Anyone who follows my reviews will know that I am a fan of Donna Leon and love her characters. Emphasis on character. If you want action you will be bored. On the other hand if you enjoy character development with occasional lapses into discussion of Cicero and Ovid, not to mention Henry James, and biting commentary on the state of Italian government and the corruption of Italian society, you cannot help but love Leon’s books.My biggest complaint with this audiobook is the reader, David Colacci. The earlier titles were all read by Anna Fields/Kate Fields who, I thought, did a magnificent job. Perhaps I just resent Colacci’s taking over for her following her 2006 tragic early death in a flash flood that overwhelmed her Seattle basement studio. She had been one of my favorite readers. Now, I like David Colacci, but when you have grown used to a particular voice who has become like an old friend, the adjustment can be jarring and perhaps that explains why I didn’t seem to like About Face as much as some of the earlier books. A stupid reason, I know, but, there it is. Since I fully intend to listen/read the several remaining books in the series (I see there is another due to be released soon - The Jewels of Paradise) I’m just going to have to adjust.
All of her books that I have read reveal the underbelly of Italian (Venetian especially) society and Guido must usually walk a tightrope over the incompetent and corruption that surrounds him and the city I will always hear her voice as Commissario Brunetti.
There is a wonderful scene in the beginning of About Face where Paolo and Brunetti have been invited over to the Count’s (I’ll assume you have read other Leon titles so no explanations will be needed of the characters,) and Guido is faced with an evening he hates: small talk. But to his surprise, the beautiful woman across the table has read Virgil and Cicero and Brunetti indulges his love of books. On the way home, Paola accuses him of being too attentive to the woman: Paola stopped and looked him in the eye. Instead of answering, she asked, coolly, 'And what, pray tell, was that all about?' 'I beg your pardon,' Brunetti answered, stalling. 'You beg my pardon because you don't understand my question, or you beg my pardon because you spent the evening talking to Franca Marinello and ignoring everyone else?' The vehemence of her question surprised Brunetti into bleating out, 'But she reads Cicero.' 'Cicero?' asked an equally astonished Paola. 'On Government, and the letters, and the accusation against Verres. Even the poetry,' he said. Suddenly struck by the cold, Brunetti took her arm and started up the bridge, but her steps lagged and slowed him to a halt at the top. Paola moved back to get perspective on his face, but kept hold of his hand. 'You realize, I hope, that you are married to the only woman in this city who would find that an entirely satisfactory explanation?'
I was struck by one metaphor and comment. Brunetti is musing about how the Mafia has become so interwoven in Italian society with support of the Allies after WW II who were totally paranoid about the Italian Communists. (This had me rushing to the web, but it appears to have a factual basis although I remain skeptical.) Brunetti then likens the Mafia to the poisonous cane toad, a noxious little creature that can't be killed by stabbing or other means and only crows have become their natural enemy by flipping them over and pecking out the entrails. Lovely image but, Brunetti surmises, the only way to eliminate the Mafia.
That scene encapsulates the Leon series and why they are so wonderful.
Ref: http://www.bunker8.pwp.blueyonder.co.uk/orgcrim/mafiacor.htm
