‘Vengeance in Venice’ - By Philip Gwynne Jones

Having really enjoyed Nathan Sutherland’s first outing, ‘The Venetian game’, I was excited to pick up this sophomore effort from Phillip Gwynne Jones and spoiler alert, it didn’t disappoint.

The author uses the first few chapters to (re)introduce our protagonist, the translator, and honorary consul Nathan Sutherland, as well as to set the wider scene of the Venetian biennial.

Although pleasant to read, I was getting a little impatient for the action to begin, and as if sensing that Jones gives us our first death, as an esteemed yet bitchy British art critic is accidentally decapitated at the end of the vernissage of an exhibition at the British Pavilion. An error by the exhibits construction crew, surely?

This death sets in motion events that would draw Sutherland further into the greed, betrayal and manipulation of the art world, and leave him a desperate man not only fighting for his freedom but his life. Very much mirroring his disintegrating relationship with Federica, who wants him to grow up and give away some of his near-bachelor like living and to offer more of his life to their relationship.

Anyway, back to the story. After picking up the pace, I felt the book settled comfortably in the middle. It was still interesting and a good, easy read that never makes continuing a chore, but for a notable portion of the mystery, and indeed the violence and its threat, seemed slightly detached from our hero. Sure, there were moments but stakes weren’t realised enough to give the story, nor his private investigating real urgency.

Again, it was as if Jones heard me, and then responded with, ‘You want urgency, I’ll give you urgency’, and I felt the final third of the book was a masterclass. Jones not only ramped up the action and tension but also effectively portrayed it on the page. Some chapters were nothing short of perfection. And this turned a fun, easy-read into something that was addictive. Quite frankly, I just couldn’t put down.

In part I put this down to the Jones having honed the character of Sutherland, which really helped me as a reader identify and get to know him. From the dry, self-deprecating humour and his mannerisms and tells, it really added an extra layer to the book. One note I made was that you come for the elaborate crime in Venice, but you really stay for the character. It really is his interactions with both the crime and the city that make this book work.

Whether it is because of an increase in confidence by the author, or just a craftsman further perfecting his trade, ‘Vengeance in Venice’ hits all the right notes.

Also, any fans of 70s horror and gialli will get a kick out of the nice brief references dotted about in the book.