber auch Künstler und damals herrschende Kirchenstrukturen betrifft, das Potential dieses Buches erkennen kann und auch den vollen Genuss beim Lesen hat. Die Anspielungen auf bestimmte Kunstgegenstände sind von der Autorin wahnsinnig gut gelöst und haben bei mir das ein oder andere Lachen ausgelöst.
Lucrezia komplett gesondert von ihrer Familie zu betrachten, macht meiner Meinung nach wenig Sinn. Die Strukturen machen erst das aus, was diese Borgias so berühmt, interessant und geschichtsträchtig werden ließ. Die Einflüsse gegenseitig sind äußerst wichtig. Ohne einander würde dieser geschichtliche Abschnitt wohl ganz anders aussehen.
Um mit der Geschichte gut klarzukommen ist es hilfreich und definitiv von Vorteil sich im allgemeinen Leben und Geschehen des anfänglichen 16. Jahrhunderts etwas auszukennen. Wer weiß, dass der Papst nicht von allen „angehimmelt“ wurde, sondern durchaus eine große Masse an Feinden hatte, wird es beim Lesen leichter haben. Bei historischen Romanen dieser Art, die vor allem im europäischen Raum platziert sind, gehe ich einmal davon aus. Dementsprechend sieht man die zu schließen notwendigen Bande, der sich auch Lucrezia unterwerfen muss, klarer.
Mir gefällt es vor allem, diese klar zugeteilten und strukturierten Familienpositionen durch das Lesen noch näher zu durchschauen, jedoch die einzelnen und ganz individuellen Charaktere zu entdecken. Die Stärke jedes Einzelnen der Familie ist gefragt und wird auch eingefordert.
Lucrezia ist in diesem Band nicht mehr das kleine Mädchen, sondern hat bereits zwei Ehen hinter sich. Ihr Wert als politisches Instrument ist trotzdem nicht zu unterschätzen, weshalb nun eine dritte Ehe ansteht. Die Autorin hat sich viel Mühe gemacht bei ihren Recherchen und die Charaktere und deren Eigenheiten meiner Meinung nach super eingefangen. Die Verruchtheit am Hof und deren intrigantes Spiel schaffen eine ideale „Spielfläche“ für die einzelnen Personen.
Insgesamt hat mir auch sehr gut gefallen, dass das Zusammenspiel aller sozialen Einflüsse, also auch die Kunst der Zeit und auch deren Figuren sowie die anderen wichtigen „Häuser“ bzw. Familien, mit in die Geschichte eingebracht wurden.
Den Erzählstil empfand ich als recht flüssig, jedoch muss man aufgrund der vielen Geschehnisse und auch geschichtlichen Anspielungen aufmerksam dabei sein, da man sonst unnötig interessante und auch relevante Details verpasst. Wie bereits erwähnt, bin ich der Meinung, dass man besonders durch bereits vorhandenes historisches Wissen, was die Familienverstrickungen, Feinde aber auch Künstler und damals herrschende Kirchenstrukturen betrifft, das Potential dieses Buches erkennen kann und auch den vollen Genuss beim Lesen hat. Die Anspielungen auf bestimmte Kunstgegenstände sind von der Autorin wahnsinnig gut gelöst und haben bei mir das ein oder andere Lachen ausgelöst.
Lucrezia komplett gesondert von ihrer Familie zu betrachten, macht meiner Meinung nach wenig Sinn. Die Strukturen machen erst das aus, was diese Borgias so berühmt, interessant und geschichtsträchtig werden ließ. Die Einflüsse gegenseitig sind äußerst wichtig. Ohne einander würde dieser geschichtliche Abschnitt wohl ganz anders aussehen.
April 24, 2017
Like her earlier novel "Blood and Beauty", this book is a novel of the Borgias.
So. Like any novel about the Borgias there is blood, death, and really nasty things galore.
I didn't think it was as good a read as the first book. It felt too disjointed. Towards the end it hops over ten years of history in one fell swoop leaving me with a "what the heck?" reaction.
