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I, Iago: A Novel
I, Iago: A Novel
I, Iago: A Novel
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I, Iago: A Novel

Rating: 4 out of 5 stars

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“Nicole Galland is exceptionally well versed in the fine nuances of storytelling.”
St. Petersburg Times

“Galland has an exceptional gift.”
—Neal Stephenson

The critically acclaimed author of The Fool's Tale, Nicole Galland now approaches William Shakespeare's classic drama of jealousy, betrayal, and murder from the opposite side. I, Iago is an ingenious, brilliantly crafted novel that allows one of literature's greatest villains--the deceitful schemer Iago, from the Bard's immortal tragedy, Othello--to take center stage in order to reveal his "true" motivations. This is Iago as you've never known him, his past and influences breathtakingly illuminated, in a fictional reexamination that explores the eternal question: is true evil the result of nature versus nurture...or something even more complicated?

LanguageEnglish
PublisherHarperCollins
Release dateApr 24, 2012
ISBN9780062200105
Author

Nicole Galland

Nicole Galland is the author of the historical novels I, Iago; Godiva; Crossed; Revenge of the Rose; and The Fool’s Tale; as well as the contemporary romantic comedies On the Same Page and Stepdog, and the New York Times bestselling near-future thriller The Rise and Fall of D.O.D.O. (with Neal Stephenson).

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Rating: 3.8508771929824563 out of 5 stars
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  • Rating: 4 out of 5 stars
    4/5
    I enjoyed this story for a book that I sort of stumbled upon in the Bargain section of Barnes & Noble. I hadn't heard of it before and I don't think many people have. It's a good story on its own and follows a main character who keeps his identity hidden for much of the book. I liked the time period, the setting, and the atmosphere which I think made it more enjoyable for me. Initially when I read it, I turned around and gave it 5 stars. Looking back now that years have passed, I think I would give it 4. I loved it enough in the moment to give it a 5, but it hasn't stood the test of time for me in my mind now.
  • Rating: 4 out of 5 stars
    4/5
    While this probably the best story I've read in a long time, I can only give it 4 out of 5 stars because I found that I could put it down... If it had been one of those books that forces me to go without sleep to finish it, it would have been without doubt one of the best books I've ever read!

    Iago, the villain of Shakespeare's Othello, gets to tell his entire tale, not just the jealous, villainous plotting as seen in Othello. We see how he is constantly mistreated and underestimated throughout his life and how the negativity festers inside him. In this way, it reminds me a bit of the Star Wars Prequel movies (1-3), which are only really good if you see them after 4, 5, & 6, so that you spend the whole trilogy waiting to see Anakin become Darth Vader. This book has asimilar, anticipatory vibe. I kept waiting for signs, but they were so subtle, you almost miss them until we're right in the action of the play itself, but I found myself rooting for the villain, hoping the ending might be different than I remember.

    THAT is the sign of an excellent story: knowing the outcome, but being so engrossed that you still believe another ending could still come about.

    The weaknesses that keep it from being a 5 star book are small, but enough: 1) As previously stated, the signs of Uago's downfall are so subtle they almost don't seem to be enough to warrant this alteration of his character. 2) There was so much Italian history wound into the story that I was a bit distracted. If I'd known the references, perhaps I would not have noticed them, but I had to do a bit of research as I read to gey an accurate understanding of the setting and some plot points. 3) The need to put the book down, along with my ability to do so was the final straw. At one point, I put the book down for nearly a week; I would never have done that for a truly exceptional book.

    Definitely a book I would recommend (in fact I already have, twice), and perfect for a summer read, albeit more perfect for someone who is a history or Shakespeare fan... And it is complete with a moral! Don't see that very often anymore.
  • Rating: 4 out of 5 stars
    4/5
    Most of the disappointment with this novel seems to be among those folks who see it as a supplement to Othello. It isn't really.

    It is a novel inspired by Othello. Crying about how Galland handles Shakespeare's play is like lamenting that Shakespeare wasn't always completely loyal to his sources.

    Galland tries to imagine an Iago who is sympathetic and yet still acts his part of the monster we all know from the play . . . and it works to an extent I wouldn't have thought possible. By telling this story from Iago's point of view, we get to see how the monstrous can plausibly grow out of a pretty common mix of self-centeredness, mild anti-social instincts, jealousy, ambition and insecurity.

    Not comfortable reading toward the end, and does strain our credulity at a number of points (mostly to accommodate famous scenes in the play). But definitely worth seeking out.
  • Rating: 5 out of 5 stars
    5/5
    How do you take one of literature's most vile villains and make your readers like him? Nicole Galland begins in his childhood and lets him tell the story. Iago was a rarity because he always told the truth, earning him little acclaim among Venice's duplicitous and superficial society. With friend Rodrigo, Iago sometimes developed schemes to embarrass and expose the lies of various Venetian noblemen. Iago's father forced him into the military, where Iago was skillful and where his knack for honesty finally earned him respect. He fell deeply in love and married Emilia, a woman both beautiful and intelligent, and who knew how to help him advance in his career. Iago became an officer and because of his hard work and honest ways, earned the respect of General Othello, becoming the moor's best friend and right hand.
    When Othello began to woo Desdemona, with the help of Emilia and new officer and interloper Cassio, I found myself wondering how Iago would be able to narrate and explain the tragic events that I knew must follow. Did Shakespeare misunderstand? Had Iago behaved well and gotten a bad rap? Or would this character I'd learned to love turn on his friends? How could that happen?
    I won't tell you here, because you must read this astonishing, insightful, fabulously-conceived and gripping story. Galland gives a depth and richness to the characters that would make Shakespeare jealous. I, Iago is a tasty, meaty novel that will have you hoping there is a plan for Galland to write about all of Shakespeare's villains—and heroes too. Highly recommended.
  • Rating: 4 out of 5 stars
    4/5
    This is a retelling of Shakespeare’s tragedy Othello, although the focus is on Iago who tells his life story beginning with his boyhood in Venice. Really this is an explanation of the how and why of Shakespeare’s tragedy: how and why Iago changed from the honest and loyal friend to the master manipulator found in the play.

