Praise for A Question of Belief:
“The much-admired atmosphere of Donna Leon’s mysteries derives from more than their pungent descriptions of Venetian life. Not that we don’t appreciate the scenic walks and vaporetto rides her detective, Commissario Guido Brunetti, takes from the police station in Castello to the apartment off the Grand Canal . . . But the special atmosphere that permeates Leon’s novels—and especially her latest, A Question of Belief—has more to do with the sense it conveys of a Venice teetering on the edge of oblivion and living on the faith that it won’t fall in . . . While Brunetti is allowed to express his anger and disgust with a society that nurtures and protects its own worst villains, Leon is generous enough not to let this honest man succumb to despair.”—Marilyn Stasio, New York Times Book Review
“Leon’s books are a joy, and the 19th Venice-based Commissario Brunetti novel is well up to her consistently high standard . . . All the Leon hallmarks are here: clear, unshowy writing, atmosphere, humanity and believable characters.”—Guardian
“There are a bare handful of mystery authors who can maintain quality over 19 books. There are even fewer who can claim the latest works are some of their best. A Question of Belief puts Donna Leon in that category. It is a stunning novel, the best of this brilliant series, with a twist at the end that will leave even the most sophisticated reader gasping . . . Fans shouldn’t miss this, and if you’re not already a devotee, start here and work your way backward.”—Globe and Mail
“On the surface, this is another entry in a reliable series. But it also obliquely addresses the issues of legal gerrymandering, faith and corruption that bedevil Leon’s adopted country.”—Independent
“Commissario Guido Brunetti is firmly within the European tradition of cultured coppers and gentleman sleuths—dedicated, thoughtful, empathetic, careworn, but without the obsessive self-destruction of (too?) many Yank and Brit contemporaries . . . Leon vividly churns the social and political stew of her adopted city through Brunetti’s eternally dismayed but unvanquished eyes. Despite a wry, laconic delivery, her soft, lingering touch reveals a keen compassion as Brunetti’s cynical fatalism vies with a stubborn faith.”—Winnipeg Free Press
“Masterful . . . Brunetti patiently untangles a sordid skein of desires warped, trusts abused, and loves distorted into depravity. As one good man who still believes in the rule of law despite his disgust at Italy’s mounting corruption, Brunetti allows readers to share his belief that decency and honesty can, for a little while, stave off the angst of the modern world.”—Publishers Weekly (starred review)
“Leon’s many fans love this series for the Venetian setting, the complex family dynamics, and the hero’s mix of melancholy and compassion, and in this nineteenth installment, they get all of the above . . . A unique combination of bedrock cynicism and warm humanity.”—Booklist (starred review)
“Beautifully written, atmospheric and redolent of an Italian summer at its murderous best.”—BookPage
…the special atmosphere that permeates Leon's novels—and especially her latest, A Question of Belief—has more to do with the sense it conveys of a Venice teetering on the edge of oblivion and living on the faith that it won't fall in…While Brunetti is allowed to express his anger and disgust with a society that nurtures and protects its own worst villains, Leon is generous enough not to let this honest man succumb to despair.
—The New York Times
Set during an oppressive Venetian August, Leon's masterful 19th Commisario Guido Brunetti mystery (after 2009's About Face) presents Brunetti with two puzzles that impinge on his most intimate beliefs. Close associate Ispettore Vianello, who's worried about his elderly aunt's involvement with an astrologer, nudges Brunetti toward ruminations on the differences in male and female evidences of affection. Meanwhile, Toni Brusca, head of employment records at the Commune, who's perplexed by a female judge's erratic court case postponements, surprises Brunetti by implying that a woman could be more criminal than a man. Brunetti patiently untangles a sordid skein of desires warped, trusts abused, and loves distorted into depravity. As one good man who still believes in the rule of law despite his disgust at Italy's mounting corruption, Brunetti allows readers to share his belief that decency and honesty can, for a little while, stave off the angst of the modern world. (May)
