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The Alchemist #1
The Alchemist's Apprentice
To the legendary clairvoyant Maestro Nostradamus, the future is forever in motion. But for young swordsman Alfeo Zeno, his apprentice and protector, the present is hard enough to contend with. His days are spent poring over astrology charts and making calculations, his nights learning arcane magic or transcribing Nostradamus’s nebulous prophecies. Until one night, when the Council of Ten arrives to take the seer into custody. It seems that high-ranking friend of the prince died under mysterious circumstances after Nostradamus cast his horoscope, warning of danger-and rumors are swirling that the mystic poisoned the victim to enhance his own reputation. Alfeo is stunned when his master refuses to flee. Instead, Nostradamus charges Alfeo with the task of clearing his name. Now, Alfeo must unravel a web of magic and murder if he is to have any future of his own.
320 pages, Kindle Edition
First published March 6, 2007
22 people are currently reading
718 people want to read
About the author
Dave Duncan
134 books588 followersOriginally from Scotland, Dave Duncan lived all his adult life in Western Canada, having enjoyed a long career as a petroleum geologist before taking up writing. Since discovering that imaginary worlds were more satisfying than the real one, he published more than 60 novels, mostly in the fantasy genre, but also young adult, science fiction, and historical.
He wrote at times under the pseudonym Sarah B. Franklin (but only for literary purposes) and Ken Hood (which is short for "D'ye Ken Whodunit?")
His most successful works were fantasy series: The Seventh Sword, A Man of His Word and its sequel, A Handful of Men, and seven books about The King’s Blades. His books have been translated into 15 languages, and of late have been appearing in audiobook format as well.
He and Janet were married in 1959. He is survived by her, one son and two daughters, as well as four grandchildren.
He was both a founding and honorary lifetime member of SFCanada, and a member of the CSFFA Hall of Fame.
He wrote at times under the pseudonym Sarah B. Franklin (but only for literary purposes) and Ken Hood (which is short for "D'ye Ken Whodunit?")
His most successful works were fantasy series: The Seventh Sword, A Man of His Word and its sequel, A Handful of Men, and seven books about The King’s Blades. His books have been translated into 15 languages, and of late have been appearing in audiobook format as well.
He and Janet were married in 1959. He is survived by her, one son and two daughters, as well as four grandchildren.
He was both a founding and honorary lifetime member of SFCanada, and a member of the CSFFA Hall of Fame.
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Displaying 1 - 30 of 91 reviews
December 19, 2010
Decent mystery but very much historical period reading. Filled with Italian words, and didn't find the end glossary until I was finished. For some reason, my library shelved this in SciFi.
September 18, 2021
“Recite the twelve gates to alchemy, according to the learned Ripley.”
“Calcination, solution, separation, conjunction, putrefaction, congelation, cibation, sublimation, fermentation, exaltation, multiplication, and projection.”
This is about as far the novel goes into the study of alchemy, with a few exceptions related to poisons and demon summoning. The real focus of the story is a criminal investigation of the ‘whodunit’ variety, with some political power games thrown into the mix. I would portray myself deeply disappointed in the exercise, but for the fact that I really like the way David Duncan tells a story, even one that failed to get me truly involved.
In search of things to praise about this debut of a new fantasy series, the best I can come up with is the first person narrator, a young man that goes by the name of Alfeo Zeno. He is the scion of a noble family in Venice during the Renaissance, with a lively interest in art and in the charms of courtesans, a category of ladies much in demand in the period. He is also, due to the financial bankruptcy of his family, apprenticed to study under Master Nostradamus, an elderly alchemist and prophet of doom that many in the Republic consider a crook and a swindler.
When an elderly statesman dies under suspicious circumstances after a dinner and auction of old manuscripts, Nostradamus [who had recently announced the statesman’s death in a horoscope and participated in the evening proceeds], is the main suspect for the secret police in Venice. He sends young Alfeo Zeno out to investigate the matter and prove his innocence.
As mentioned, the voice of Alfeo is a lot of irreverent but informative fun as we stroll in a gondola across the canals or jump from rooftop to bedroom to question the witnesses. Some swordsmanship and some demonology enhance the slow-paced investigation, rife with red herrings and powerful political actors. Dialogues are lively and descriptive passages kept to a minimum, but personally I have come to expect more originality in world-building and plot from Duncan.
All states use torture, of course. The confessions it extracts come with no guarantee of truth, so its main value is to incriminate people – either the victim or others – and terrorize all the rest.
The image of Venice as a police-state takes some adjusting to, but it rings true in historical context. Magic appears only tangentially in the story, in the form of demons, but the main storyline would remain unchanged if you take all these supernatural elements away, prompting me to question the novel’s fantasy credentials when it belongs more in the historical crime section.
Right now, I’m not sure I want to continue with the second book in the series.
December 6, 2016
Duncan is such a relaxed writer. You can coast along with his plot and characters, enjoying his wit, and never once notice which words he used or how he phrased something - it just happens naturally.
It probably takes someone of my age to notice what I don't see mentioned in the comments: this is a flat-out tribute to Rex Stout. Nostradamus is Nero Wolfe - fat genius who never goes out. Alfeo is Archie Goodwin, wisecracking legman and all-round assistant. Violetta is Lily Rowan. Vasco is Lt. Rowcliff. We have people come to visit Nostradamus, and Alfeo makes sure this person gets the red chair and those people get the others ... and we have a big showdown at the end. Also, Alfeo keeps visiting people and appearing to get little information, until we see that he wasn't there for information, he was there to observe behaviour - just as Archie Goodwin usually is. Nostradamus enjoys being a step ahead of Alfeo all the way, but also enjoys watching Alfeo figure it out. There's even a really good lawyer they can turn to, and a superb chef feeding the fat man. OK, the police chiefs don't match up, and there's no Saul Panzer. But as a fan of Nero Wolfe I will say the whole thing is well done and I think Stout would have liked it.
I've been to Venice, and I'll read a book just because it's set there. Duncan throws in a few real places and several fake ones, and gives us a bit of history and gondola facts as we go along.
The extra characters are good, especially Bruno, and the plot is suitably complicated. A couple of characters are implausible, but we eventually find out why. The resolution explains everything quite well, and uses some details that were given to us quite early.
Gotta go, I need to read the next one.
It probably takes someone of my age to notice what I don't see mentioned in the comments: this is a flat-out tribute to Rex Stout. Nostradamus is Nero Wolfe - fat genius who never goes out. Alfeo is Archie Goodwin, wisecracking legman and all-round assistant. Violetta is Lily Rowan. Vasco is Lt. Rowcliff. We have people come to visit Nostradamus, and Alfeo makes sure this person gets the red chair and those people get the others ... and we have a big showdown at the end. Also, Alfeo keeps visiting people and appearing to get little information, until we see that he wasn't there for information, he was there to observe behaviour - just as Archie Goodwin usually is. Nostradamus enjoys being a step ahead of Alfeo all the way, but also enjoys watching Alfeo figure it out. There's even a really good lawyer they can turn to, and a superb chef feeding the fat man. OK, the police chiefs don't match up, and there's no Saul Panzer. But as a fan of Nero Wolfe I will say the whole thing is well done and I think Stout would have liked it.
I've been to Venice, and I'll read a book just because it's set there. Duncan throws in a few real places and several fake ones, and gives us a bit of history and gondola facts as we go along.
The extra characters are good, especially Bruno, and the plot is suitably complicated. A couple of characters are implausible, but we eventually find out why. The resolution explains everything quite well, and uses some details that were given to us quite early.
Gotta go, I need to read the next one.
August 30, 2021
To the legendary clairvoyant Maestro Nostradamus, the future is forever in motion. But for young swordsman Alfeo Zeno, his apprentice and protector, the present is hard enough to contend with. His days are spent poring over astrology charts and making calculations, his nights learning arcane magic or transcribing Nostradamus's nebulous prophecies. Until one night, when the Council of Ten arrives to take the seer into custody.
