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1 of 1 people found the following review helpful:
3.0 out of 5 stars
Great idea, but the plot..., 27 Jun 2002
It's a neat idea. DaVinci puts all his energies into engineering projects, rather than art, and suddenly Renaissance Florence is full of dark satanic mills.It's very well, and originally, thought out. McAuley eschews special effects and whizz-bang anachronisms (apart from a cheeky little car chase, bravo!) for clever social and political extrapolation, giving us a plausible picture of an unexpectedly industrialised Italian city state. In a pleasing twist, for example, the hi-tech, relatively secularised Italians get first dibs on America, ensuring more cordial relations with the native population, and hence a small dollop of Native American culture taking hold back home (while the rabidly Catholic Spanish froth desparately at the mouth to get some converting done). All this is done subtly, through convincing, earthy dialogue and unobtrusive, passing details that never feel like the idea is being indulged at the expense of the story. However, it's that very story that undoes all this good work, a locked room murder that develops somewhat incoherently into a full blown MacGuffin chase. McAuley introduces too many characters, a shame because his two central ones are so well-drawn that we could spend more time with them. He layers up the intrigue so heavily that I had to read certain chapters twice before I could figure out what was going on: not good in something that's supposed to be a ripping thriller. The major problem, however, is the Big Red Herring. What are all these shady characters after? McAuley spends so much time misleading us on this, that when we finally discover the real object of desire, it feels perfunctory and irritating, like those bad detective shows where the murderer is always, by default, the one least likely to have done the deed. McAuley could, and can, do better.
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