Deborah Swift

The story starts with Giulia Tofana, introduced in The Poison Keeper, still living in the Jewish ghetto in Venice with her lover Fabio. Things have changed, though. She has had two children who both died and she and Fabio have adopted Mia, a young girl now on the cusp of womanhood. The new setup marks a sharp change of gear from the previous story, The Silkworm Keeper. According to a historical note at the end of the book, this was driven largely by the need to adapt the story to take account of new information about Giulia Tofana that has turned up since the first in the trilogy, The Poison Keeper, was written. Whatever the reason, it’s worked out very well. The Poison Keeper is a brilliant book, but keeping the plot going for a second in the series was a stretch and I wasn’t sure that a third would work. The reset that the new research has made necessary means that The Fortune Keeper is able to draw a deep breath and, to a degree, start again, bringing new life to the series.

Not that we are starting from scratch. Several characters and incidents from the previous books feature crucially in the plot. Although The Fortune Keeper works as a standalone novel it would benefit a lot from a brief summary of the key points of the earlier books to guide any new readers.

So what does The Fortune Keeper offer? Firstly, a wonderful view of Renaissance Venice. I don’t know a lot about Venetian history but I found Swift’s Venice completely convincing. It’s rich but decadent. The palaces are already crumbling; the tides regularly flood houses and businesses. It’s a city where corruption runs deep. There are gamblers and whores everywhere (though Swift resists the temptation to titillate with sex). We are in the Renaissance, so Mia is able to go to lectures on astronomy. There are new and better telescopes, but they are as often used to produce more precise horoscopes than to research the heavens. Some people are pointing out that the earth moves round the sun but the Inquisition are busy and awful penalties await those who dismiss the Church’s cosmology too openly.

We follow Mia through marketplaces, into silk workshops, on visits to an old astrologer and on and off gondolas and the Venetian equivalent of buses, traghettos, larger vessels that run to timetables. Life is governed by those traghetto timetables and the state of the tides and, as Giulia and her family live in the Jewish ghetto, by the times that the ghetto gates are locked.

There’s a little about the Jews, tolerated because they were the city’s bankers but not really trusted. (Apparently the Venetians were 300 years ahead of the Nazis when it came to making Jews wear yellow badges on their coats.) We learn, too, about the guild system among gondoliers, but this isn’t an essay on Venetian society. It’s a thriller and a romance, starting slow but building up to a dramatic and bloody climax. And, like all the best thrillers, it has a wonderful villain. The man is a fraud, a swindler and a serial killer – but he does have style.

The climax is, perhaps, a little rushed. It’s a bit like those movies where people move in the shadows, shots ring out, the villain collapses and the hero stands over him as the credits roll. Personally, I prefer the Lee Child approach to violent denouements. I want the hero to feint with his left and lead with his right and only as he lies helpless (some blackguard probably hit him from behind) does he draw the pistol concealed in his boot and bring the villain down. Maybe that’s just me but I think that if you are doing the big fight scene, go all in or go home.

Since I wrote this, I’ve read Swift’s latest, The Silk Code, where the fight scenes match anything Lee Child has done, so I’ve no idea why this one didn’t work for me. It’s quite a minor quibble in any case. The important thing is that mysteries are solved. Some relationships are cleared up (no spoilers), others not. Life moves on. As do Mia and Guilia. It will be interesting to see where Ms Swift takes them next.… (altro)

The Shadow Network takes us back to the world of WW2 espionage that she introduced in The Silk Code. This story features Neil Callaghan from the earlier book but it is a separate story about a different aspect of Britain’s secret war against Germany. It centres on the work of the Political Warfare Executive which pumped out black propaganda to the Reich. It was a significant part of the British war effort, pioneering tactics that we see used in conflicts nowadays. It’s fascinating stuff and deserves to be better known. Swift, as ever, writes with authority and I loved those parts of the book.

The social background to the story also gives vivid insights into the world of the time. The heroine, Lilli Bergen, is a half-Jewish German, who we first meet living in Berlin. Swift gives some idea of the reality of life for Jews at the time. Lilli’s (non-Jewish) father disappears into the camps – her mother is already dead – and Lilli flees to Britain. There, she thinks she is safe until she is caught up in the anti-German hysteria that saw Jewish refugees rounded up alongside Nazi sympathisers and interned on the Isle of Man. Swift catches the terror of Jews who had lived under a police state being suddenly ordered from their homes to live, without family or friends, behind barbed wire.

Fortunately for Lilli, the Political Warfare Executive needs a German singer to entertain on a radio show designed to appeal to German soldiers. The songs are interspersed with propaganda designed to undermine morale.