    The development of Iago’s character is certainly the novel’s strong suit, and he emerges a much more sympathetic character than the one encountered in the drama. At the beginning he is, in fact, admirable. He earns the appellation “honest Iago” because he is blunt and straightforward. He has so little patience with artifice that he even refuses to wear a mask at Carnival balls. His wife aptly summarizes his character: “’But subtlety and nuance are not your strengths, Iago. I know how you feel about secrets and lies.’” His sarcastic reflections on society in Venice are witty and readers will find themselves agreeing with his observations. His intense loyalty to and fierce protectiveness of those he loves are commendable. He is flawed, however, in that he is insecure and so has a propensity towards jealousy. When those whom he believed to be totally honest prove to be secretive and capable of deceit, he is hurt, and it is this wounding, which he interprets as a rejection of him, that causes his soul to “run aground.”

    Iago’s actions are not excused, but he is certainly humanized. We see his pain and bewilderment and come to see that jealousy and revenge are not his only motivations. He behaves according to his personal moral code where those who prove to be untrustworthy are deserving of punishment. In the end he admits that he himself is certainly deserving of punishment, but he questions who is indeed innocent: “I am honest Iago, and I ask you: might not you be dishonest with yourself?”

    There is much to like about this book. Prose, rather than blank verse, is used but the quotations from Shakespeare are included naturally and do not seem awkward. The author’s nods to several other Shakespeare’s plays are playful and enjoyable to read. For example, Romeo and Juliet is referenced in phrases like “pretty piece of flesh” and “dreamers often lie” and “love a loathed enemy,” while Hamlet is alluded to with “brevity is the soul of wit.” There is also a great deal of dramatic irony, again appropriate to a Shakespeare adaptation. Iago’s insistence that Emilia promise that she “’will never scheme or interfere in other people’s lives’” is in keeping with the irony so often employed by the playwright. Likewise, there is a great deal of foreshadowing, another literary technique frequently used by the Bard.

    I also appreciated the rich historical detail about life in upper class Venice. Among other things, we learn a great deal about the architecture, politics, economics, and fashion of Venetian society. The Florence – Venice rivalry is well explained. And I now understand why the 2004 Michael Radford film adaptation of The Merchant of Venice has topless women!

    Those who have ever wondered how Iago came to be the quintessential villain should read this novel. It offers a plausible explanation and even suggests a reason for Iago’s enigmatic last words in the play.
  • Rating: 3 out of 5 stars
    3/5
    William Shakespeare's Iago is a monster, the personification of evil that enjoys the destruction of the lives around him. Nicole Galland in 'I, Iago,'introduces the reader to the man behind the legend. And he is in all senses truly a man of his time.

    The youngest in a wily Venetian family, the young Iago displays an honest streak that puts him at odds with his peers. An honest man for his time, the young Iago embraces the soldier's life, wins the love of a worthy woman, and earns the respect of his general. And it is here that Galland's complex story depicts the deception and betrayal that set Iago on his quest for vengeance.

    "I, Iago" is a creative rendering of the death of a man's soul. There were times that I felt as if I were staring at a roadside fatality.
  • Rating: 4 out of 5 stars
    4/5
    Loved this re-telling of the classic story. Very well written, and an extremely interesting view of the characters we all know so well. Will definitely read more by this author!
  • Rating: 5 out of 5 stars
    5/5
    Shakespeare’s Othello is one of his four great tragedies along with Macbeth, Hamlet, and King Lear. I especially enjoy teaching Othello, which I alternate with Lear. When I heard about Galland’s novel, I, Iago, which is part prequel and all retelling of the story from Iago’s point of view, I eagerly awaited its rise to the top of my TBR pile. This recently published novel is great fun – especially for those familiar with the play.

    I won’t go into any of the details of the plot – if the play is not familiar territory, this novel would be a great introduction. But the real fun is in noticing lines and characters from the play as they pop up almost from page one. So, I would advise reading the play first.

    Othello has some of the great lines from the Bard: “green-eyed monster,” “the beast with two backs,” and, of course, Iago’s final line in the play, “Ask me nothing, … What you know, you know. From this time forth I will not speak another word” (368). Some of these lines Galland alters slightly, but the essence is always there.

    Galland recounts Iago’s early days from his childhood pranks with his boyhood friend, Rodrigo to his relationship with his father, and the origin of the epithet, “Honest Iago.”

    Even though I knew exactly how the plot would spin out, the last hundred pages or so were thrilling as the downhill side of the highest roller coaster in the land.

    Incidentally, I think the 1995 Kenneth Branagh, Lawrence Fishburne, and Irène Jacob Othello is a most interesting and accessible version of the play. 5 stars

    --Jim, 6/13/12
  • Rating: 4 out of 5 stars
    4/5
    I really liked this book. It was cleverly written and offered a fresh perspective on a character that before we only had a one-sided prespective (from Shakespeare). Quite creative, I recommend it!
  • Rating: 4 out of 5 stars
    4/5
    Nicole Galland writes the autobiography of Iago, having him tell his life story from childhood up to--and including--the action in Shakespeare's "Othello." Whereas David Snodin's "Iago" focuses on Iago's life after the play, Galland's novel spends most of its time on Iago's life before the fateful action in Cyprus.

