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The Lizard's Bite
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Editorial Reviews
From Publishers Weekly
Starred Review. British author Hewson's wonderfully complex and finely paced fourth crime novel (after 2005's The Sacred Cut) to feature Roman detective Nic Costa and his unconventional partner, Gianni Peroni, finds the pair exiled to Venice, where they look into the case of glassmaker Uriel Arcangelo, who apparently killed his wife, Bella, then committed suicide. Instead of coming to the foreordained conclusion higher authority demands, Costa and Peroni determine, "We're no longer trying to understand the means Uriel Arcangelo used to kill his wife. But why, how and with whom the late Bella appears to have conspired to kill him." An urbane and wealthy Englishman who wants to buy the Isolo di Archangeli glassworks becomes an important suspect. Hewson is particularly strong on characterization, revealing each personality subtly and naturally as he or she reacts to the intricate plot developments. Newcomers as well as series fans will be enthralled. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From Booklist
At the end of Hewson's superb Sacred Cut (2005), Roman cops Nic Costa and Gianni Peroni, along with their maverick boss, Leo Falcone, were all in jeopardy, having both outfoxed and offended the Eternal City's leading powerbrokers. Now exiled to Venice, Costa and Peroni find themselves with another hot-potato case on their hands. After being reunited with Falcone, the pair is offered a chance to return to Rome if they will rubber stamp a murder investigation on the island of Murano, where a glassmaker apparently has killed his wife and then died himself when the furnace he was tending exploded. Naturally, Costa and Peroni smell a fix and can't resist following the scent. The setup here stretches credulity a bit--Why ask three notorious rule breakers to go through the motions?--but Hewson takes the story well beyond its genre-bound premise, mixing Venetian ambience ("the lethargic melancholy of the lagoon") and the lore of glassmaking with a multifaceted examination of his characters' (especially Falcone's) dark sides. A richly ambiguous finale only adds to the pleasure. Bill Ott
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
See all Editorial Reviews
Starred Review. British author Hewson's wonderfully complex and finely paced fourth crime novel (after 2005's The Sacred Cut) to feature Roman detective Nic Costa and his unconventional partner, Gianni Peroni, finds the pair exiled to Venice, where they look into the case of glassmaker Uriel Arcangelo, who apparently killed his wife, Bella, then committed suicide. Instead of coming to the foreordained conclusion higher authority demands, Costa and Peroni determine, "We're no longer trying to understand the means Uriel Arcangelo used to kill his wife. But why, how and with whom the late Bella appears to have conspired to kill him." An urbane and wealthy Englishman who wants to buy the Isolo di Archangeli glassworks becomes an important suspect. Hewson is particularly strong on characterization, revealing each personality subtly and naturally as he or she reacts to the intricate plot developments. Newcomers as well as series fans will be enthralled. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From Booklist
At the end of Hewson's superb Sacred Cut (2005), Roman cops Nic Costa and Gianni Peroni, along with their maverick boss, Leo Falcone, were all in jeopardy, having both outfoxed and offended the Eternal City's leading powerbrokers. Now exiled to Venice, Costa and Peroni find themselves with another hot-potato case on their hands. After being reunited with Falcone, the pair is offered a chance to return to Rome if they will rubber stamp a murder investigation on the island of Murano, where a glassmaker apparently has killed his wife and then died himself when the furnace he was tending exploded. Naturally, Costa and Peroni smell a fix and can't resist following the scent. The setup here stretches credulity a bit--Why ask three notorious rule breakers to go through the motions?--but Hewson takes the story well beyond its genre-bound premise, mixing Venetian ambience ("the lethargic melancholy of the lagoon") and the lore of glassmaking with a multifaceted examination of his characters' (especially Falcone's) dark sides. A richly ambiguous finale only adds to the pleasure. Bill Ott
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
See all Editorial Reviews
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