It seems that a high-ranking friend of the prince died under mysterious circumstances after Nostradamus cast his horoscope, warning of danger-and rumors are swirling that the mystic poisoned the victim to enhance his own reputation. Alfeo is stunned when his master refuses to flee. Instead, Nostradamus charges Alfeo with the task of clearing his name. Now, Alfeo must unravel a web of magic and murder if he is to have any future of his own.
Review.
Dear readers,
DA commenter Evt recommended this book and its sequel to me on my review of one of the books about Archie Goodwin and Nero Wolfe as the duology of the fantasy books which also pay homage to the famous Wolfe and his sidekick Goodwin. It is not surprising at all that I have one clicked those books almost immediately. Overall this was a very enjoyable reading experience, but I did have some niggles.
I am not sure if you never read Wolfe and Goodwin books whether you recognize the homage, but isn't that always the case? If you have not read the originals you would not recognize the writer who decided to celebrate it in their own work. I thought Dave Duncan did the homage very well - we have the main character who amongst his many talents is a brilliant detective and the narrator who can be very amusing and who is a faithful apprentice and protector of his boss. The main character also has the fantastic cook in his house, but he is at best indifferent to her culinary creations. We even have the red chair.
Obviously though Mr. Nostradamus and Alfeo do not live in the America of 30s- 50s, they live in the Renaissance Venice and they are by their main trade an alchemist and his apprentice. Nostradamus does horoscopes, prophecies, things like that and Alfeo is attempting to learn that craft too and at time succeeds.
When killer strikes and our main characters are forced to conduct an investigation because otherwise their own lives can become very complicated, I loved every second of the said investigation. It seemed extremely thorough to me and was developing against the backdrop of very well researched Renaissance Venice. In other words what I thought was holding in my hands was a great historical mystery with the very interesting characters. An aside and not so aside comments about the great city always seemed to be written with great authority. Like this:
“Venice is the most beautiful city in the world, a fairyland of islands and canals set in an opalescent lagoon; it boasts a hundred great palaces and as many glorious churches, all of them treasure chests of incomparable art. Curious, is it not, that the people dress mainly in black? Lawyers, doctors, and widows wear black, as do the hordes of priests, nuns, monks, and friars. A nobleman wears a black robe, black bonnets, and a strip of black cloth, a tippet, draped over his left shoulder. Admittedly nobles holding high office bloom in reds and purples and everyone dresses up for Carnival. The only real exception to the prevailing drabness, though, are young men. I cannot afford to dress in the silks and satins of the true aristocrats, but I emerged from my room resplendent in red knee britches, white stockings, a linen shirt with a modest ruff, puffed sleeves, and lace cuffs, a waist-length doublet striped in blue and white, ornamented with acorn-shaped buttons, topped off with a shoulder cape trimmed with squirrel fur and a bonnet like a gigantic blue puffball.”
Or this:
“Although Florence is a greater weaving center, Venice trades in wool from England and Flanders, cotton from Egypt, silk from Cathay. I knew that Ca’ Orseolo was one of the principal importers of finished fabrics, and I counted ten men unloading bales.”
So, if the book called itself historical mystery I would have been much happier, but presumably it is a fantasy and I just don't know about that - I mean even with main character being an alchemist it felt more like oh this guy is living in Venice and doing whatever suits his fancy. Prophecy, taro cards? By all means, but it seemed that him being a doctor and amateur detective was what he was doing really well.
But then author decided to add *summoning demons* and I had and have no clue as to why we needed to have summoning demons in this book. I mean, it sends the character on the wild goose chase for a little bit, but thats it and we get a lecture about being careful what questions to ask.
The fantasy element seemed tacked on and I don't know what purpose it served. I love fantasy books, I enjoyed so many of them , I just did not feel it made much sense in this book.
And another small niggle . Just as Archie has a lover throughout the books, our Alfeo has a lover in this book too. I thought Alfeo claiming that different aspects of her personality had different names was bizarre. It felt more like she had split personalities and I didn't think it was the purpose - I thought the purpose was to show how complex the woman was with all the depth in her one personality?
I don't have any other issues with this book.
Grade: B/B+
It seems that a high-ranking friend of the prince died under mysterious circumstances after Nostradamus cast his horoscope, warning of danger-and rumors are swirling that the mystic poisoned the victim to enhance his own reputation. Alfeo is stunned when his master refuses to flee. Instead, Nostradamus charges Alfeo with the task of clearing his name. Now, Alfeo must unravel a web of magic and murder if he is to have any future of his own.
Review.
Dear readers,
DA commenter Evt recommended this book and its sequel to me on my review of one of the books about Archie Goodwin and Nero Wolfe as the duology of the fantasy books which also pay homage to the famous Wolfe and his sidekick Goodwin. It is not surprising at all that I have one clicked those books almost immediately. Overall this was a very enjoyable reading experience, but I did have some niggles.
I am not sure if you never read Wolfe and Goodwin books whether you recognize the homage, but isn't that always the case? If you have not read the originals you would not recognize the writer who decided to celebrate it in their own work. I thought Dave Duncan did the homage very well - we have the main character who amongst his many talents is a brilliant detective and the narrator who can be very amusing and who is a faithful apprentice and protector of his boss. The main character also has the fantastic cook in his house, but he is at best indifferent to her culinary creations. We even have the red chair.
Obviously though Mr. Nostradamus and Alfeo do not live in the America of 30s- 50s, they live in the Renaissance Venice and they are by their main trade an alchemist and his apprentice. Nostradamus does horoscopes, prophecies, things like that and Alfeo is attempting to learn that craft too and at time succeeds.
When killer strikes and our main characters are forced to conduct an investigation because otherwise their own lives can become very complicated, I loved every second of the said investigation. It seemed extremely thorough to me and was developing against the backdrop of very well researched Renaissance Venice. In other words what I thought was holding in my hands was a great historical mystery with the very interesting characters. An aside and not so aside comments about the great city always seemed to be written with great authority. Like this:
“Venice is the most beautiful city in the world, a fairyland of islands and canals set in an opalescent lagoon; it boasts a hundred great palaces and as many glorious churches, all of them treasure chests of incomparable art. Curious, is it not, that the people dress mainly in black? Lawyers, doctors, and widows wear black, as do the hordes of priests, nuns, monks, and friars. A nobleman wears a black robe, black bonnets, and a strip of black cloth, a tippet, draped over his left shoulder. Admittedly nobles holding high office bloom in reds and purples and everyone dresses up for Carnival. The only real exception to the prevailing drabness, though, are young men. I cannot afford to dress in the silks and satins of the true aristocrats, but I emerged from my room resplendent in red knee britches, white stockings, a linen shirt with a modest ruff, puffed sleeves, and lace cuffs, a waist-length doublet striped in blue and white, ornamented with acorn-shaped buttons, topped off with a shoulder cape trimmed with squirrel fur and a bonnet like a gigantic blue puffball.”
Or this:
“Although Florence is a greater weaving center, Venice trades in wool from England and Flanders, cotton from Egypt, silk from Cathay. I knew that Ca’ Orseolo was one of the principal importers of finished fabrics, and I counted ten men unloading bales.”
So, if the book called itself historical mystery I would have been much happier, but presumably it is a fantasy and I just don't know about that - I mean even with main character being an alchemist it felt more like oh this guy is living in Venice and doing whatever suits his fancy. Prophecy, taro cards? By all means, but it seemed that him being a doctor and amateur detective was what he was doing really well.
But then author decided to add *summoning demons* and I had and have no clue as to why we needed to have summoning demons in this book. I mean, it sends the character on the wild goose chase for a little bit, but thats it and we get a lecture about being careful what questions to ask.
The fantasy element seemed tacked on and I don't know what purpose it served. I love fantasy books, I enjoyed so many of them , I just did not feel it made much sense in this book.
