Brunetti was satisfied to see that he had been right about the coda. It was decorated with sprigs of rosemary, and a radish.t"Why do they do that to food?" he asked, pointing with his chin at the Count's plate.t"Is that a real question or a criticism of the service?" the Count asked.tt"Just a question," Brunetti answered.tThe Count picked up knife and fork and separated the fish to see if it was cooked all through. Seeing that it was, he said, "I remember when, for a few thousand lire, you could get a good meal at any trattoria or osteria in the city. Risotto, fish, a salad, and good wine. Nothing fancy, just the good food that the owners probably ate at their own table. But that was when Venice was a city that was alive, that had industry and artisans. Now all we have is tourists, and the rich ones are accustomed to fancy stuff like this. So to appeal to their tastes, we get food that's been made to look pretty." He took a bite of the fish. "At least this is good, as well as pretty." (p. 68-69)"One of the reasons I've been trying to explain to you is just that, that your pursuit of what you construe as justice takes up . . . " Here he paused and moved his empty wine glass back and forth on the table, holding it between the knuckles of his first and second finger. He looked up at Brunetti and smiled, though the sight of his smile made Brunetti sad. "It takes up too much of your spirit, Guido, and I think Paola suffers from that."t"You mean it takes up too much of my time?"t"No. I mean what I said. You get involved in these crimes and with the people that commit them or suffer them, and you forget about Paola and the children."t"That's not true. I'm seldom gone from them when I should be there. We do things together."t"Please, Guido," the Count said in a softer voice. "You're too intelligent a man to believe, or expect me to believe, that just being in a place or with a person means all of you is there. Remember, I've been around you when you've been working on something, and I know what you're like. Your spirit disappears. You talk and listen, go places with the children, but you're not really there." (p. 70)"If you've changed a baby's nappy for a year, and fed her, and sung her to sleep, then you know when she's happy or sad." Before Brunetti could object, the Count continued, "And it makes no difference whether the baby is four months or forty years old or if the cause is colic or an uneasy marriage. Yo know. So I know she's not happy."tBrunetti's protestations of innocence or ignorance died there. He'd changed napes himself and spent many nights holding the children in his lap, reading to them, while they cried or fell off to sleep, and he'd always believed it was those nights, more than anything else, that had given him a kind of radar that responded to the state of their -- he had to use the Count's word here -- spirits. (p. 71)tBrunetti's thoughts went from Paola's happiness to his own, and he surprised himself by realizing that it had never before occurred to him to wonder whether he was happy or not. In love with his wife, proud of his children, capable of doing his job well, why would he worry about happiness, and what more than these dealings could happiness be comprised of? (p. 87)tSome odd linkage of ideas in his mind had Brunetti remembering something Paola had once said, years ago, when he told her about the way Alvise, the dullest policeman on the force, had suddenly been transformed by love, raving on about the charms of his girlfriend or wife -- Brunetti could now no longer remember which. He recalled laughing at the very idea of Alvise in love, laughing until Paola had said, voice icy, "Just because we're smarter than people doesn't mean our emotions are any finer, Guido."tEmbarrassed, he had tried to argue the point, but she had been, as she always was when intellectual truth was concerned, both rigorous and relentless. "It's convenient for us to think that the nasty emotions, hate and anger, can adhere to the lower orders, as if they owned them by right. So that leaves us, not surprisingly, to lay claim to love and joy and all those high-souled things." He'd tried to protest, but she'd cut him short with a gesture. "They love, the stupid and the dull and the crude, quite as strongly as we do. They just can't dress their emotions up in pretty words the way we do." (p. 170-171)