The handling of Rodrigo Borgia aka Pope Alexander VI was excellently done. The character had real depth and frankly would have carried the novel from his viewpoint alone. My rating went from 3 to 4 stars on the basis of Alexander's portrayal.
So. Like any novel about the Borgias there is blood, death, and really nasty things galore.
I didn't think it was as good a read as the first book. It felt too disjointed. Towards the end it hops over ten years of history in one fell swoop leaving me with a "what the heck?" reaction.
The handling of Rodrigo Borgia aka Pope Alexander VI was excellently done. The character had real depth and frankly would have carried the novel from his viewpoint alone. My rating went from 3 to 4 stars on the basis of Alexander's portrayal.
September 3, 2017
I confess to reading historical fiction partly as a diverting way to fill historical gaps and pique my interest in further explorations. Sometimes, however, I enjoy historical fiction more when I know a little bit about the topic already—which is one reason why Sarah Dunant’s latest novel was such a pleasure. This book, like its predecessors, offers a particular sort of satisfaction to those familiar with the history, the places, and the people.
Victor Hugo did not nudge Dunant over the edge and down the slippery slope, where so many novelists, film makers, Showtime series producers have happily slid before her. She shrugs off the Borgia baggage of sensationalism, alternative facts and fake news in hope of getting the story right.Those who appreciate a little reality in their escapism will thank her for it.
Taking on the Borgias must have presented a different sort of challenge. An author known for her arresting details (the serpent tattoo in Birth of Venus), clever writing strategies (narrating In the Company of the Courtesan from the dwarf’s perspective), and powerful plot twists (making Suor Zuana in Sacred Hearts into a Friar-Lawrence-cum-Prospero, who brings lovers together in the end) chose to confront the constraints imposed by the historical Borgias (whose lives, after all, offer plenty of “fact” to stimulate this author’s fertile imagination).
She also recognized that a few days’ surfing safari on Wikipedia would not suffice for historical background. Readers can tell she has read widely in primary as well as secondary literature, not only because of the concluding bibliography, but also because of the way things in the book look (Lucrezia’s Ferrara apartments look right), sound (we hear Tromboncino and the nuns of Corpus Domini—not Handel, as on Showtime), and smell. Not to mention how characters speak—Cesare’s portentous speeches to Machiavelli ring true; Lucrezia’s humanistic arguments with Pietro Bembo seem to take a page from Castiglione’s Book of the Courtier.
Don’t get me wrong—this IS fiction. There are plenty of imaginative flights too: the portrait of Machiavelli as diplomat, tested by Cesare Borgia, and as husband, tested (with particular charm) by his new wife; the discreet treatment of Lucrezia’s relationship with the poet Bembo (sorry—no bodice ripping here); the suggestion that Lucrezia contracted syphilis from her husband (offering another opportunity to bring in a wise convent apothecary to try to set things right , rather like Suor Zuana from Sacred Hearts); Lucrezia’s challenging relationship with her pious, skinflint father-in-law, Ercole I d’Este, and the even more challenging one with her rival sister-in-law, Isabella d’Este, Duchess of Mantua (always ready for the most polite cat fight).
The ending left me a bit puzzled. Given where we were historically, with not many pages to go, I was anticipating a third volume to fill out a Borgia trilogy. Instead, there was a rather brief postlude, sorting out Lucrezia as mother and matron and Macchiaveli as exile, husband, and father. There’s material enough for a third volume, if Dunant wished to take it on.
Victor Hugo did not nudge Dunant over the edge and down the slippery slope, where so many novelists, film makers, Showtime series producers have happily slid before her. She shrugs off the Borgia baggage of sensationalism, alternative facts and fake news in hope of getting the story right.Those who appreciate a little reality in their escapism will thank her for it.
Taking on the Borgias must have presented a different sort of challenge. An author known for her arresting details (the serpent tattoo in Birth of Venus), clever writing strategies (narrating In the Company of the Courtesan from the dwarf’s perspective), and powerful plot twists (making Suor Zuana in Sacred Hearts into a Friar-Lawrence-cum-Prospero, who brings lovers together in the end) chose to confront the constraints imposed by the historical Borgias (whose lives, after all, offer plenty of “fact” to stimulate this author’s fertile imagination).