And another small niggle . Just as Archie has a lover throughout the books, our Alfeo has a lover in this book too. I thought Alfeo claiming that different aspects of her personality had different names was bizarre. It felt more like she had split personalities and I didn't think it was the purpose - I thought the purpose was to show how complex the woman was with all the depth in her one personality?
I don't have any other issues with this book.
Grade: B/B+
This entire review has been hidden because of spoilers.
May 25, 2025
Nero Wolfe in 16th Century Venice!
The Alchemist books are some of my favorite re-reads, and are, I feel, a set of underappreciated gems. In style, they combine a certain brand of classic, old-school mystery with a quite well-researched and well-written historical fiction story, leavened by a dash of remarkably accurate European occult fantasy. It's a complicated mixture, but Duncan makes it look easy.
At the heart of each story is a mystery, with the crotchety old physician and clairvoyant Maestro Nostradamus as our Nero Wolfe, brilliant, irascible, and mischievous, and dashing apprentice and down-at-the-heels nobleman Alfeo Zeno as his quick-witted and quick-tongued Archie Goodwin. The mysteries are classic in construction, with a typically limited cast of suspects, a fairly quick start-to-corpse time, a good progression of information (you're never left spinning your wheels or frustrated, since some new revelation will be forthcoming sooner rather than later), and a good denouement where everything is revealed. Overall, the mysteries are complex and satisfyingly twisty, but at the same time the ultimate explanations are clear enough that everything makes sense at the end.
The other star of the show is the setting. Duncan indulges in some modest anachronisms, but overall the books do an impressive job of portraying the Republic of Venice in its later years, making it feel different and memorable, but still broadly comprehensible. I can't speak to all the elements, not being a specialist in Italian history, but the bits of historical trivia I did recognize were used accurately.
The writing is marvelous, at once evocative and yet uncluttered, and Duncan's skill at writing action-fantasy stories shines through the very well written action sequences that pop up here and there in the books. The descriptions are all well done, and the book is a remarkably easy read.
Characters are somewhat archetypal and static. We are getting a Nero Wolfe pastiche, and it is a very good Nero Wolfe pastiche, but don't come in here expecting dramatic character growth on the part of Alfeo or the Maestro. My hunch is that Duncan decided to hew characters close to archetypes is to give a sense of familiarity in what could otherwise be a rather imposing setting--you might not know how a Venetian Doge works, but Doge Pietro Moro is the kind of irascible but not unfriendly grump that most will recognize, to pick just one example.
Pacing is extremely good throughout, and the pages fly quickly. Duncan takes advantage of his different genres to keep things changed up, giving us some occultism here, a sword fight there, a loving description of Venetian oddness in between, and so forth. At no point in these books do they feel boring or dragging.
Ultimately, I think that these are books that do several fairly difficult things (classic mysteries are considered one of the hardest genres to write, historical fiction can easily falter) and do them well enough to make it look easy. I've read them a few times now, and I expect to keep re-reading them in years to come.
The Alchemist books are some of my favorite re-reads, and are, I feel, a set of underappreciated gems. In style, they combine a certain brand of classic, old-school mystery with a quite well-researched and well-written historical fiction story, leavened by a dash of remarkably accurate European occult fantasy. It's a complicated mixture, but Duncan makes it look easy.
At the heart of each story is a mystery, with the crotchety old physician and clairvoyant Maestro Nostradamus as our Nero Wolfe, brilliant, irascible, and mischievous, and dashing apprentice and down-at-the-heels nobleman Alfeo Zeno as his quick-witted and quick-tongued Archie Goodwin. The mysteries are classic in construction, with a typically limited cast of suspects, a fairly quick start-to-corpse time, a good progression of information (you're never left spinning your wheels or frustrated, since some new revelation will be forthcoming sooner rather than later), and a good denouement where everything is revealed. Overall, the mysteries are complex and satisfyingly twisty, but at the same time the ultimate explanations are clear enough that everything makes sense at the end.
The other star of the show is the setting. Duncan indulges in some modest anachronisms, but overall the books do an impressive job of portraying the Republic of Venice in its later years, making it feel different and memorable, but still broadly comprehensible. I can't speak to all the elements, not being a specialist in Italian history, but the bits of historical trivia I did recognize were used accurately.
The writing is marvelous, at once evocative and yet uncluttered, and Duncan's skill at writing action-fantasy stories shines through the very well written action sequences that pop up here and there in the books. The descriptions are all well done, and the book is a remarkably easy read.
Characters are somewhat archetypal and static. We are getting a Nero Wolfe pastiche, and it is a very good Nero Wolfe pastiche, but don't come in here expecting dramatic character growth on the part of Alfeo or the Maestro. My hunch is that Duncan decided to hew characters close to archetypes is to give a sense of familiarity in what could otherwise be a rather imposing setting--you might not know how a Venetian Doge works, but Doge Pietro Moro is the kind of irascible but not unfriendly grump that most will recognize, to pick just one example.
Pacing is extremely good throughout, and the pages fly quickly. Duncan takes advantage of his different genres to keep things changed up, giving us some occultism here, a sword fight there, a loving description of Venetian oddness in between, and so forth. At no point in these books do they feel boring or dragging.
Ultimately, I think that these are books that do several fairly difficult things (classic mysteries are considered one of the hardest genres to write, historical fiction can easily falter) and do them well enough to make it look easy. I've read them a few times now, and I expect to keep re-reading them in years to come.
June 24, 2019
Fantasy mystery that was much more of a typical mystery than I expected, down to the final murder party. Amusing read, and I did want to know who did it, but also kind of frustrating.
-Strongly reminded me of Nero Wolfe. The main character (Alfeo) in particular kept on reminding me of Archie Goodwin. This meant that I kind of loved him at times but also that when he was not as interesting or cool as Archie, I was always kind of annoyed. Also, his boss reminded me of Wolfe but was not nearly as interesting as Wolfe.
-Somewhat lacked tension except for one scene where it seemed like Alfeo was going to be tortured.
-Alfeo's lover was a little what the fuck. First of all, she was the most famous courtesan in Venice, so why of all people was Alfeo her lover? Secondly, apparently she has different aspects of characters that she plays, which almost seem like split personalities and are all named after women from Roman mythology (Helen, Minerva, Medea, etc). Honestly I liked her but it was just so incredibly extra. Like, you could just say she had mood swings, or that she was just a well-known courtesan, instead of "she's basically seven different people and also the most famous and rich courtesan in Venice".
-Despite the Maestro supposedly being implicated by the murder in the story, he's barely threatened (tho Alfeo has a rough time) and is hardly involved at all by the halfway point.
-There were about three rape jokes. This is not many in a three hundred page novel, I suppose, but frankly, why did there have to be any?
-Muslim assassin spies consorting with demons?? why??
It's like... there were things I liked about the book. Alfeo, being a poor fantasy-lover's Archie Goodwin, was kind of fun. And I did love the minor character Filiberto Vasco, essentially Alfeo's archnemesis on the police force, and all the threats of torture and all. But there were so many things that were just like "why".
So, 2 stars. Could have been three if there were no Muslim assassins consorting with demons or rape jokes but honestly that just sends me over the edge.
Edit: I thought I was just being typical Wolfe fan with the Nero Wolfe comparisons but apparently enough other ppl on the internet agree with me for me to say "okay, this isn't just me, Duncan probably definitely did this on purpose." I'm telling you. Alfeo is Archie. Nostradamus is Wolfe. Violetta ain't really Lily Rowan but she's trying. The vizio is??? some police guy??? and everything is just very Wolfeish okay. I was building this as a conspiracy theory the entire time I was reading. I feel justified. I am putting this on my retellings shelf.
....although I may regret this I kind of want to read the other two books in this series bc damn it, Wolfe pastiche is my kind of deal. Aghghghghghgghghghghghghghghghghgh. Oh well, if I do it I'll do it and if I don't I won't.
