"The world we live in makes that necessary," Brunetti presciently replies.
Count Falier was urging his Venetian son-in-law to investigate, and preferably intervene in, the seemingly innocent plan of the Count's best friend, the elderly Gonzalo Rodr guez de Tejada, to adopt a much younger man as his son.
Under Italian inheritance laws this man would then be heir to Gonzalo's entire fortune, a prospect Gonzalo's friends find appalling. For his part, Brunetti wonders why the old man, a close family friend, can't be allowed his pleasure in peace.
And yet, what seems innocent on the Venetian surface can cause tsunamis beneath. Gonzalo unexpectedly, and literally, drops dead on the street, and one of his friends just arrived in Venice for the memorial service, is strangled in her hotel room--having earlier sent Gonzalo an email saying "We are the only ones who know you cannot do this," referring to the adoption.
Now with an urgent case to solve, Brunetti reluctantly untangles the long-hidden mystery in Gonzalo's life that ultimately led to murder--a resolution that brings him way more pain than satisfaction.
Once again, Donna Leon brilliantly plumbs the twists and turns of the human condition, reuniting us with some of crime fiction's most memorable and enduring characters.
The death of an inoffensive veterinarian takes Commissario Guido Brunetti once more into the heart of the human beast.
Even after the victim is identified—and it’s a good long time before he is—the name of Dottor Andrea Nava’s killer seems less mysterious than the question of why someone, anyone, would have stabbed him in the back three times and dumped his body into a Venetian canal.
Although he’s estranged from his wife, Anna Doni, she faints from either grief or guilt when Brunetti and his friend, Inspector Lorenzo Vianello, break the news to her. Clara Baroni, his assistant at the Clinica Amico Mio veterinary practice, can shed no light on his death.
And although his sad little dalliance with Giulia Borelli, Director Alessandro Papetti’s assistant at the slaughterhouse where he moonlighted part time, may have threatened his marriage, it hardly seems a weighty enough motive for murder. It’s not until after a tour of the slaughterhouse brings Brunetti and Vianello up against the horrid realities behind the meat they placidly consume every day that Brunetti realizes that carcasses aren’t the most bestial presences lurking there.
Brunetti, who airily tells his wife Paola, “I don’t do ethical,” spends less time than usual (Drawing Conclusions, 2011, etc.) butting heads with his nemesis, Vice-Questore Giuseppe Patta. But his conspiratorial dealings with his omni-competent assistant Signora Elettra and his suave attempts at acting dumb while he’s questioning his few suspects are equally rewarding.