    Gelland stays fairly close to the play, and she peppers her novel with quotations from Othello as well as from other plays by Shakespeare. Unfortunately, by covering some of the same ground as Shakespeare's great work, the novel invites comparisons that don't reflect well on it. The tightness of the action in the play seems bloated here. Characters like Emilia get much more space in the novel, but Gelland's Emilia isn't as sharp-tongued as Shakespeare's (though she correctly portrays her as the string that unvavels Iago's plans). Of course, ultimately, I can't say the novel is a failure because it isn't as good as Shakespeare's play. It is an enjoyable novel that succeeds in one area admirably: it sent me scurrying back to Shakespeare to read his great play once again.
  • Rating: 4 out of 5 stars
    4/5
    Othello and Hamlet seem to be the Shakespeare tragedies most often read by high school and college students, at least in my non-scientific experience. In my case, Hamlet trumps Othello in terms of the number of times I was required to read it in my years of schooling but when it came time to choose a play to teach, I couldn't face Hamlet one more time and instead settled on Othello for its relative accessibility and interesting themes. That it has one of Shakespeare's all time baddies, Iago, in it didn't hurt. He's a fascinating viper of a character, conniving, rude, and racist. And yet he must have some good qualities to have reached the station he has. But what are they? And how did they get so subsumed that he is the reprehensible character he is in Shakespeare's creation? Nicole Galland has taken these questions and created an intriguing tale, one in which Iago's character is explained and understood without being immediately reviled by a reader familiar with Othello.

    Iago is the fifth son of a Venetian silk merchant and as such, is more a burden than anything else. He has never earned his father's approval or pride in anything and is simply used as a pawn in order to advance his father's ambitions. Iago's best friend Rodrigo is the son of a poor spice merchant and the two boys get into scrapes as most boys do. Iago uses his forthright blunt honesty to get them out of trouble, learning that although Venetian society was founded and suckled on artifice, his honesty is different, unexpected, and even grudgingly respected (although never emulated by others). Unhappily sent to the army to replace his clumsy older brother who suffered a fatal accident in his own military training, Iago finds that he in fact excels at shooting and swordplay and he enjoys earning things on his own merit rather than being tied to the patronage system governing the rest of society.

    Iago pays his dues, serving dull tours of duty with the army and coming back to Venice periodically, finding himself more and more disgusted with the artifice of the city, a native-born outsider more than ever. But on one of his leaves, in the midst of the famous revelries of Carnivale, he catches sight of the beautiful Emilia, a woman no more pleased with the falseness of the forms than he is and Iago falls desperately in love, pursues her with his whole heart, and eventually marries her. Their deep love is only marred by Iago's irrational jealousy when other men pay Emilia the slightest attention. And once he meets and becomes indispensible to Othello, his true and faithful ensign, he has to fight his jealousy often when others think that Emilia is Othello's mistress.

    But his jealousy extends to anyone he loves and respects and that certainly encompasses his general, Othello. Iago finds himself jealous of Michele Cassio who becomes necessary to Othello as well and even of the beautiful Desdemona when Othello falls in love with her. When his jealousy gets the better of him, causing him to become secretive, growing in cunning, and to start learning and exceling in the art of deceit, his character moves towards the man Shakespeare created, making him desperate for revenge against the losses of those things, the lieutenancy promotion, Othello's regard and trust, his reflected glory-aided social standing, he considers rightfully his and no others'.

    The climax, for those familiar with the play, is no surprise, although Iago's own silent interpretation of events might be. He is both the ambitious, terrible, and conniving villain of Shakesepeare and the pitiable man who could never win his father's approbation or interest, the expendable pawn always striving to be better and to be recognized for his talents. Galland has managed to create a believable, human portrait of an Iago with failings that cause horrific tragedy and his own downfall but whose motivations aren't simply purely evil. I actually set the book down at one point and couldn't remember where I had left it. I was both frantic to find it and keep reading and almost glad I couldn't because at that point I found Iago to be a wholly sympathetic character and I knew what was coming. If I didn't find the book, Iago couldn't possibly go on to wreak inevitable havoc.

    Readers of Shakespeare will appreciate the subtlety with which Galland has created her characters. They retain what they must of Shakespeare's creation but they are also presented so as to make Iago's story here less black and white but deeper shades of grey. Readers unfamiliar with Shakespeare will not suffer from their lack of knowledge of the play as the narrative pacing and tension are pulled tautly and steadily toward the end, ratcheting up both the knowing and unknowing reader's unease skillfully. Galland builds her plot and her characters beautifully. Ruinous ambition, unchecked jealousy, all-consuming desire for revenge, all the elements of Shakepeare's original are here, explained and exposed, fascinating and engrossing. A sympathetic Iago? Yes. Still the monster that Shakespeare created? Well, still yes. And he is Galland's greatest accomplishment in this tour de force of a novel.
  • Rating: 4 out of 5 stars
    4/5
    This is the third novelized version of a Shakespearean play that I have read in recent months, and it is by far the best. Two of these have been based on Iago, the villain of Othello. I found David Snoddin's Iago to be a bit of a bore: too many peripheral details and characters and a stilted, overwrought style. Galland's I, Iago hits just the right note for lovers of historical fiction.

    Galland begins her study with Iago's imagined youth. As the least favored of three sons, his life is driven by an overbearing, unaffectionate father and a desire to please the same. A boy who loves his books, Iago is taken from school at a young age and placed in training for the Venetian militia. Part of his task is to make up for the embarrassment of his eldest brother, who died of an accidentally self-inflicted wound. In time, he gains a reputation as a fine swordsman and becomes ensign to Othello, an exotic Moor newly appointed as general of the Venetian army. From here the story proceed to its anticipated end.

    Galland fleshes out Iago's history with some of the play's secondary characters, including a boyhbood friendship wtih Roderigo, a spice merchant's son who refuses to give up his suit of Desdemona. While Shakespeare's Iago seems to be trapped in a stale and perhaps loveless marriage to his wife Emilia, Galland creates passion and devotion between the couple. As for Michele Cassio, he becomes even more of a foolish, pompous fop than Shakespeare allows. And Venice itself plays a much more significant role in this novel, its splendor, pettiness, materialism, and competitiveness on full display.