-Strongly reminded me of Nero Wolfe. The main character (Alfeo) in particular kept on reminding me of Archie Goodwin. This meant that I kind of loved him at times but also that when he was not as interesting or cool as Archie, I was always kind of annoyed. Also, his boss reminded me of Wolfe but was not nearly as interesting as Wolfe.
-Somewhat lacked tension except for one scene where it seemed like Alfeo was going to be tortured.
-Alfeo's lover was a little what the fuck. First of all, she was the most famous courtesan in Venice, so why of all people was Alfeo her lover? Secondly, apparently she has different aspects of characters that she plays, which almost seem like split personalities and are all named after women from Roman mythology (Helen, Minerva, Medea, etc). Honestly I liked her but it was just so incredibly extra. Like, you could just say she had mood swings, or that she was just a well-known courtesan, instead of "she's basically seven different people and also the most famous and rich courtesan in Venice".
-Despite the Maestro supposedly being implicated by the murder in the story, he's barely threatened (tho Alfeo has a rough time) and is hardly involved at all by the halfway point.
-There were about three rape jokes. This is not many in a three hundred page novel, I suppose, but frankly, why did there have to be any?
-Muslim assassin spies consorting with demons?? why??
It's like... there were things I liked about the book. Alfeo, being a poor fantasy-lover's Archie Goodwin, was kind of fun. And I did love the minor character Filiberto Vasco, essentially Alfeo's archnemesis on the police force, and all the threats of torture and all. But there were so many things that were just like "why".
So, 2 stars. Could have been three if there were no Muslim assassins consorting with demons or rape jokes but honestly that just sends me over the edge.
Edit: I thought I was just being typical Wolfe fan with the Nero Wolfe comparisons but apparently enough other ppl on the internet agree with me for me to say "okay, this isn't just me, Duncan probably definitely did this on purpose." I'm telling you. Alfeo is Archie. Nostradamus is Wolfe. Violetta ain't really Lily Rowan but she's trying. The vizio is??? some police guy??? and everything is just very Wolfeish okay. I was building this as a conspiracy theory the entire time I was reading. I feel justified. I am putting this on my retellings shelf.
....although I may regret this I kind of want to read the other two books in this series bc damn it, Wolfe pastiche is my kind of deal. Aghghghghghgghghghghghghghghghghgh. Oh well, if I do it I'll do it and if I don't I won't.
March 14, 2009
The only other material of Duncan's I'd read was the Seventh Sword saga - and I utterly enjoyed them. This lacked something for me - I've never been a huge fan of whodoneits in general, but hoped that the author's style would pull the thing through.
whilst an enjoyable enough read, there was nevertheless a feeling of something missing and I'm probably going to put the continuing parts of the series deep in my haystack, which I may or may not get through one day.:
whilst an enjoyable enough read, there was nevertheless a feeling of something missing and I'm probably going to put the continuing parts of the series deep in my haystack, which I may or may not get through one day.:
October 2, 2017
Rating
Review
*** This review originally appeared on Out of this World Reviews. ***
Maestro, doctor, alchemist, seer. Nostradamus is all of these things in The Alchemist's Apprentice by Dave Duncan. Such stature is not always of benefit, though, for when Nostradamus foretells an untimely end for a well-to-do government official and that official winds up dead—murdered by poison—Nostradamus himself is suspected of perpetrating the crime to enhance his own reputation as a soothsayer. Now, it's up to the Maestro's assistant, Alfeo Zeno, to clear his master's name and keep the both of them free of Venice's particular form of justice, for Alfeo knows that if his master is found guilty then it's over for him as well.
So begins The Alchemist's Apprentice, a beautifully written fantasy/mystery tale set in the grandeur of 1500's Venice. Duncan's Venezia does differ from the real one in some ways. For one, magic is real, and while its practitioners are persecuted by the church, this stops neither Nostradamus nor Alfeo from its practice. But it is a fine line the two of them walk, for while Nostradamus has the ear of the Doge (pronounced 'doj'), there are others in the government who would like nothing better than to expose Nostradamus as a fraud.
The Alchemist's Apprentice is told in the first person narrative, with Alfeo Zeno as our storyteller. Alfeo is a twenty-something descendant of the highest nobility whose family name is written in the "Golden Book." But generations ago the Zeno's fell on hard times; while Alfeo carries himself as befits his station, he does not lead a life of leisure. As the apprentice of Nostradamus, he works hard as a scribe and gopher while sharpening his Tarot card reading skills under the watchful eye of his master. Alfeo also serves as the eyes and ears of the elder Nostradamus, something which the Maestro takes full advantage of in trying to clear both their names.
While the back cover description makes it sound as if Alfeo is the one leading the investigation, it is really Nostradamus pointing him in the right direction and steering him back on course the few times he strays from the path. But it is most certainly Alfeo who finds himself most at risk as he becomes embroiled in the politics of Venice and especially as he closes in on the real killer.
In terms of style and language, The Alchemist's Apprentice is a thing of beauty. I certainly do not mean that in a literary sense; you won't be overloaded with uselessly elegant prose. But it is a testament to good writing that really helped set the tone. Keep your dictionary close, too; you'll likely need it at least a little.
Duncan picked an excellent setting for his tale, weaving in the dangerous politics of Renaissance-era Venice with the often foreboding, mysterious reputation of Nostradamus. Alfeo provides the light in that darkness and the grounding for the reader, especially as the tale is told from his perspective. Through him, we are introduced to the many different sides of life in Venice, from the highest via his visits to the Doge's Palace (which is adjoined by the torture chambers and prison from which Casanova escaped) to the lowest when he enters the Jewish Ghetto (where Jews were virtually imprisoned from sunset to sunrise).
This tale was all the more poignant for me because my wife and I just visited Italy, including Venice, earlier this year. I can tell you that I was hanging on Duncan's usages of the Doge's Palace, the prisons, the Golden Staircase, and, of course, the Piazza San Marco and Basilica di San Marco. This is the sort of book I would have loved to have read before our trip to Venice (perhaps both before and after would be best).
Duncan also does a fine job with his characters. Nostradamus is just what you might expect: aloof at times, often mysterious, but always with a hint of mischief about him, as if he knows something no one else does (oftentimes, that is exactly the case). Alfeo is likeable and an easy narrator to follow along with. Other characters include a colorful ensemble of house assistants and Nostradamus's personal gondolier, whose two sons add some levity.
The Alchemist's Apprentice is the first of three books in this Venetian fantasy/mystery series. The second is The Alchemist's Code, and the third, The Alchemist's Pursuit. I thought this first book was an enjoyable read and I'm looking forward to reading more tales of Alfeo Zeno and "the Maestro."
Review
*** This review originally appeared on Out of this World Reviews. ***
Maestro, doctor, alchemist, seer. Nostradamus is all of these things in The Alchemist's Apprentice by Dave Duncan. Such stature is not always of benefit, though, for when Nostradamus foretells an untimely end for a well-to-do government official and that official winds up dead—murdered by poison—Nostradamus himself is suspected of perpetrating the crime to enhance his own reputation as a soothsayer. Now, it's up to the Maestro's assistant, Alfeo Zeno, to clear his master's name and keep the both of them free of Venice's particular form of justice, for Alfeo knows that if his master is found guilty then it's over for him as well.
So begins The Alchemist's Apprentice, a beautifully written fantasy/mystery tale set in the grandeur of 1500's Venice. Duncan's Venezia does differ from the real one in some ways. For one, magic is real, and while its practitioners are persecuted by the church, this stops neither Nostradamus nor Alfeo from its practice. But it is a fine line the two of them walk, for while Nostradamus has the ear of the Doge (pronounced 'doj'), there are others in the government who would like nothing better than to expose Nostradamus as a fraud.