She also recognized that a few days’ surfing safari on Wikipedia would not suffice for historical background. Readers can tell she has read widely in primary as well as secondary literature, not only because of the concluding bibliography, but also because of the way things in the book look (Lucrezia’s Ferrara apartments look right), sound (we hear Tromboncino and the nuns of Corpus Domini—not Handel, as on Showtime), and smell. Not to mention how characters speak—Cesare’s portentous speeches to Machiavelli ring true; Lucrezia’s humanistic arguments with Pietro Bembo seem to take a page from Castiglione’s Book of the Courtier.
Don’t get me wrong—this IS fiction. There are plenty of imaginative flights too: the portrait of Machiavelli as diplomat, tested by Cesare Borgia, and as husband, tested (with particular charm) by his new wife; the discreet treatment of Lucrezia’s relationship with the poet Bembo (sorry—no bodice ripping here); the suggestion that Lucrezia contracted syphilis from her husband (offering another opportunity to bring in a wise convent apothecary to try to set things right , rather like Suor Zuana from Sacred Hearts); Lucrezia’s challenging relationship with her pious, skinflint father-in-law, Ercole I d’Este, and the even more challenging one with her rival sister-in-law, Isabella d’Este, Duchess of Mantua (always ready for the most polite cat fight).
The ending left me a bit puzzled. Given where we were historically, with not many pages to go, I was anticipating a third volume to fill out a Borgia trilogy. Instead, there was a rather brief postlude, sorting out Lucrezia as mother and matron and Macchiaveli as exile, husband, and father. There’s material enough for a third volume, if Dunant wished to take it on.
June 3, 2018
Picked up as a brain candy read to take on a four day spa break, but knocked me out with its evocative supple prose and strong historical chops. Not quite the Hilary Mantel of Renaissance Italy but not far off the mark. I especially loved Dunant’s female characters and the little dashes of humour amidst the politicking, violence and scandal. I will definitely be reading more from her.
August 4, 2025
Mie îmi place mult stilul Sarei de scrierere, rezonez foarte mult cu el! Îmi place combinația de istorie, cu detalii despre viata de zi cu zi, arome, mâncăruri, mirosuri, texturi, obiceiuri, dar și modul în care introduce și dezvoltă poveștile de dragoste în cărțile ei. Nici aceasta nu a făcut excepție, deși a fost o carte de strategie și tehnică militară și politică aș spune, cu multe detalii și personaje care uneori m-au zăpăcit. Însă mi-a placut foarte mult, simt că mi-am făcut o idee despre familia Borgia, cine au fost, ce tactici au folosit pentru a obține și păstra puterea, ce reputație și-au făcut în societate și de ce.
November 10, 2016
I received an advanced uncorrected proof copy of this novel as a giveaway on Goodreads.
This novel continues the saga of the Borgia family where Dunant left off at the conclusion of Blood and Beauty. Pope Alexander VI is now an aging man, growing frailer and more concerned with his legacy by the day. His son Cesare Borgia is as ruthless and power hungry as ever, and continues to plunder across Europe in his efforts to build a Borgia dynasty. Meanwhile, the Pope's daughter Lucrezia is now on her third marriage, a political pawn between her father in Rome and her husband's new family in Ferrara. And in this novel, Dunant introduces the voice of a young diplomat, Niccolo Machiavelli, who is shadowing Cesare in an effort to track his progress and danger.
Just as with her other novels, Dunant has written another story that is both well researched and well written. Spare turns of phrase, such as Dunant's description of the frozen earth, "the ground cracks like small bones under his feet" (4) and Lucrezia's description of her new husband's kissing technique, "like a wet dog flopping down onto a hearth," (40) were striking in their originality and vividness. In terms of the plotline, I particularly enjoyed reading Lucrezia's thread of the story, as she navigates a distant husband and her husband's less than gracious father and sister.