In her new job she meets an old boyfriend from Germany – somebody she believes to be a Nazi collaborator. Instead of denouncing him to the police, she decides to investigate on her own. It’s a trope of this sort of fiction (one I’ve been accused of myself) that your hero will find themselves in a situation where they have to undertake a risky job without any kind of backup, although they are surrounded by people who could easily help them. Swift does a good job of explaining why Lilli insists on becoming a (frankly unconvincing) Mata Hari even when she has clear evidence that her ex-boyfriend is a wrong ’un, but I did struggle to suspend my disbelief. I had particular problems when she gets engaged to the villain and moves in with him. I know it was wartime and that people let things slip a little, but I was surprised that nobody seems to have thought this was odd. What, to me, was even odder was that, though the man is a cad and a bounder, he accepts that they will share a bedroom without actually having sex. That’s a necessary plot device, as there is a romantic subplot in which Lilli is saving herself for her true love.

Will Lilli save the day and will her apparent philandering be forgiven? No plot spoilers here, but no great surprises in the book either.

Like all Deborah Swift’s books, this is a joy to read and the story bowls along fast enough to skim over the more implausible elements – and you learn a lot about the war years on the way.… (altro)

One of the things that really impresses me about Swift’s writing is her ability to move, apparently effortlessly, between different historical settings. Last week I was reviewing her 17th century Italian renaissance novel, The Fortune Keeper, and this week we are in World War II. Life in London during the Blitz is wonderfully evocative, with trips to a Lyons Corner House where you eat Shepherd’s Pies that are mainly potato and beetroot is everywhere. Normal life continues between air raid warnings. It’s spot on.

I can hardly mention the plot. It starts with Nancy being betrayed by her fiancé practically on the eve of their wedding. She flees her quiet life in Scotland to move to London where she gets a job in the offices where her brother works. When she applies, she has no idea that she will be a decoder with the Special Operations Executive – part of the lifeline supporting field agents in occupied Europe.

She soon finds herself falling for a young man who has arrived to shake up the way the SOE codes its messages. So far, so clichéd (and the opening pages with the cad in Scotland did leave me worrying that the book might all be a bit of a cliché). But suddenly the plot kicks into gear with twists and turns that continue throughout the book. Infuriatingly, as a reviewer, I can’t say anything about any of them because any clue as to what is coming will spoil the story. (The title is a spoiler in itself, which annoyed me. I bet that was the publisher’s choice and not the author’s.)

What I can say is that the romantic betrayal that the story starts with is just the first of many betrayals we are going to discover. This is a story about loyalty and betrayal: betrayal because of cowardice or betrayal because you have to sacrifice your friends for your country. It reminds us that not that long ago London was full of people with secrets, determined that no one should ever learn what they were doing for their country – or for the enemy.

Swift writes about the experience of agents in the field and how they can (or more often can’t) survive in a world where German troops are everywhere and where nobody can be trusted. There are scenes of considerable violence. I complained in a review of another Deborah Swift book that she couldn’t write a fight scene, but the fight scenes here are terrific – and she is not afraid to depict the horror of killing with bare hands or whatever tools are available. One agent kills someone by hitting them with a spade and the reality of that killing and how it feels to murder someone so up close and personal is chillingly spelled out.

Whatever you do, don’t get attached to anyone. The body count is high and the human costs of Occupation are graphically captured. Usually you can reassure yourself that it will all come well at the end, but I kept turning the pages worrying about who would die next.

The book ends without the irritating cliff hanger that too many authors put at the end of the first book in what is clearly going to be a series. (OK, someone survives. But I’m not telling you who.) The fact that there will be a Book Two leaves the end of The Silk Code mildly anticlimactic. There is still a war. There will be more deaths. But briefly, until the next book starts, we are allowed an interlude of something almost like peace.

This is a brilliant book, one of Swift’s best. I can’t wait for the next one.… (altro)

FROM AMAZON: Giulia Tofana longs for more responsibility in her mother’s apothecary business, but Mamma has always been secretive and refuses to tell her the hidden keys to her success. But the day Mamma is arrested for the poisoning of the powerful Duke de Verdi, Giulia is shocked to uncover the darker side of her trade.

Giulia must run for her life, and escapes to Naples, under the shadow of Mount Vesuvius, to the home of her Aunt Isabetta, a famous courtesan. But when Giulia hears that her mother has been executed, and the cruel manner of her death, she swears she will wreak revenge on the Duke de Verdi.

The trouble is, Naples is in the grip of Domenico, the Duke’s brother, who controls the city with the ‘Camorra’, the mafia. Worse, her Aunt Isabetta, under his thrall, insists that she should be consort to him.

Based on the legendary life of Giulia Tofana, this is a story of hidden family secrets, and how courage and love can overcome vengeance.… (altro)