The Alchemist's Apprentice is told in the first person narrative, with Alfeo Zeno as our storyteller. Alfeo is a twenty-something descendant of the highest nobility whose family name is written in the "Golden Book." But generations ago the Zeno's fell on hard times; while Alfeo carries himself as befits his station, he does not lead a life of leisure. As the apprentice of Nostradamus, he works hard as a scribe and gopher while sharpening his Tarot card reading skills under the watchful eye of his master. Alfeo also serves as the eyes and ears of the elder Nostradamus, something which the Maestro takes full advantage of in trying to clear both their names.
While the back cover description makes it sound as if Alfeo is the one leading the investigation, it is really Nostradamus pointing him in the right direction and steering him back on course the few times he strays from the path. But it is most certainly Alfeo who finds himself most at risk as he becomes embroiled in the politics of Venice and especially as he closes in on the real killer.
In terms of style and language, The Alchemist's Apprentice is a thing of beauty. I certainly do not mean that in a literary sense; you won't be overloaded with uselessly elegant prose. But it is a testament to good writing that really helped set the tone. Keep your dictionary close, too; you'll likely need it at least a little.
Duncan picked an excellent setting for his tale, weaving in the dangerous politics of Renaissance-era Venice with the often foreboding, mysterious reputation of Nostradamus. Alfeo provides the light in that darkness and the grounding for the reader, especially as the tale is told from his perspective. Through him, we are introduced to the many different sides of life in Venice, from the highest via his visits to the Doge's Palace (which is adjoined by the torture chambers and prison from which Casanova escaped) to the lowest when he enters the Jewish Ghetto (where Jews were virtually imprisoned from sunset to sunrise).
This tale was all the more poignant for me because my wife and I just visited Italy, including Venice, earlier this year. I can tell you that I was hanging on Duncan's usages of the Doge's Palace, the prisons, the Golden Staircase, and, of course, the Piazza San Marco and Basilica di San Marco. This is the sort of book I would have loved to have read before our trip to Venice (perhaps both before and after would be best).
Duncan also does a fine job with his characters. Nostradamus is just what you might expect: aloof at times, often mysterious, but always with a hint of mischief about him, as if he knows something no one else does (oftentimes, that is exactly the case). Alfeo is likeable and an easy narrator to follow along with. Other characters include a colorful ensemble of house assistants and Nostradamus's personal gondolier, whose two sons add some levity.
The Alchemist's Apprentice is the first of three books in this Venetian fantasy/mystery series. The second is The Alchemist's Code, and the third, The Alchemist's Pursuit. I thought this first book was an enjoyable read and I'm looking forward to reading more tales of Alfeo Zeno and "the Maestro."
July 4, 2012
Review circa 2008
Tempted though I was to start this review by anointing The Alchemist's Apprentice my favorite fantasy novel yet, I don't think I can actually do that.
For one thing, there are about 35 other Duncan fantasy novels with claim to that title. Duncan keeps getting better and better, yet I still have a soft spot for many of his classic fantasies, so it is difficult to definitively argue that The Alchemist's Apprentice is his best fantasy novel ever.
For another, I'm not convinced this is a fantasy novel, though it is clearly being marketed as such and will undoubtedly be enjoyed by Duncan's regular fantasy readership. But swashbuckling action aside, this is really an historical mystery, a who-done-it set in the Medici era Venice. True, there is one brief scene in which our hero consults a demon, but even here the description of the necromancy is entirely consistent with contemporary Renaissance accounts (such as that in Benvenuto Cellini's autobiography) so feels more like 'historical depiction' than 'fantasy'.
And then there is the whole Nostradamus angle. Frankly, if this had been by anyone else, I don't think I could have gotten past the backcover blurb. A novel about Nostradamus working to solve a murder in which he himself is implicated? New Age nonsense meets National Inquiry headlines? But fortunately, Duncan's wry humour prevails and the book isn't really about that Nostradamus — not Michel Nostradamus — but his great nephew Felipe. Duncan is thus free to characterize Nostradamus as a cranky, manipulative old fraud without having to worry about offending against true believers or historical accuracy. And it is kind of fun to speculate how Nostradamus would have fared as a detective navigating through the convoluted political and commercial conspiracies of Medici Venice.
The story unfolds, however, as a first person narrative by Nostradamus' dashing apprentice, Alfeo Zeno. Zeno is no mere chronicler of his Maestro's genius, but a fast-talking, quick-witted, lovable young rogue in his own right. Zeno deftly avoids the machinations of various spies, commercial agents, and the Medici's police, while advancing his own affair with the most desirable courtesan in the city. In the best who-done-it tradition, everyone is a suspect, and Zeno has to weave his way through contradictory evidence, red herrings, and sudden insights to collect the evidence his Maestro has asked for, never quite knowing what the Maestro is after. I confess that Duncan also kept me guessing until the last, and kept me frantically turning pages long after I should have been abed. (I strongly advise setting the book aside until one has sufficient time to read it in one go, because once begun, it is impossible to put down.)
Filled with Machiavellian plotting, heart-stopping action, and convincing historical detail that makes Medici-era Venice come alive, Alchemist's Apprentice is Duncan at his rollicking best.
Tempted though I was to start this review by anointing The Alchemist's Apprentice my favorite fantasy novel yet, I don't think I can actually do that.
For one thing, there are about 35 other Duncan fantasy novels with claim to that title. Duncan keeps getting better and better, yet I still have a soft spot for many of his classic fantasies, so it is difficult to definitively argue that The Alchemist's Apprentice is his best fantasy novel ever.
For another, I'm not convinced this is a fantasy novel, though it is clearly being marketed as such and will undoubtedly be enjoyed by Duncan's regular fantasy readership. But swashbuckling action aside, this is really an historical mystery, a who-done-it set in the Medici era Venice. True, there is one brief scene in which our hero consults a demon, but even here the description of the necromancy is entirely consistent with contemporary Renaissance accounts (such as that in Benvenuto Cellini's autobiography) so feels more like 'historical depiction' than 'fantasy'.
And then there is the whole Nostradamus angle. Frankly, if this had been by anyone else, I don't think I could have gotten past the backcover blurb. A novel about Nostradamus working to solve a murder in which he himself is implicated? New Age nonsense meets National Inquiry headlines? But fortunately, Duncan's wry humour prevails and the book isn't really about that Nostradamus — not Michel Nostradamus — but his great nephew Felipe. Duncan is thus free to characterize Nostradamus as a cranky, manipulative old fraud without having to worry about offending against true believers or historical accuracy. And it is kind of fun to speculate how Nostradamus would have fared as a detective navigating through the convoluted political and commercial conspiracies of Medici Venice.
The story unfolds, however, as a first person narrative by Nostradamus' dashing apprentice, Alfeo Zeno. Zeno is no mere chronicler of his Maestro's genius, but a fast-talking, quick-witted, lovable young rogue in his own right. Zeno deftly avoids the machinations of various spies, commercial agents, and the Medici's police, while advancing his own affair with the most desirable courtesan in the city. In the best who-done-it tradition, everyone is a suspect, and Zeno has to weave his way through contradictory evidence, red herrings, and sudden insights to collect the evidence his Maestro has asked for, never quite knowing what the Maestro is after. I confess that Duncan also kept me guessing until the last, and kept me frantically turning pages long after I should have been abed. (I strongly advise setting the book aside until one has sufficient time to read it in one go, because once begun, it is impossible to put down.)
Filled with Machiavellian plotting, heart-stopping action, and convincing historical detail that makes Medici-era Venice come alive, Alchemist's Apprentice is Duncan at his rollicking best.
February 17, 2009
The story is told entirely from Alfeo's perspective, which provides plenty of action, since he does most of the actual detective work. His voice gives a lovely cynical tone to everything and brings a dry wit to even the darker scenes, where the very real possibility of torture is hanging over his head. He's a delightfully human protagonist, distracted by women even when he knows better, annoyed to find virtues in men he dislikes, and as motivated by personal gain as anyone else. For all this, though, he's clever and never quite lets his biases get the better of him, even when he'd really like to.