I was less inspired by Cesare and the Pope's storylines, as they focused mainly on the decline of the Borgia's once great power and were heavy on political intrigue. Additionally, Lucrezia is the most fully fleshed out character; Cesare and the Pope seemed almost like caricature of violent, power-hungry stock figures rather than full bodied individuals. On the whole, this novel was less thrilling than Dunant's earlier novel on the Borgias since it follows their demise. The novel felt like one downhill slope, dragging the family into death. This was never more poignantly felt than in one of the final scenes with the Pope, when he mentally pats himself on the back for saving some kittens that were born under the altar of the church: "The guards wait till he has left, then dig out the little parcels of damp warm fur and drown them in the nearest water butt outside" (338). Only in the aging pope's mind does he command the power and respect that he once did.
This novel continues the saga of the Borgia family where Dunant left off at the conclusion of Blood and Beauty. Pope Alexander VI is now an aging man, growing frailer and more concerned with his legacy by the day. His son Cesare Borgia is as ruthless and power hungry as ever, and continues to plunder across Europe in his efforts to build a Borgia dynasty. Meanwhile, the Pope's daughter Lucrezia is now on her third marriage, a political pawn between her father in Rome and her husband's new family in Ferrara. And in this novel, Dunant introduces the voice of a young diplomat, Niccolo Machiavelli, who is shadowing Cesare in an effort to track his progress and danger.
Just as with her other novels, Dunant has written another story that is both well researched and well written. Spare turns of phrase, such as Dunant's description of the frozen earth, "the ground cracks like small bones under his feet" (4) and Lucrezia's description of her new husband's kissing technique, "like a wet dog flopping down onto a hearth," (40) were striking in their originality and vividness. In terms of the plotline, I particularly enjoyed reading Lucrezia's thread of the story, as she navigates a distant husband and her husband's less than gracious father and sister.
I was less inspired by Cesare and the Pope's storylines, as they focused mainly on the decline of the Borgia's once great power and were heavy on political intrigue. Additionally, Lucrezia is the most fully fleshed out character; Cesare and the Pope seemed almost like caricature of violent, power-hungry stock figures rather than full bodied individuals. On the whole, this novel was less thrilling than Dunant's earlier novel on the Borgias since it follows their demise. The novel felt like one downhill slope, dragging the family into death. This was never more poignantly felt than in one of the final scenes with the Pope, when he mentally pats himself on the back for saving some kittens that were born under the altar of the church: "The guards wait till he has left, then dig out the little parcels of damp warm fur and drown them in the nearest water butt outside" (338). Only in the aging pope's mind does he command the power and respect that he once did.
March 19, 2017
I LOVED this book. I was completely sucked into Renaissance Italy and the brilliant scheming and manipulations of the Borgias. In their defense Italy during this time was a brutal, dangerous and corrupt place and they excelled at being the most brutal, the most dangerous and the most corrupt. Despite how amoral they were I found myself cheering for their success. It really is fun to be so bad! History told me that their end would be swift and decisive but it was still really hard to see all that they had built (and murdered for and stole) come crashing down.
It was really fascinating to see how diseases, especially syphilis, changed the course of history. I have heard that a lot of the "madmen" of history were suffering from the devastating neurological effects of tertiary syphilis and this story illustrates that very clearly. Cesare's behaviour and eventual downfall was dictated by his disease and it was pretty terrifying to watch it play out. It makes one very thankful for modern medicine and antibiotics!
It was really fascinating to see how diseases, especially syphilis, changed the course of history. I have heard that a lot of the "madmen" of history were suffering from the devastating neurological effects of tertiary syphilis and this story illustrates that very clearly. Cesare's behaviour and eventual downfall was dictated by his disease and it was pretty terrifying to watch it play out. It makes one very thankful for modern medicine and antibiotics!
January 6, 2020
This book, and Blood and Beauty, also by Sarah Dunant, are the first I've read anything about the Borgias. After watching both of the popular TV shows, I knew I wanted to know more of this family without the soap opera drama. Sarah Dunant is one of my favorite writers of historical fiction, and I was happy to see that she had written about this family and piece of history. Both books are well written, full of historical facts and just enough imagination to keep the story interesting and even paced. You can't help but love this power seeking family, with Lucrezia Borgia as the main character you end up rooting for, hoping she finds love and happiness in the midst of the religious and political madness that surrounded her.
