2006-01-02 "It's Venice. Nothing has been real here since Napoleon."

Setting this novel in Venice immediately after World War II, Joseph Kanon creates a stimulating mystery that turns the city itself into a major character. Venice, unlike other areas of Italy, has not been damaged physically by the war, and life is returning to normal. The political atmosphere, however, remains turbulent. Aristocrats, businessmen, and politicians who cooperated with the fascists and Germans are still in power. Partisans who fought the fascists and Germans regard many of these people as traitors and want justice. The Communists are making inroads into society with their promises of reform.

Into this milieu comes Grace Miller, an American widow, and her son Adam, just released from the US Army as part of a de-Nazification team in Frankfurt. Grace is about to marry Gianni Maglione, a Venetian doctor, and Adam wonders about Gianni's past. Soon Adam meets Claudia Grassini, a young Jewish woman who survived internment in Fossoli, and they begin a passionate affair. When Claudia is introduced to Gianni at a party, however, she recognizes him immediately, telling Adam that Gianni betrayed her very sick father to security forces rounding up Jews.

Using his past army connections to get further information about Gianni, Adam investigates, but violence soon changes the focus of his energies, and the nightmare involving Adam, his family, and Claudia intensifies. Adam's extreme introspection as he helps the police investigate broadens the scope and focuses attention on important themes of crime and justice, and Claudia's vulnerability as a result of the Holocaust gives added poignancy to her similar self-examinations.

With a setting so vivid that one cannot imagine the story taking place anywhere else, the reader sees Venice shining, but beneath the surface it is a decaying city, literally sinking under its own weight. War crimes, hate crimes, crimes of passion, crimes committed for altruistic reasons, and crimes committed in self-defense all play a part in the plot. Kanon also raises questions about the punishments, if any, associated with these crimes. Are some crimes less "serious," or even justifiable, if they balance the scale of justice? Is the murder of a criminal excusable? Does justice depend on who wins? Ultimately, a chase scene through the canals of Venice, leads to a stunning conclusion, filled with twists, though whether justice is truly served remains an open question. Mary Whipple