Duncan's old Italy is a richly detailed place, full of politics and subtle magics. The political hierarchy, the modes of transportation, the manner of dress and common pastimes all come into play without relying on long descriptive passages, making the story's backdrop as lively as any of the characters. Which is not to say the characters are lacking; I loved the quirks of the secondary characters, particularly Violetta, the ever-changing courtesan Alfeo fancies, Giorgio, the gondolier with more children than the old woman in the shoe, and Nostrodamus himself, portrayed here as an irritable but hyper intelligent gnome-like person (and incidentally, nephew to the legendary figure we think of when the name Nostrodamus is brought up).
Basically, The Alchemist's Apprentice was a very memorable read, the type of story where all the subtleties in prose and character development come together to create the sort of world you can lose yourself in. It's not going to hit you over the head (although there is a nifty plot twist near the end); it's the sort of thing that needs a bit of deliberation, and in fact the more I think about the story, the better I think I liked it.
Duncan's old Italy is a richly detailed place, full of politics and subtle magics. The political hierarchy, the modes of transportation, the manner of dress and common pastimes all come into play without relying on long descriptive passages, making the story's backdrop as lively as any of the characters. Which is not to say the characters are lacking; I loved the quirks of the secondary characters, particularly Violetta, the ever-changing courtesan Alfeo fancies, Giorgio, the gondolier with more children than the old woman in the shoe, and Nostrodamus himself, portrayed here as an irritable but hyper intelligent gnome-like person (and incidentally, nephew to the legendary figure we think of when the name Nostrodamus is brought up).
Basically, The Alchemist's Apprentice was a very memorable read, the type of story where all the subtleties in prose and character development come together to create the sort of world you can lose yourself in. It's not going to hit you over the head (although there is a nifty plot twist near the end); it's the sort of thing that needs a bit of deliberation, and in fact the more I think about the story, the better I think I liked it.
February 2, 2009
Alfeo Zeno is a minor noble, skilled swordsman, and apprentice to the notable physician and astrologer Nostradamus. He has enough on his plate to keep his day-to-day life busy and fulfilling, as he practices his skills in the beautiful city of Venice and tries to learn everything his master has to teach him. But when a high-ranking noble dies after an event at which Nostradamus is present, and after receiving a horoscope cast by the physician that predicted the danger, the Council of Ten suspects the worse. Alfeo is charged by his master with the task of solving the mystery, finding the murderer, and clearing Nostradamus of any suspicion of wrongdoing.
I thoroughly enjoyed this book. I'm always a little bit put off by first-person narratives, since many authors cannot write them with skill, but Duncan handled it expertly and then some. I enjoyed seeing this story progress through Alfeo's eyes; his humor and wit, not to mention his powers of observation, kept the story flowing smoothly. Actually, I think that based on the concept of the story, first-person perspective probably worked better than third-person; if we knew what everyone was thinking, it would ruin the excitement of the mystery. The cast of characters is colorful and entertaining, and all of the major personalities are very well fleshed-out. I especially loved Duncan's descriptive language - some of the ways that Alfeo has of describing his master made me giggle a little, and the somewhat unconventional figurative language really helped me to get a clear mental image of the characters. I enjoyed this book and I'm really excited to read the next one!
I thoroughly enjoyed this book. I'm always a little bit put off by first-person narratives, since many authors cannot write them with skill, but Duncan handled it expertly and then some. I enjoyed seeing this story progress through Alfeo's eyes; his humor and wit, not to mention his powers of observation, kept the story flowing smoothly. Actually, I think that based on the concept of the story, first-person perspective probably worked better than third-person; if we knew what everyone was thinking, it would ruin the excitement of the mystery. The cast of characters is colorful and entertaining, and all of the major personalities are very well fleshed-out. I especially loved Duncan's descriptive language - some of the ways that Alfeo has of describing his master made me giggle a little, and the somewhat unconventional figurative language really helped me to get a clear mental image of the characters. I enjoyed this book and I'm really excited to read the next one!
May 31, 2016
A fun, evocative, historical mystery with a touch of the arcane. Get to know medieval Venice - the city, and its political intrigues - through the eyes of Alfeo Zeno, apprentice to the renowned Nostradamus. When Nostradamus himself is implicated in a death after one of his predictions come true, Alfeo must clear his master's name.
September 5, 2019
Good read...
December 12, 2021
It's a brilliant homage to Rex Stout's Nero Wolfe stories - the main characters (elderly Nostradamus and Alfeo Zeno) are easily recognizable as Wolfe and Archie, but there are enough differences that they are intriguing on their own. The time period is different (it’s set in Venice circa 16th-17th century), and the society and the customs are different - enough that Alfeo cannot easily get various influental people to talk to him and it’s very interesting to see how he navigates the Venetian society and does his investigating.
The supernatural aspect adds quite a bit of excitement and tension. I see Alchemist’s Apprentice billed as fantasy, but it’s as much fantasy as “Master and Margarita” is. Basically the premise is that some of the arcane arts associated with Nostradamus do work (like clairvoyance actually helps to foretell events and summoning a demon really can end up in summoning a demon) but the society views them in much the same way as it did back then (i.e. if the Church can prove that you dabble in black arts, you are burned at the stake as a witch).
Nostradamus (not the famous Michel Nostradamus but his nephew, which is understandable because it allows Duncan to rewrite history) is teaching Alfeo Zeno arcane arts, so Alfeo is constantly mindful of the threat of getting caught. Still most of his sleuthing is done in the traditional way - by going places and talking to people, and Duncan does a great job of making Renaissance Venice come alive. I liked how the main characters managed to untangle the mystery despite all odds and Zeno is somehow much more likeable than Archie at times.
The whole book was very refreshing to read - references to Wolfe got me into the series (Alchemist’s Apprentice is the first book of a trilogy) but I kept reading because it was really so enjoyable on its own, I’m glad to have discovered it and only wish I’d done so sooner.
The supernatural aspect adds quite a bit of excitement and tension. I see Alchemist’s Apprentice billed as fantasy, but it’s as much fantasy as “Master and Margarita” is. Basically the premise is that some of the arcane arts associated with Nostradamus do work (like clairvoyance actually helps to foretell events and summoning a demon really can end up in summoning a demon) but the society views them in much the same way as it did back then (i.e. if the Church can prove that you dabble in black arts, you are burned at the stake as a witch).
Nostradamus (not the famous Michel Nostradamus but his nephew, which is understandable because it allows Duncan to rewrite history) is teaching Alfeo Zeno arcane arts, so Alfeo is constantly mindful of the threat of getting caught. Still most of his sleuthing is done in the traditional way - by going places and talking to people, and Duncan does a great job of making Renaissance Venice come alive. I liked how the main characters managed to untangle the mystery despite all odds and Zeno is somehow much more likeable than Archie at times.
The whole book was very refreshing to read - references to Wolfe got me into the series (Alchemist’s Apprentice is the first book of a trilogy) but I kept reading because it was really so enjoyable on its own, I’m glad to have discovered it and only wish I’d done so sooner.
January 5, 2020
Should be titled The Astrologist's Apprentice, or else The Prognostigator's Apprentice, since we never see or hear of anyone doing alchemy! Nostrodomus uses a crystal ball to see into the future in a trance and writes down cryptic lines (like the Oracle at Delphi they often don't make sense until after the event the predicted!) and forgets as soon as he comes out of his trance. So he and his apprentice look over his scribblings and try to make sense of them. THere is also mention of some astrology: some planet in some aspect or whatever. But no alchemy.
Mostly we read of the Apprentice, Alfeo, running around or being rowed by gondola to various places to investigate a murder and clear the name of his master (cuz the police just automatically assume he dun it--remind me never to go to Italy, they can throw you in jail on a whim and you have a hard time proving your innocence). Oh, and there's use of Tarot cards a couple times, and a demon is summoned.