First Sentence: There was nothing much to notice about the field, a hundred-metre square of dry grass below a small village in the foothills of the Dolomites.On the recently purchased property of a doctor near the Italian Dolomites is found the much decomposed body of a young man. Near it is a ring bearing the crest of the Lorenzonis, one of Italy’s most aristocratic families, whose son had been abducted two years ago. Comm. Guido Brunetti reviews the file and decides to unofficially re-investigate the case. The more he learns, the more he questions whether the kidnapping was as it appeared.Leon writes some of my favorite characters. Guido Brunetti has a strong moral and ethical code as well as a need to seek out what is just. He has a strong marriage and a close relationship with his children, although these were relatively absent from this book, and is developing a closer relationship with his wife’s parents. Then there is the remarkable Signorina Elettra, of whom each reader should have the pleasure of discovering on their own. I particularly like that, in this book, we learn more of Guido’s own family and his past. I also appreciate that we see the principal characters grow and develop with each book in the series. The book is so well written and I love her use of language. There is a classicism to it that reflects the characters and the author and makes her books such a pleasure to read. Leon creates a very strong sense of place that takes the reader along with the characters. I’ve not visited Venice, but nearly forget that when I read her books. Her descriptions of food always leave me heading for the kitchen. The plot was very well done. In essence, it is a story of families and the impact they can have upon us. It is also a story of greed; for money, prestige and false respect. I’ve always respected that we see the progress of the investigation as Brunetti does, rather than everything revealed at the end. Within the story are scenes that are touching, suspenseful and tragic. This was a very good book. I am delighted to know I have many more books in the series ahead of me.A NOBLE RADIANCE (Pol Proc-Comm. Guido Brunetti-No. Italy-Cont) – VG+Leon, Donna – 7th in seriesPenguin Books, 1998, US Paperback – ISBN: 0142003190
Do You like book A Noble Radiance (2003)?
Ehhhhh this one was OKAY. The mystery was at least mildly interesting (view spoiler)[(nuclear arms! although only someone in the family could have done it, so that process of elimination is a bit boring after Maurizio dies and, you know, there's one person left) (hide spoiler)]
—Emily
This was my first book to read by Donna Leon but I am delighted to know that it is the 14th in a series of detective stories starring Commissario Guido Brunetti. Set in Italy, there are many references to the Venetian setting and a few Italian phrases thrown in which adds to the bella flavor of the book. This mystery reads like a good old fashioned "whodunnit" set in modern times as evidenced by the use of computer data to help solve the mystery. Commissario Brunetti is methodical in his detective methods and takes his time to reflect on all the clues. His frustration with the Italian system of justice is evident throughout the novel and probably is a true reflection of honest real-life detectives working in modern Italy. At 237 pages, it is a quick read especially since one wants to keep reading to the end to discover the culprit.
—Jo Ellen
Once more Donna Leon tackles the social problems of Venice and the foibles of the police department. In this book, the body of a young man who had been kidnapped two years previously is discovered in a field outside of Venice. Brunetti becomes involved since the young man's family is Venetian and the kidnapping occurred in Venice. As usual, all is not what it seems and the case becomes much more involved ultimately involving foreign trade in illegal, really illegal substances. There is no neat completion to the story; as in life, it does not get neatly wrapped up and put on the shelf. Brunetti finds much of his wisdom in reading classical literature and here uses Cicero's On The Good Life for his inspiration on the divisions of moral goodness: "The first is the ability to distinguish truth from falsity, and to understand the relationship between one phenomenon and another and the causes and consequences of each one. The second category is the ability to restrain passions. The third is to behave considerately and understandingly in our associations with other people." Doesn't seem like much has changed.Much of the appeal of Leon's books is the exotic setting: Venice with its decay and grandeur and also the style of living. One almost feels like joining in the family lunches and dinners; even though I don't know what some of the food is, I always think it must be delicioso! The culture of the police department and the general bueaucracy of the country along with references to the Mafia and to the general government corruption makes me wonder how Italians feel about her books. I have found that the character of Elettra, the behind scenes power in the Questora (although technically the secretary to the Vice-questura) continues to develop and be fleshed out. Good series; I'll be sad when I've reached the last for now.
—Lois
