First Sentence: A man and a woman deep in conversation
approached the steps of Pone dei Lustraferi, both looking hot and uncomfortable
on this late July afternoon.
Benedetta Toso, a dying hospice patient who asks to speak with the
police, claims her husband, Vittorio Fadalto, was murdered over “bad money.”
Commissario Brunetti and his colleague, Claudia Griffoni, promise to
investigate the matter, but was it murder or an accident? Suspicions mount as
they learn more about Vittorio's job collecting samples of water to be tested
for contamination. Piecing together the tangled threads, Brunetti comes to
realize the perilous meaning in the woman’s accusation and the threat it
reveals to the health of the entire region.
With an excellent beginning, one learns that being a Neapolitan in
Venice is a "far greater handicap than being a woman."—and that one
may not want to visit Venice during the summer. Leon's voice is always a
pleasure. When talking about the heat, she conveys the sense of it without
referencing it directly --"Brunetti realized only then how hot he
was. He tried to lift his right leg, but it was glued to the chair by
sweat." It is these touches that bring Venice to life by allowing us to
see the city as those who live there do.
There is a second plot thread of two Romany pickpockets. It is interesting to learn the differences between how crimes are
handled in Italy versus the United States. The secondary plot does raise
interesting points.
Leon's
descriptions, from the route to an address Brunetti takes that only a resident
would know, to his description of a room badly decorated, to food, are a
delight and bring the city to life. Even a plate of sandwiches at a bar sound
good--"From the sides of the sandwiches spilled ham, egg tomato, tuna
salad, radicchio, rucola, shrimp, artichokes, asparagus, and
olives."
Leon is wonderful at injecting verbal exchanges to make one
chuckle. When called into his boss's office, Signorina Elettra
remarks--"If you aren't out in fifteen minutes, I'll call the
police." However, she is also very good at making one pause and consider,
as with Bruno's conversation with a nurse--"But if you work with death,
you have to become spiritual, or you can't do it any more. ... when they get
close to the end, you can sense their spirit, or you sense that it's
there. They do, too. And it helps them. And us." She
knows how to touch one's emotions-- "Griffoni…raised a hand and threw open
her palm, as if to release the dead woman's spirit into the air. The three of
them remained silent for enough time to allow that spirit to escape the
room..."
There is something wonderful about a policeman who reads
Lysistrata for pleasure and describes Agamemnon as a "windbag
commander." The relationship between Brunetti and his wife Paoli adds
normality. It is one of a couple who has been married a long time and still
loves one another. An interesting characteristic of Leon is that when her
characters are in a professional setting, she references them by their
surnames, yet when in a personal setting, or amongst one another as friends,
she uses their first names.
Leon is incredibly good at building a story. She takes one along
with her through the steps with an amazing subtlety to the clues.
"Trace Elements" is a police procedural without car
chases or gunplay, but with a somewhat political theme. It is a very contemporary
mystery with a contemporary crime. It reflects on the degradation of true
justice in our time and on compromise. For some, the ending may not seem
satisfactory, but upon reflection, there is some small justice amidst justice
that cannot be achieved.
TRACE ELEMENTS (PolProc-Comm. Guido Brunetti-Venice-Contemp) - VG
Leon, Donna
– 29th in series
Atlantic
Monthly - Mar 2020
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