I still don'[t get why the murderer did it. The ending scene, ala Poirot, was confusing. I don't think I want to read any more of this series which pains me to say because I wanted to read everything that Duncan ever wrote. But alas, this series is not for me.
Mostly we read of the Apprentice, Alfeo, running around or being rowed by gondola to various places to investigate a murder and clear the name of his master (cuz the police just automatically assume he dun it--remind me never to go to Italy, they can throw you in jail on a whim and you have a hard time proving your innocence). Oh, and there's use of Tarot cards a couple times, and a demon is summoned.
I still don'[t get why the murderer did it. The ending scene, ala Poirot, was confusing. I don't think I want to read any more of this series which pains me to say because I wanted to read everything that Duncan ever wrote. But alas, this series is not for me.
May 24, 2019
A fun historical whodunnit, set in renaissance Venice following Alfeo, the apprentice to Nostradamus (Felipe, not his more well-know relative Michel) as he attempts to solve a murder before his master can be accused of committing it.
This one is a lot more historical and a lot less fantasy than Duncan's usual fare, but there are enough references to and manifestations of the occult to satisfy people looking for a little more.
Definitely enjoyable, looking forward to the other two books in the series.
This one is a lot more historical and a lot less fantasy than Duncan's usual fare, but there are enough references to and manifestations of the occult to satisfy people looking for a little more.
Definitely enjoyable, looking forward to the other two books in the series.
October 26, 2019
This book is historical fiction and a little too descriptive for my tastes. Yes it has a tarot reading and suggests magic. 100 pages in and a rather boring mystery is in play. I am not certain as to who had died or why I should care but I am tried of all the Italian words describing the streets and canal's that have little bearing on the greater tale. I will not be finishing this one.
February 12, 2022
Just not my stuff! Crime in Venice? Read Donna Leon! Guys solving a murder? Holmes and Watson! A demon and some horoscopes won't make it fantasy! Well, it may have a bit of everything, but not enough for a real story.
September 4, 2017
Good read!!
October 3, 2018
Interesting story line. Very difficult to keep the characters straight. Glossary in the back of the book helps. Very interesting twist at the end.
Don't know if I will read the next one.
Don't know if I will read the next one.
March 3, 2019
Weinig fantasy, in essentie gewoon een detective verhaal
December 28, 2019
It's written in an okay style but there is no action. Is like nothing happens. I stopped reading at page 135 cause I was so bored.
April 26, 2024
Enjoyed it more than I expected
December 17, 2024
Worthwhile reread. No wonder the series stayed in my mind for decades despite being only 4 stars on first reread.
July 19, 2016
Alfeo Zeno is of noble blood, but ended up as the obedient and not incapable apprentice of a grouch named Nostradamus. That grouch also happens to be an extremely capable doctor, astrologist, academic, clairvoyant and demon-summoning-master guy.
When one of Nostradamus’ doom-predicting prophecies comes true, some suspect that Nostradamus had poisoned the old fart to make his prophesying power look legitimate. Well, sort of. Alfeo is sent on a quest to investigate the real murderer, a quest that takes him around town (1600/1700’s Venetian Republic) to talk to an inordinate amount of people, get thrown in jail, work with a guy who wants to throw him in jail, and get mobbed by louts. Not in that order. Fun, eh?
The Writing: 7/10
"In Venice people are defined by their costumes. A tradesman does not dress like a shopkeeper or a courtesan like a lady. It mattered that I was stubbled, tangled, and rumpled but it mattered much more that I was dressed as an apprentice, not a nobleman." -Dave Duncan
Told in first person POV by Alfeo, the writing is no-nonsense and solid rather than trying to be fancy. I would say it’s an adult category book because it doesn’t have so much of the young adult voice, but content-wise there’s nothing to prevent it from being YA. The Alchemist’s Apprentice is categorised as science fiction/fantasy but the fantasy part really plays a minimal role; it’s really a historical mystery.
For a mystery, it wasn’t as gripping as I thought it should have been. There were huge long passages of descriptions of the city and the government. Excellent world building. I could see the gondoliers rowing down the canal and smell the dust of books that lined Nostradamus’ shelves. That helped to really bring the world to life, but also hurt the pace; those passages were sometimes a little too much, and slowed some parts of the book to a crawl.
There wasn’t a real tone of urgency in the book, besides the very beginning and the very end. Although it seems like Nostradamus may be in trouble, the police go about things very slowly, or Alfeo goes about things too quickly so it doesn’t feel like there’s too much at stake. I mean, the man takes time out of his investigation to go court his lady friend. More than once! The low urgency was disappointing for me because I like my mysteries to be gripping, and to have high stakes. Otherwise, why bother spending all that effort to investigate?
The characters were fun and witty but there were far too many of them to get to know. At times, the book felt like a storm of names and titles. And the odd Italian word or two (the glossary is a must read!). Alfeo is well characterised, his lady is an enigma, and his master is cranky and crazily wise. The rest of the characters are just faces in a crowd.
Personal Enjoyment: 5/10
It’s not a bad book. I enjoyed it. But I also had to put it down several times because it didn’t hold me. Late at night, it didn’t keep me up; it incited my yawns. I wasn’t compelled to race to the finish. I was barely compelled to pick the book up. I didn’t really care who ended up being the culprit. I barely even cared if Alfeo found the culprit because the characters themselves didn’t seem to care overly much.
The world was great. Some of the characters were great. The motive for the investigation was weak and honestly, knocking on a bunch of people’s doors, asking them the same questions and getting kicked out or getting the same responses is not super interesting to me. That feels too much like what real cops do. And real life is only interesting sometimes.
This is the first of a series, but I don’t think I will be reading the next books.
In summary, this book was built with good parts, but the whole was less than the sum of the parts.
Check out more of my reviews on my blog: https://quillsandroses.wordpress.com/
When one of Nostradamus’ doom-predicting prophecies comes true, some suspect that Nostradamus had poisoned the old fart to make his prophesying power look legitimate. Well, sort of. Alfeo is sent on a quest to investigate the real murderer, a quest that takes him around town (1600/1700’s Venetian Republic) to talk to an inordinate amount of people, get thrown in jail, work with a guy who wants to throw him in jail, and get mobbed by louts. Not in that order. Fun, eh?
The Writing: 7/10
"In Venice people are defined by their costumes. A tradesman does not dress like a shopkeeper or a courtesan like a lady. It mattered that I was stubbled, tangled, and rumpled but it mattered much more that I was dressed as an apprentice, not a nobleman." -Dave Duncan
Told in first person POV by Alfeo, the writing is no-nonsense and solid rather than trying to be fancy. I would say it’s an adult category book because it doesn’t have so much of the young adult voice, but content-wise there’s nothing to prevent it from being YA. The Alchemist’s Apprentice is categorised as science fiction/fantasy but the fantasy part really plays a minimal role; it’s really a historical mystery.
For a mystery, it wasn’t as gripping as I thought it should have been. There were huge long passages of descriptions of the city and the government. Excellent world building. I could see the gondoliers rowing down the canal and smell the dust of books that lined Nostradamus’ shelves. That helped to really bring the world to life, but also hurt the pace; those passages were sometimes a little too much, and slowed some parts of the book to a crawl.
There wasn’t a real tone of urgency in the book, besides the very beginning and the very end. Although it seems like Nostradamus may be in trouble, the police go about things very slowly, or Alfeo goes about things too quickly so it doesn’t feel like there’s too much at stake. I mean, the man takes time out of his investigation to go court his lady friend. More than once! The low urgency was disappointing for me because I like my mysteries to be gripping, and to have high stakes. Otherwise, why bother spending all that effort to investigate?
The characters were fun and witty but there were far too many of them to get to know. At times, the book felt like a storm of names and titles. And the odd Italian word or two (the glossary is a must read!). Alfeo is well characterised, his lady is an enigma, and his master is cranky and crazily wise. The rest of the characters are just faces in a crowd.