    Overall, I, Iago was an enjoyable read, and Galland succeeds in providing enough motivation for the main character's evil deeds that, although he remains a bit of a monster, he is at least a humanized and therefore more recognizable monster.
  • Rating: 5 out of 5 stars
    5/5
    I thoroughly enjoyed this retelling of Shakespeare's Othello although once the story reached the point at which Shakespeare's play begins, I found myself dreading the ending. Galland deftly crafts a multi-dimensional Iago, a man who is both capable of terrible things but also of eliciting sympathy from the reader. Having read Shakespeare's play, I have always thought of Iago as one of the worst villains in literature but Galland shows that he cannot be quite so easily categorized. I also found the depiction of Venetian society and military endeavors interesting to read about. I'm not usually a big fan of retellings but this is definitely an exception.
  • Rating: 5 out of 5 stars
    5/5
    It's somewhat remarkable that two writers should choose to delve deeper into the whys and wherefores of Shakespeare's greatest villain, that their books should appear within months of each other and that I should be sent both as Early Review books. Should there be a third on the horizon, I don't think I'll request it. That's, in part, because it's hard to imagine anyone doing a better job at the formidable task of creating a back story for Iago than Nicole Galland has done with [I, Iago].

    I've written about David Snodin's [Iago], elsewhere. Suffice to say I found it less than satisfying. Nicole Galland's approach to the story is to take the events and characters in Othello and rewind all the way back to a day in his boyhood when Iago learned a valuable lesson in the merits of honesty after he and his friend Rodrigo were caught playing a childhood prank. The story is told from Iago's point of view and he goes on to tell us of his relationship with his cold and demanding father, his training in the army, his first years in the service and the making of his reputation as a soldier, a swordsman, and, above all, an honest man. One by one, the other characters in the play are introduced until they're all gathered just off stage, waiting for the cue to begin, once again, the terrible sequence of events that we know as the Tragedy of Othello. This is all masterfully done. Even knowing what Iago is about to do, Ms Galland manages to get us on his side and make him not only likable but admirable. We understand what drives him, what draws him to Othello, why he is so stung when the lieutenancy he expects to be given goes to Cassio instead. His courtship and marriage to Emilia is movingly portrayed as a romance of loving, intelligent and equal minds. If that seems an impossibility, given what we know will happen to her, let me assure you that not only does Nicole Galland make their relationship romantic, even sexy, but giving them that back story just makes their ending all that much more horrible and tragic.

    Let's face it: no one's ever going to write a better version of Othello. But what Nicole Galland has managed to do is create a novel that borrows characters and events and yet feels entirely original, vital and compelling while still true to the source. And I can't imagine anyone ever doing a better job of that, either.
  • Rating: 3 out of 5 stars
    3/5
    I really enjoyed the look into Iago's life that this book provided. It started with him as a boy, compelled to always speak his mind, and say what he felt was the truth. It was interesting to see the way Iago's personality developed upon marrying, and then upon meeting Othello. This book really showed the bond the formed between the two men, and over the course of the story, it became clear how much Iago valued Othello's friendship. The story developed as Iago felt he was slighted when Cassio was promoted over him. Both Cassio and Desdemona played a part in forming Iago's new nature as "villain." He felt his friendship was being stolen, and I enjoyed his sort of slow descent into madness. The plot did slow down a little toward the middle, and though I know a lot of the scenes helped Iago's character development, I did some skimming and found myself wishing the book were a little more concise. Overall, I enjoyed a closer look at Iago.
  • Rating: 4 out of 5 stars
    4/5
    A clever, thoughtful novel, this is a retelling of Shakespeare’s Othello from the viewpoint of Iago, the villain of the play. Like many of Shakespeare’s plays, the motives of the characters in Othello are open to interpretation. Volumes of literary commentary have been written about Othello, but by retelling the story as a novel, this book takes a fresh look at the character of Iago and his motives.

    We all know what happens, of course. Iago plays on the jealousy and insecurity of the Moor Othello, the general of the Venetian Army, and his innocent wife Desdemona. Things get out of hand, of course, since it is a tragedy. Othello murders Desdemona, and Iago murders his best friend and his wife.

    The novel starts, not with the beginning of the play, but with the childhood of Iago, and fills us in on the backstory of his character that is missing from the play, thus giving us a better understanding of his motives. The second half of the novel covers the action of the play, but since it is told from the first person perspective of Iago, we do not see any of the action in which he is not involved, and are not privy to the private thoughts of any of the other characters. This is very effective. My take on Iago, as presented in the novel, is that he loved Othello, and was jealous after being passed over in his promotion, and at the attention given to Desdemona.

    I was also impressed with the author’s use of dialog. She used modern English, of course, but it has the flavor of Shakespeare’s dialog, with it’s use of word play and puns and double entendres.

    The novel is clever, carefully planned, and well written. Highly recommended.
  • Rating: 4 out of 5 stars
    4/5
    "I knew to the depths of my soul that nothing I did was errant, that in the greater sense, I acted out of righteousness, however vengeful and indirect it seemed."

    In Nicole Galland’s wonderful, “I, Iago”, Iago ponders the intricate web of deceit, defamation and lies he weaves that will culminate in an inevitable calamity of heartache, pain and bloodshed.

    The reader, of course, knows what’s coming. William Shakespeare’s “Othello” is well known in its original form, but has also been adapted for modern audiences in film. Iago is the center point upon which all of the characters in Shakespeare’s play orbit. He is the masterful manipulator. He’s a debonair deceiver. He’s the ultimate enigma.

    Two recently released books look to shed light on this most puzzling character. What drives the manipulator of men to create a situation where his best friend, his wife, and his admired General all wind up dead?

    While David Snodin’s “Iago” focuses strictly on the aftermath of the events in “Othello”, and attempts to unwind the character through a continuation of the story, Nicole Galland takes a more courageous approach by exploring Iago’s personality from his modest upbringing in Venice right up through, and including, the well-known events as they occur on the Mediterranean island of Cyprus.

    Galland leaps right into the heart of the enigma in the first lines of her novel: “They call me “honest Iago” from an early age, but in Venice, this is not a compliment. It is a rebuke. One does not prosper by honesty.”

    Gallands’s smooth handling of Iago’s first-person narration immediately struck me. Despite a certain expectation of awkward Renaissance-era language, Iago comes across comfortably and familiar.

