Secrecy
A Novel
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- ¥2,400
発行者による作品情報
A sorcerer in wax. A fugitive. Haunted by a past he cannot escape. Threatened by a future he cannot imagine.
Zummo, a Sicilian sculptor, is summoned by Cosimo III to join the Medici court. Late seventeenth-century Florence is a hotbed of repression and hypocrisy. All forms of pleasure are brutally punished, and the Grand Duke himself, a man for whom marriage has been an exquisite torture, hides his pain beneath a show of excessive piety.
The Grand Duke asks Zummo to produce a life-size woman out of wax, an antidote to the French wife who made him suffer so. As Zummo wrestles with this unique commission, he falls under the spell of a woman whose elusiveness mirrors his own, but whose secrets are far more explosive. Lurking in the wings is the poisonous Dominican priest, Stufa, who has it within his power to destroy Zummo’s livelihood, if not his life.
In this highly charged novel, Thomson brings Florence to life in all its vibrant sensuality, while remaining entirely contemporary in his exploration of the tensions between love and solitude, beauty and decay. When reality becomes threatening, not to say unfathomable, survival strategies are tested to the limit. Redemption is a possibility, but only if the agonies of death and separation can be transcended.
PUBLISHERS WEEKLY
Beautifully evocative prose ("A burnt-orange sun dropped, trembling, from behind a bank of cloud, like something being born") makes this unusual historical novel truly memorable. In 1691, a mysterious artist known as Zummo, or Zumbo, with a taste for the macabre, is summoned to Florence by Cosimo III, the Grand Duke of Tuscany. After viewing a typically grim sample of Zummo's work, a tableau in wax depicting plague victims in various stages of deterioration (titled The Triumph of Time), Cosimo hires Zummo to craft a realistic-looking, life-sized woman out of wax. The commission rubs Dominican cleric Stufa, the spiritual adviser to Cosimo's mother, the wrong way. Subsequent court intrigue turns deadly, and, throughout, the reader wonders about the prologue, set in 1701, in which Zummo meets the abbess of a convent in Orl ans, Marguerite-Louise, whom he confronts with news of her secret daughter before launching into a flashback to his involvement with the Grand Duke. But the plot twists take a back seat to the complex picture Thomson gives of his oddball protagonist, a man given to wandering around carrying "little theaters filled with...the dead and dying" in the name of art.