Personal Enjoyment: 5/10
It’s not a bad book. I enjoyed it. But I also had to put it down several times because it didn’t hold me. Late at night, it didn’t keep me up; it incited my yawns. I wasn’t compelled to race to the finish. I was barely compelled to pick the book up. I didn’t really care who ended up being the culprit. I barely even cared if Alfeo found the culprit because the characters themselves didn’t seem to care overly much.
The world was great. Some of the characters were great. The motive for the investigation was weak and honestly, knocking on a bunch of people’s doors, asking them the same questions and getting kicked out or getting the same responses is not super interesting to me. That feels too much like what real cops do. And real life is only interesting sometimes.
This is the first of a series, but I don’t think I will be reading the next books.
In summary, this book was built with good parts, but the whole was less than the sum of the parts.
Check out more of my reviews on my blog: https://quillsandroses.wordpress.com/
July 15, 2012
I had read Dave Duncan’s “The King’s Blades” years ago and quite enjoyed it. Not enough though to actually keep an eye on the author and buy his books religiously like I tend to do with some other authors.
But when I was browsing new fantasy releases and came across his name it rang a bell in a positive way. And the backdrop of Venice sounded like an interesting and different setting. The book I was looking at was actually the third in the Alchemist series so I decided to start with the first of course – this one.
Now that I was read it I don’t think I will get any more of the series. Which – I must stress – is not the fault of the author at all.
This book is exceptionally well written and researched. It just isn’t the type of book I enjoy. If you like detective stories AND fantasy this series will be a dream come true for you.
First up there is the beautiful writing style. Mr. Duncan writes in first person, telling the story from Alfeo’s view and he portrays a very likeable and believable main character. All the characters are actually well crafted with tiny quirks, well inserted descriptions of them and their own behaviours and style of speech befitting their station.
The book is filled with details about Venice – names, places, even painters fitting into the era. It also has a fair amount of Italian words sprinkled in that greatly enhance the feeling for the setting (all Italian words are explained in a glossary at the end of the book).
I also must commend Mr. Duncan for his extensive vocabulary. It has been a long time since I have needed to check a dictionary while reading. I had to do so repeatedly here.
The plot is a multi layered “who done it” with twist and turns and the classic revealing of the murderer in a re-enacted gathering of everyone present at the murder with Maestro Nostradamus presenting the clues and the murderer in true detective style.
So what did I not like about it?
Well, I don’t enjoy detective stories. They are too slow with too much talk and too little action and heroics for my taste. I thought a fantasy version might be different or interest my but after reading this I can safely say – no.
So the 2 out of 5 points are purely MY PERSONAL TASTE. If I was to rate this on expertise of the author it could well have 4 out of 5.
But when I was browsing new fantasy releases and came across his name it rang a bell in a positive way. And the backdrop of Venice sounded like an interesting and different setting. The book I was looking at was actually the third in the Alchemist series so I decided to start with the first of course – this one.
Now that I was read it I don’t think I will get any more of the series. Which – I must stress – is not the fault of the author at all.
This book is exceptionally well written and researched. It just isn’t the type of book I enjoy. If you like detective stories AND fantasy this series will be a dream come true for you.
First up there is the beautiful writing style. Mr. Duncan writes in first person, telling the story from Alfeo’s view and he portrays a very likeable and believable main character. All the characters are actually well crafted with tiny quirks, well inserted descriptions of them and their own behaviours and style of speech befitting their station.
The book is filled with details about Venice – names, places, even painters fitting into the era. It also has a fair amount of Italian words sprinkled in that greatly enhance the feeling for the setting (all Italian words are explained in a glossary at the end of the book).
I also must commend Mr. Duncan for his extensive vocabulary. It has been a long time since I have needed to check a dictionary while reading. I had to do so repeatedly here.
The plot is a multi layered “who done it” with twist and turns and the classic revealing of the murderer in a re-enacted gathering of everyone present at the murder with Maestro Nostradamus presenting the clues and the murderer in true detective style.
So what did I not like about it?
Well, I don’t enjoy detective stories. They are too slow with too much talk and too little action and heroics for my taste. I thought a fantasy version might be different or interest my but after reading this I can safely say – no.
So the 2 out of 5 points are purely MY PERSONAL TASTE. If I was to rate this on expertise of the author it could well have 4 out of 5.
February 27, 2017
Cute. It was fun and breezy, although it delved a lot into Italian politics in the age of Nostradamus, which I found boring.
December 11, 2009
I find I have a great many books in my library by Dave Duncan. The title was the first thing that caught my eye, and the cover followed. Finally I saw that it was by Duncan. I must have just glanced at the marketing blurb for it was only after I started reading did I realize that we had a Renaissance who-dun-it.
Our hero is the apprentice of Nostradamus who is not nearly as fascinating as the Serene Republic where our story takes place. My library has only a small handful of books with Venice as a background, but all are charming in their way for the city is rich in cultural material seemingly at all periods of its existence.
The mystery is solid and has its share of red-herrings and coincidence. But as I mentioned it is far more interesting to follow all the layers that is Venice and this is just but the beginning to that.
This may be a story that gets read only once, for it is not full of depth for a series, though more books are being released. Where Duncan takes us with the likable hero will be important. It is definitely work reading if you like the Renaissance and should like to know more about Venice.
Our hero is the apprentice of Nostradamus who is not nearly as fascinating as the Serene Republic where our story takes place. My library has only a small handful of books with Venice as a background, but all are charming in their way for the city is rich in cultural material seemingly at all periods of its existence.
The mystery is solid and has its share of red-herrings and coincidence. But as I mentioned it is far more interesting to follow all the layers that is Venice and this is just but the beginning to that.
This may be a story that gets read only once, for it is not full of depth for a series, though more books are being released. Where Duncan takes us with the likable hero will be important. It is definitely work reading if you like the Renaissance and should like to know more about Venice.
May 12, 2013
I can't believe this was written by the King's Blades author. It's a well-researched novel with realistic settings and likable main character (rare thing in first person narrative!), but it's very dull and flat. I expected something more exciting and complex. Instead, it's basically a Poirot novel told from clueless Hastings's perspective. Main character, Alfeo Zeno, keeps touring the city on his Master's orders and that's it. There's even a long-winded speech at the end detailing the motives and means of murder. Nothing happens. Alfeo asks a few questions here and there and then someone else sweeps in with an explanation. The end.
I can't even say whether I liked this book or not. I kept waiting for stuff that never happened; basically some of the thrill and charm Duncan's other works have. The plot was simple, characters (ones that are supposed to recur) very few, and the whole thing was written on one thread. If not for the atmosphere and language, the setup would almost fit YA literature with its simplicity. Definitely not something I expected.
I can't even say whether I liked this book or not. I kept waiting for stuff that never happened; basically some of the thrill and charm Duncan's other works have. The plot was simple, characters (ones that are supposed to recur) very few, and the whole thing was written on one thread. If not for the atmosphere and language, the setup would almost fit YA literature with its simplicity. Definitely not something I expected.
August 25, 2016
Dave Duncan leaves alternate fantasy worlds behind with this novel based in Renaissance Venice. His descriptions of the vibrant city state and it's inhabitants imbue the story of the adventures of an apprentice to the alchemist and seer Nostradumus with an authentic and very believable atmosphere. Nostradumus acts as a problem solver, kind of like a detective, for his clients who need a mystery or private problem resolved with discretion. His dashing apprentice Alfeo is the one who has to do all the footwork, as Nostradumus is old and never leaves the palatial casa he rents from an old rich noble. Alfeo prowls around the city, making inquiries, both mundane and magical, while trying his best to avoid irritating the local constabulary. If you enjoy a fantasy setting where the hero's are trying to unravel a mystery, and where while magic is present it's not an overriding th
eme, then this book will appeal to you.
eme, then this book will appeal to you.
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