    He’s born the fifth son of an extremely demanding and cold father, and instantly the character of Iago starts to take shape. He grew up in the shadow of siblings who were all destined for greater things than he. Even if it was only because they’d been born sooner.

    Honesty and truth, naturally, are running themes throughout the novel. As he grows older, Iago becomes a bit of a minor celebrity in Venice, establishing himself for bluntness, honestly and forthrightness. He’s consistent in his need to remain truthful, even as he learns how to twist and modify his words to elicit the response and action he so desires. The truth becomes slightly less than truth, but thoroughly manipulative and certainly foreshadowing the coming disaster played out in Shakespeare’s portion of Iago’s tale.

    Repeatedly, Iago finds himself among the social elite of Venice, where his utter disdain for the social game becomes a practice ground for Iago’s oral manipulations. In seeking to identify the motivational factors that make Iago who he is, Galland puts on display Iago’s distaste for the ‘frippery’ and fakery of Venetian society.

    While Iago’s childhood friend Roderigo is introduced early in the story, Galland teases out the other key Shakespearian characters throughout the first half of the story. Galland portrays a wonderfully romantic, albeit short, courtship between the Emilia and Iago. The remaining characters seamlessly integrate into Iago’s life; the highlight of which is an enjoyable first meeting of Othello himself.

    We learn of Iago’s intense propensity towards jealousy. The drivers are miniscule, but exposed throughout the story and combined with sporadic but fierce bouts of rage, Galland continues to foreshadow the inescapable conclusion.

    This jealousy extends even to his relationship with Othello. The two fall into a comfortable ‘bromance’ as Iago becomes Othello’s anchor point in connecting with the very foreign and incomprehensible Venetian superficiality. It takes little for Iago to question Othello’s loyalty, an insecurity we see in all of his relationships, eventually. Iago reflects, "it was some twisted fear in me, the residue of childhood insults from my father, that could make me doubt Othello even for a moment. "

    Iago is extremely self analytical. It's constant. Through the eyes of someone who also has a constant anxiety-ridden self-dialogue, I found this very understandable.

    We are introduced to Desdemona and slowly see Othello fall for her, shortly followed by Iago’s indignity at Othello breaking the “bros before 'hos” philosophy, despite its one-sidedness because, of course, Iago is married. He’s simply overcome by resentment, as the Florentine, Michele Cassio, becomes Othello’s confidant in wooing Desdemona.

    At times Iago is fully aware of his conniving, and realistic enough to be disgusted with himself. At other times, he rationalizes. He hides behind the auspices of wanting to protect his friend and general, while the jealousy and resentment burn slowly like a fuse to an explosive. His honesty is what enables his deceptions to work so effectively but also empowers things to run so wildly and quickly out if control.

    I thoroughly enjoyed this book, though found greater enjoyment in the early goings as we meet the young and still developing personality, while exploring society and life in Renaissance Venice. Galland beautifully describes 16th century Venice, in all of it’s mercantile, military and societal glory. Likewise, she does a marvelous job of putting flesh on the bone of this remarkably likable character. For this, I give the book 4 out of 5 stars.

    The second half focuses on the manipulations and their effects among Othello, Emelia, Desdemona, Cassio, and Iago himself. Still well written, I find some of the plot devices a bit wearisome, repetitive and somewhat annoying in that same way I can’t watch ‘Three’s Company” or “Friends” because of the weekly miscommunication that causes riotous sitcom mayhem.

    The book is smart and is, at its heart, an enjoyable character study. One needn’t have deep familiarity with the Shakespeare original to appreciate and enjoy the story.

    I received this book as part of the Amazon Vine reviewers program.

Book preview

I, Iago - Nicole Galland

Chapter 1

IN VENICE, EVERYTHING is a competition. The higher up the social scale you climb, the more rarefied the competition becomes. Thus among the upper echelon, whose houses are all equally gaudy and overdecorated, whose wives are all equally lamed by the weight of their jewels and gowns and hairstyles and footwear . . . among this circle of dandies, the prosaic is glorified beyond all reason. At the time of my brother’s demise, the rage among these fine gentlemen was the owning of hens.

There were any number of categories for competition, in this scintillating hobby: how many hens, how lovely, how large, how small, how cute, how ugly, how elaborately gilded the coop, how pristine the pedigree, and so on. But the ultimate glory of the hen-keeper was the aphrodisiacal potency of his hens’ eggs. The master of all egg maestros, one Pietro Galinarion, possessed one hen whose ovum, eaten raw and singly, accomplished things that gentlemen spoke of only obliquely, with knowing, pleased expressions. These eggs were too precious to sell. Galinarion occasionally doled them out as treasured gifts, and even used them in lieu of money at cards. I overheard of their existence in the late-night chatter among my eldest brother and his companions.

I knew the word virility and I was almost certain I understood the premise of the eggs. That almost fueled a burning curiosity. Roderigo understood only that the eggs were coveted—but that was enough to make him curious too.

Poor Roderigo. He was so earnest, and trusting, and he adored me. We’d met in the crib. Our mothers shared a wet nurse: his family was too poor to keep a nursemaid, even for their sole offspring; mine was rich enough, but by the time the fifth son came along they could not be bothered to spend the money. His father was a failing spice merchant, mine a setaiòlo, a thriving silk trader.

Roderigo and I did nearly everything together.

"BUT WHY AM I the one who must steal all the supplies for the break-in? he demanded, wiping his nose with his sleeve. His legs hung over the side of the paving, and his feet dangled a foot or two over grey-green canal water by the Saoneri bridge. Why don’t you have to do any stealing?"

It’s not stealing, I reminded him. It’s borrowing things under a false pretense, but you’re returning all of it. It’s not stealing, it’s lying.

Why must I do all the lying, then?

Because you are an heir, I explained patiently, brushing aside my envy of this title. Drawing on what I had observed passing between my father and my eldest brother, I explained, "Heirs must be able to lie convincingly, so that when they are grown men, they will be able to operate smoothly in good society. This is important practice for you. There is no need for me to learn to lie. I would not rob you of an opportunity to practice an important skill that will be valuable to you when you’re a great Venetian merchant."