Although I gave both 5 star reviews, I would pick this one as my favorite of both, since it is more intense, as the down fall of the family is seeming coming at the turn of every page.
Highly recommend for those who love historical fiction, or epic family dramas.
Although I gave both 5 star reviews, I would pick this one as my favorite of both, since it is more intense, as the down fall of the family is seeming coming at the turn of every page.
Highly recommend for those who love historical fiction, or epic family dramas.
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December 1, 2017This is a novel about the notorious Borgia family. Spanish by descent and Italian later, the reader gets to know Alexander when he was pope and his children, Lucretia and Cesare.
Dunant writes a cracking pace novel with perhaps some different touches from the usual portrayals of the main characters. Lucretia was not the whore, Alexander was a loving father, if very angry at Cesare, and Cesare was a sick deranged man, probably bi-polar.
I much enjoyed the settings and depth of the characters in this long book.
Recommended for those who love historical fiction of this period.
Dunant writes a cracking pace novel with perhaps some different touches from the usual portrayals of the main characters. Lucretia was not the whore, Alexander was a loving father, if very angry at Cesare, and Cesare was a sick deranged man, probably bi-polar.
I much enjoyed the settings and depth of the characters in this long book.
Recommended for those who love historical fiction of this period.
January 3, 2019
Sarah Dunant is an excellent author; her research and writing style make “In the Name of the Family” a book that readers who value true historical fiction will enjoy.
April 30, 2022
Intrigue, corruption, betrayal, treachery, violence, brutality, revenge. All in a day’s work with the Borgias, as they wage war throughout the Italian peninsula to conquer various city-states and consolidate their power. Add to that the complex loyalties and rivalries within the family, with its arranged marriages designed around political alliances, and you’ve got a lot going on.
Sarah Dunant is good at this Italian Renaissance thing. I greatly enjoyed In the Company of the Courtesan and liked The Birth of Venus too. In the Name of the Family seemed a bit slower than the others in getting started, but when it did, we were off to the races. This one is apparently the second in a trilogy, which I didn’t know when I picked it up, but I feel it can stand alone if it needs to.
The story spanning the years 1501 – 1503 is told from several points of view, primarily those of Pope Alexander VI (Rodrigo Borgia), his children Cesare and Lucrezia, and diplomat Niccolò Machiavelli. Machiavelli brings an analytical eye to the proceedings that later inform his writing on governments, politics, and power. A few other characters weigh in occasionally and so, through all the characters’ views of events and each other, we’re given a well-grounded and nuanced look at the players and how their unique, colorful, and sometimes, well, sociopathic personalities drove events.
Niccolò Machiavelli observes in the ten-years-later Epilogue, as he works on his treatise The Prince, “history is only and always the story of human nature in action.” Dunant’s is a fictional account of this bit of the Borgia saga, but one based upon many solid facts. She’s done her research. In fact, there’s a three-page bibliography upon which she drew to tell this story, although she did take considerable license. She explains her methods in the Historical Note at the end of the novel, where she also references her “double passion: for history and for storytelling,” a great combination if there ever was one.
Sarah Dunant is good at this Italian Renaissance thing. I greatly enjoyed In the Company of the Courtesan and liked The Birth of Venus too. In the Name of the Family seemed a bit slower than the others in getting started, but when it did, we were off to the races. This one is apparently the second in a trilogy, which I didn’t know when I picked it up, but I feel it can stand alone if it needs to.
The story spanning the years 1501 – 1503 is told from several points of view, primarily those of Pope Alexander VI (Rodrigo Borgia), his children Cesare and Lucrezia, and diplomat Niccolò Machiavelli. Machiavelli brings an analytical eye to the proceedings that later inform his writing on governments, politics, and power. A few other characters weigh in occasionally and so, through all the characters’ views of events and each other, we’re given a well-grounded and nuanced look at the players and how their unique, colorful, and sometimes, well, sociopathic personalities drove events.