He considered this for a moment, then nodded, satisfied with my reasoning.

So after we get up there, then what? he asked.

We’ll eat the egg, of course. We’ll crack it open and split it, I said. Or if you’re too chicken, I’ll do it.

Roderigo’s face broadened with a huge grin. Too chicken to eat an egg! That’s funny, Iago! You’re so clever. He punched me on the arm. He was the only boy my age whose punches didn’t make me wince. I smiled and punched him back.

So you’ll eat it with me? I pressed. And then we’ll keep the shells as proof we did it.

And then we’ll start a secret fellowship! he announced, leaping up with excitement. The slime of Venice stained his already stained breeches; he did not notice. And the only ones who may join are the ones who can accomplish what we did!

We agreed upon a time the next day to do it, and swore each other to silence with our secret handshake, invented by me and known only to the two of us. Then we parted ways, each terrified and eager to embrace the hardened life of a juvenile criminal.

THE NEXT DAY we approached the tall iron gate built into the fence that surrounded the Galinarion garden. It was latched on the inside but not locked in daylight hours; by perching on Roderigo’s shoulders I was easily able to reach up, slip my slender hand and wrist through the rails, and unlatch it. Roderigo knelt, and I climbed off his shoulders; we each carried a coil of hempen line that he had borrowed from the stores his uncle sold to mariners. To the end of each line we tied another borrowed item: a small grappling hook, the sort used by the navy to teach maneuvers in mock battles out in the lagoon. Emulating the champions of classical romances, we intended to hurl the grappling hooks up the full height of the building and scale the walls.

Inside the gate, we found ourselves in an unoriginal, but sumptuous, garden. It contained statues depicting pagan gods and fountains depicting pagan Venetians, and a few actual plants. In the center was a well.

Roderigo stared about with a slack jaw and glazed eyes.

Come along, I said urgently, heading straight toward the tall stone house. There was a wooden staircase obtusely zigzagging up the right half of the three-story building. It led straight to the roof. We would not even need the lines and grappling hooks!

It was about dinnertime, and nobody was out here. We climbed a short flight of steps, which took us to the first elevated floor, and heard through the closed door the clanking efficiency of a kitchen. Up the next set of steps, to a heavier and more ornate door to the main hall, where Galinarion would be dining. The next flight went up to the bedrooms, and the final one—more of a ladder than a stairway—took us straight to the roof. The hardest thing about getting to the top was keeping the coils of line neat upon our shoulders.

A usual Venetian roof is shallow gabled, tiled with tight red brick. There is commonly a cistern in one corner, with pipes running down to the kitchen. I have been on our own roof (smaller than this one), and I thought I knew what to expect.

But this roof was flat, canted slightly to slough rainwater into the canal below. It was laid out just like the garden beneath, in miniature, with small wooden statues in lieu of the large stone ones below. The central well’s rooftop equivalent was a round storage bin, by the smell of it containing dried corn. Directly across from us was the henhouse. It was designed to be a perfectly scaled miniature of the house upon which it sat. One half of this henhouse was made of wood, but the other half was made of glass, creating an outrageously expensive solarium for a single hen. There were wire-covered vents in the glass, but there was no open-aired coop for the legendary fowl at all.

We trekked gingerly across the roof, not wanting to alert whoever might be on the floor below. The henhouse waited quietly. We flicked the latch open and invaded.

We’ve made it! Roderigo whispered gleefully.

It should have been more difficult, I countered. That was too easy to give me any sense of accomplishment.

Don’t cheapen the pleasure, Iago, Roderigo begged. Who cares if we’ve earned our success, or merely lucked into it?

I care, I thought, but said nothing lest I sound like a moralizing parent.

The hen—the most famous hen in all of Venice, perhaps the world (considering the relative anonymity of domestic fowl outside of Venice)—was sitting in a nesting box covered with gold leaf and ornate arabesque decorations about two feet off the ground. Given the famed magnificence of her ovulations, she was not especially feminine. Her eyes were cold and dull, her feathers were a mottled grey and white. There was no fancy or no finery to her. I respected her simplicity. It was not her fault that she’d been made the heroine of a bored patrician’s farce.

For the first time I was a little nervous. We had a clutch of hens, each nearly identical to this one, but the cook always collected the eggs. Would she peck at me? Would she cluck and squawk and make a fuss when I reached in for the egg?

Shoo, I said and waved a hand at her. She made a wonderfully guttural sound, delicately grouchy, and settled farther into the box.

She doesn’t want to move, Roderigo said with spectacular powers of observation. You can take the egg out from underneath her, and she’ll let you. I’ve seen my mother do it all the time at home.

I reached under her, enjoying the silky softness of her warm feathers. I could feel the structure of her body—bones? sinews?—against the back of my hand as my fingers tentatively groped beneath her. She allowed me the grope and complacently repeated her guttural hum as she felt me under her.

And then I was holding the famous egg. It was warm in my palm, as I was not used to feeling eggs. I felt a strange thrill in the pit of my gut.

Shall we eat it here? Or shall we go someplace public so people may watch us? asked Roderigo, wide-eyed.

It’s just a regular egg, I said.

He pulled his head back a little and tried to stop gaping. If we want to prove that, surely we need witnesses?

Who is going to believe two boys? I asked. We’re just proving it for ourselves. Isn’t that enough, Roderigo?

This, I think, had not occurred to him, but dutifully he fell in line. Well of course it is, he said, with a frowning nod. The eager beam returned to his face; he even rubbed his hands together. All right then, he said. Let’s have at it.

There was a gold-embossed drinking bowl for the little fowl. I reached over with both hands and cracked the egg on the side of the bowl. The hen watched me, disinterested. Roderigo watched me, fascinated. The shell broke neatly, and a drop of transparent sludge ran down the side, the tiniest sliver of eggshell clinging to it. The jelly of the egg white glistened like molten glass in the dappled light of the solarium.