Niccolò Machiavelli observes in the ten-years-later Epilogue, as he works on his treatise The Prince, “history is only and always the story of human nature in action.” Dunant’s is a fictional account of this bit of the Borgia saga, but one based upon many solid facts. She’s done her research. In fact, there’s a three-page bibliography upon which she drew to tell this story, although she did take considerable license. She explains her methods in the Historical Note at the end of the novel, where she also references her “double passion: for history and for storytelling,” a great combination if there ever was one.
May 17, 2021
I love Sarah Dunant’s books - they are always set around the same period. This one was about the Borgia family - father, Rodrigo Borgia, Pope Alexander and his illegitimate children Lucrezia Borgia and her brother, Cesar Borgia. Although there were other children, they do not figure in this book. Lucrezia was famed for her beauty, Alexander and Cesar for their ruthlessness. Syphilis was rampant in Venice at the time, Cesar certainly had it, and it is thought that Lucrezia also was infected with it - she had bouts of being very ill, but the doctors at the time thought it was a male only disease, so were not treated for it. Cesar’s illness brought on ravages to his face - and he was obviously mentally ill with it - he led armies through Italy capturing city state after city state - and fought with a fury similar to that of berserkers in ancient Scandinavian times. I felt very sorry for Lucrezia in her sorry marriages, as quite a sympathetic picture was presented of her. A young and poor Machiavelli also features, with hints of what he will become in the future. A brutal and glorious book, a fascinating story, obviously very well researched by Ms Dunant and an extremely satisfying read.
April 7, 2017
I had no idea that Pope Alexander VI had multiple illegitimate children who all worked together to create the wealth of the Borgia's. They are all one in the same. This was a story of Italy and wealth and the family that I was totally unaware of. The book also includes Niccolo Machiavelli and I was unaware of his involvement too. Well written and intriguing.
March 3, 2017
Advance reader's copy courtesy Random House via Amazon Vine program
In "In the Name of the Family," Sarah Dunant tackles the ascendant years of the Borgia family in a somewhat contradictory manner. Elements of research peep through, clearly based on correspondence and other documents written by and about those near to the Borgias. These paragraphs sit in uneasy proximity to earthier passages perhaps intended to humanize the subjects they portray.
I came to this book knowing very little about the Borgias -- and in fact being more familiar with such members of the supporting cast as Niccolo Machiavelli and Pietro Bembo. Sadly, after reading all 400-plus pages, I found myself possessing little more than a caricatured view of Lucrezia and Cesare and their father the Pope. Cesare and Pope Alexander VI fared particularly poorly: the former's military intrigue and acumen were glossed over, and the latter's strength in preserving his position at the Vatican was really not explored. Lucrezia fares somewhat better, but even she is portrayed flatly.
I am puzzled by this weakness for two reasons. First, Dunant limns minor characters with textural detail -- one is a healer in a religious order, the other is a young member of Lucrezia's retinue -- and yet does not apply this skill to the characters with larger roles. Second, although it is not promoted as such, this book dealing with the second half of the pope's time in office is actually Dunant's second on his term.
Machiavelli wanders tantalizingly at the fringes of this tale, and Bembo's appearance is utter frustration. I hesitate to say more because this is a non-spoiler review. However, as I reflect on the hours spent reading this, I am disappointed at how muddy a story this was, that one of the clearest remembrances will be of the humbleness of Alexander's fondness for the sardines of his homeland.
2.5 stars
In "In the Name of the Family," Sarah Dunant tackles the ascendant years of the Borgia family in a somewhat contradictory manner. Elements of research peep through, clearly based on correspondence and other documents written by and about those near to the Borgias. These paragraphs sit in uneasy proximity to earthier passages perhaps intended to humanize the subjects they portray.
I came to this book knowing very little about the Borgias -- and in fact being more familiar with such members of the supporting cast as Niccolo Machiavelli and Pietro Bembo. Sadly, after reading all 400-plus pages, I found myself possessing little more than a caricatured view of Lucrezia and Cesare and their father the Pope. Cesare and Pope Alexander VI fared particularly poorly: the former's military intrigue and acumen were glossed over, and the latter's strength in preserving his position at the Vatican was really not explored. Lucrezia fares somewhat better, but even she is portrayed flatly.