Roderigo imbibed first and announced uck from his throat. I dumped the rest of it down my own throat and swallowed as quickly as I could, thinking intensely about candy. It wasn’t as bad as I’d feared.

Roderigo wiped his mouth and fingers on his clothes; I used a handkerchief with my eldest brother’s mark upon it. I had set the shell aside; now I picked each half up and daintily wiped them clean, then couched one half-shell within the other, and lay them in the center of the kerchief. Carefully, I tied the corners together and lifted the small bundle by this lacy knot.

And so, that is that, I said.

That is that, indeed, he agreed.

WE DESCENDED JUST as uneventfully as we had climbed. Perhaps because we had now actually committed the act, my pulse was quicker and my hearing more acute as we stepped down into the garden. Roderigo, out of habit, glanced at me for guidance before beginning the obvious next step, which was to walk straight across, past the well, to the still-unlatched gate. I nodded and gestured; he nodded and smiled. He began to walk. I followed, shells cupped gently in the handkerchief, which was cupped in my left palm.

Roderigo approached the well, and my gaze flickered ahead to the gate, briefly. As I looked away, my mind registered that the gate had been relatched, and alarmed, I instantly looked back.

And here are the little varlets left my gate open, growled the craggy-faced stranger, erupting from the far side of the well. He grabbed Roderigo by both arms, and Roderigo screamed.

I leapt back, startled.

You’re going nowhere, the fellow warned me. He was dressed as a gardener. He was glowering but not really threatening, and so clumsy-looking that I knew I could outrun him. Leaving Roderigo in the lurch would have been dishonorable, which does not mean I didn’t consider it.

But I had a better idea: Glad you caught us, I declared, defiantly. We almost got away undetected. That would have been quite bad for you later on, when we reported to your master that we successfully broke in.

"Well now I’ll be reporting to my master that you unsuccessfully broke in."

Of course you will, I said. Roderigo, calm yourself. The fellow’s only doing his duty. Let’s get it over with.

I RECOGNIZED PIETRO Galinarion by sight but did not know him so well as Roderigo did; Galinarion did business with Roderigo’s father. He was rotund but he was handsome, and perhaps the bulk was muscle. His hair was curled and nicely styled; powder paled his face and hands; he had delicate fingers for his size, with fingernails exactly long enough to keep him from the sort of escapade we had just been caught at. He was eating in his grand hall, replete with chandeliers descending from a painted ceiling full of naked angels. The walls were of marble-painted panels largely covered with Persian tapestries, the floor of real marble laid out in a serpentine motif.

Galinarion’s fellow diners were imitations of him but generally more wan, or in other senses diminished: one was shorter, one thinner, one less ribboned in his costume. There were five of them. As if they had been practicing synchronized feasting, every man of them held a knife with a bit of meat stabbed on it near his mouth, and froze like that as we were brought in. They lowered these utensils, the morsels untouched, again in unison, and watched the gardener triumphantly and indignantly present us.

Roderigo, Galinarion huffed, astonished. Tell me what mischief you’ve been up to, son.

Roderigo gaped as if at indoor lightning. He opened his mouth. No sound came out.

Roderigo! Galinarion repeated, plucked brows crinkling over powdered nose. Answer me, boy. Or I’ll summon your parents and ask them to tan your hide in front of me.

The other men around the table hummed with laughter, and—again, synchronized—finally put the meat into their mouths and began to chew. Roderigo still could not speak. I feared he had wet himself, but I did not wish to add to his humiliation by checking.

You there, then! Galinarion snarled, pointing at me with his knife. I must have jumped, or looked alarmed—something to afford the table mirth. What cretins, I thought, to find amusement in the terror of those smaller than yourselves.

Yes, sir, I said smartly, and executed a courtly bow. This made the gentlemen of the table nearly choke on their meat, they were so amused.

Who are you?

My name is Iago, sir.

What were you doing in my garden without my permission?

The table quieted itself in anticipation of the answer. Roderigo squinted and appeared to be praying silently.

We were just coming down from your rooftop, sir, where we had stolen an egg from your hen, I said.

Galinarion sat up very straight, and his eyes opened very wide; the other men made amused ooooo-ing noises until he held his hand up, commanding silence.

Those eggs are priceless, boy. He held his hand out. Return it to me at once.

I held up the handkerchief with the shells in it. I’m afraid this is all I can give you now, sir. We ate the raw egg between us, because we’d heard your eggs were special. I suppose we heard wrong.

Galinarion went red beneath the dusting of powder on his face, and his guests banged the table with the meat of their fists, howling. Roderigo made a small noise, and I felt him gaping at me, terrified. His breath began to shake, and I feared he would burst out sobbing.

For what felt like eternity, Galinarion glared at me, furious accusation on his face. The fury was so venomous that the table spontaneously quieted itself, sensing something hideous about to happen, hideous beyond the scope of even their perverse and petty mirth.

Suddenly, this was no entertaining escapade, but a catastrophe. It was within this patrician’s rights to beat me savagely or imprison me, and my parents did not know where I was. He raised his impressive bulk out of his chair and took a threatening step in my direction.

Then abruptly, he sat back down . . . and burst out laughing.

His laughter was forced, like water through a fountain. It was so intense that his guests responded to it as to an order; they all laughed as well, although with less intensity and much bemusement.

You little liar! Galinarion harrumphed. This is some prank one of my rivals has set up to discredit the worth of my hen! He looked around the table, pointing at each of them in a grand, nervous gesture. Which of you did this? Confess now! A very worthy prank, and neatly done, but you cannot unman me with it! Come now, which of you has set these boys on me? They all continued guffawing, pointing at one another with good-natured accusation, shaking their heads in good-natured denial. Finally Galinarion turned back to me, still trembling with furious laughter. Well, boy, tell me, don’t be afraid, which of these gentlemen bribed you to try to make a fool of me? What are these then, the shells of some other eggs, eh? He reached out for the kerchief, and I gave it to him.