I am puzzled by this weakness for two reasons. First, Dunant limns minor characters with textural detail -- one is a healer in a religious order, the other is a young member of Lucrezia's retinue -- and yet does not apply this skill to the characters with larger roles. Second, although it is not promoted as such, this book dealing with the second half of the pope's time in office is actually Dunant's second on his term.
Machiavelli wanders tantalizingly at the fringes of this tale, and Bembo's appearance is utter frustration. I hesitate to say more because this is a non-spoiler review. However, as I reflect on the hours spent reading this, I am disappointed at how muddy a story this was, that one of the clearest remembrances will be of the humbleness of Alexander's fondness for the sardines of his homeland.
2.5 stars
June 7, 2020
This book is the sequel to “Blood and Beauty” about the fascinating and unscrupulous Borgia clan. Actually, as depicted, only the men were unscrupulous. The star daughter—the precocious, clever and beautiful Lucretia—is more of a tool in her father and brother’s hands. They make and break marriages for her to suit their political ends, regardless of her feelings. After marriage number two, despite the fact that she loved her husband, she was forced to swallow his lamentable murder and prepare herself for a third husband—all for the sake of the family. This is where “In the Name of the Family” starts. She is saddled with the ugly, humorless, Alfonso, heir to the throne of Ferrara, although both father and son despise her family. And still she strives to make the best of a bad situation. I couldn’t help but admire her pluck. By then, she has sort of forgiven her brother for murdering her husband; she still adores her father who has become fat, feeble, and inconsequential for the most part. Cesare runs the show now, though the pox has ravaged his face and his health; everyone sees that the infamous Duke of Valentinois is losing his edge. But they are far away and she is on her own; she has to fend for herself. What does Lucretia have to live for? She briefly finds herself infatuated with the court poet but soon comes to her senses:
“He winces. ‘You are laughing at me.’
‘Oh no, Pietro. On the contrary, I am very serious. I am a woman who has the capacity to destroy any man I love.’
And though she is looking at him, she is seeing someone else; equally handsome, full of life and laughter. But the image turns and now she is looking at a body dragged from its bed, the face swollen and purple from the garrote of Michelotto’s hands. Not even marriage had saved Alfonso (the second husband) from her brother’s wrath.
She pulls herself out of his grip. ‘You will find it hard to change the course of Italian poetry with your neck wrung like a chicken’s.’”
And this is the story of Lucretia’s life; like a black widow spider, she is fatal to her mates—up to this point. Although it seems she never found real happiness, at least she hasn’t lost any of her appeal and manages to hold her own despite overwhelming odds. I’m sorry to say that this novel doesn’t move along as sensationally as the first, but that’s the fault of the history, not the storytelling. The glory days of the Borgia are coming to an end, and Lucretia is the family’s only hope. It’s a bittersweet situation she finds herself in, but perhaps she’s better off than otherwise.
“He winces. ‘You are laughing at me.’
‘Oh no, Pietro. On the contrary, I am very serious. I am a woman who has the capacity to destroy any man I love.’
And though she is looking at him, she is seeing someone else; equally handsome, full of life and laughter. But the image turns and now she is looking at a body dragged from its bed, the face swollen and purple from the garrote of Michelotto’s hands. Not even marriage had saved Alfonso (the second husband) from her brother’s wrath.
She pulls herself out of his grip. ‘You will find it hard to change the course of Italian poetry with your neck wrung like a chicken’s.’”
And this is the story of Lucretia’s life; like a black widow spider, she is fatal to her mates—up to this point. Although it seems she never found real happiness, at least she hasn’t lost any of her appeal and manages to hold her own despite overwhelming odds. I’m sorry to say that this novel doesn’t move along as sensationally as the first, but that’s the fault of the history, not the storytelling. The glory days of the Borgia are coming to an end, and Lucretia is the family’s only hope. It’s a bittersweet situation she finds herself in, but perhaps she’s better off than otherwise.
May 16, 2025
Distractingly terrible historical fiction.
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