None of them bribed us to do anything, I said, raising my voice to be heard above the raucous chuckling. "We did it ourselves. We’re boys. It’s the sort of thing boys just do."

This brought a new wave of louder and more genuine laughter from the group.

Precocious little whoreson, isn’t he? one cheered as two others echoed me, using a childish lisp I did not have.

Well if it’s none of you, it must be that whoreson da Chioggia! He is always trying to start a feud with me, he is so hopelessly jealous of my hen and all my other treasures. Admit it, boy, was it da Chioggia?

No, I said, impatient now that I realized we were out of danger.

Of course it was. Well, never mind, this will yield a ducat for you each. Go back to him and tell him that you’ve failed. Give him my heartiest congratulations, though, for it was quite a good idea. He turned back to the table. Have boys eat such eggs as those! One wonders what he does with his own boys when the lamps are low!

This signaled the greatest laughing swell of all. Reassured that none of his guests now believed we had eaten his eggs without being transformed into young satyrs, he summoned his steward to hand us each a ducat from a velvet purse, and then shooed us away.

May I have my handkerchief back, sir? I asked.

He chucked it at me as if we were bosom chums.

The gardener, annoyed that his arrest had come to nothing, grabbed us each by the collar and trundled us through the great house, down the stairs, deliberately trying to take us off our balance, which he managed to do with Roderigo several times. We went through the kitchens and out into the garden, where he’d apprehended us. He expelled us from the back gate as if we were rodents.

Finally Roderigo and I looked directly at each other. You are the most remarkable person I know, he said in an awed whisper.

All I did was tell the truth, I said.

And we got ducats for it! Roderigo said, brandishing his.

So the maxim is true: it pays to be honest, I said. I untied the kerchief and shook out the eggshells, then folded it up and tucked it into my belt. I’d have received a cuffing if I’d lost it.

I glanced at Roderigo. He was still staring at me as if I had performed a miracle. His clothes were dirtied from our adventure, and I knew he had little else to wear at home. I had the rummage of two surviving elders, so my wardrobe, although faded, was ample. Here, I said and handed him my ducat. I could never have got this without you.

He blushed. But you’re the one who earned it! he stammered. If anything, I should give you mine.

I don’t need it, Roderigo, I said with the kindest bluntness I could manage. And I know you do. Take it. Let it help your uncle buy new line and hooks, to make up for the ones we left back there. Or perhaps your father might purchase better clothes for you.

He started blubbering then and grabbed me in a tight embrace. You are the best, most righteous fellow I have ever met or can imagine on this earth, he declared. I don’t know why Providence has blessed me with such a remarkable friend, but I shall always try to be worthy of you.

Thank you, I said awkwardly. He smelled of barley, for some reason. I took a step backward, and he relented his grip. I patted his arm and held out my right hand, palm up, to initiate our secret handshake. Let’s be getting home now.

A fortnight later, the craze for hens in Venice was passé.

Chapter 2

BOYS GROW INTO YOUTHS, and youths to men. There are other tales of Roderigo and me, all conforming to pattern: Iago dreams up something clever to pass the time; Iago invites Roderigo to join him; they are nearly triumphant but in the end foiled; Iago gets them out of the scrape, and always by a blunt honesty that so embarrasses whoever apprehends them, that the apprehender would rather let them free than face the consequences of pursuing anything Iago is saying.

BUT THEN I became a man, and I put away childish things—for example, Roderigo. Our friendship faded without rancor. There were no fallings-out, no betrayals or public humiliations. We reached an age at which our time went into our emerging vocations, and here we differed so profoundly we simply had no chance to fraternize.

RODERIGO NOW SPENT his days by his father’s side, a spice merchant acolyte. And I? I craved a life of the mind. I wished to be a scholar—a professor or at least a teacher. I was an insatiable reader and from the age of ten used my small allowance to buy the octavo size of every book published by the Aldine Press. In their original languages, I devoured Aristotle, Sophocles, Euripides, Aristophanes (although humor is too topical to age or translate well), Homer, Herodotus, Thucydides, Demosthenes, Hippocrates, Plato, Dante, Pindar, Virgil, Horace, Ovid, Plutarch, Pliny, Cicero . . . and, of course, Machiavelli, even though he was from Florence. My room, lacking shelf space, was filled with piles of books, every one of which I’d read and some of which I had nearly memorized. The Aldine Press’s invention of italics delighted me: I loved that passion and intensity could be expressed with such a subtle alteration from the norm.

But for all my love of learning, I had known from the age of ten, from the day of my brother’s funeral, that my future was to be a military one. I had no passion or interest in the military arts. In fact, given how little interest most Venetian families had in military reputations, I suspected my father, in declaring I must become a soldier, was merely being punitive. But he was still my father, and so his word was law.

Having exhausted the best teaching minds of Venice, I was declared (by father) to have finished my education, abruptly, one day in high summer. I had learned everything he felt I needed to know, from fencing to dancing to grammar to mathematics, history, classical languages, and philosophy. Now I faced my life’s most defining decision: to which branch of the Venetian armed forces should I devote myself? There were four:

Cavalry. Navy. Artillery. Infantry.

I closed myself in my bedroom and languidly paced, then settled onto my uncurtained bed, then rose and paced again, then stared out the window at the rooftops of lower surrounding houses, then threw myself faceup onto the bed, then rose to pace again, all the time chewing my lower lip until it was swollen, playing out various scenarios regarding the remainder of my life.

I might become a horseman on the mainland cavalry—the best in Italy. Or I might be an officer in the ranks of Venice’s fabled naval forces. I decided within the first hour of deliberation that I had no interest in the artillery, for they simply blew things up. I also had no interest in the infantry. Nobody had any interest in the infantry.

After a few more hours of pacing and fidgeting, I determined that between cavalry and navy, I preferred the navy. It would allow me to get farther away from Venice, a place full of people whom I felt compelled to try to impress even while I knew I never would—most notably, my father. Further, it seemed to me that in the navy, skill mattered more than privilege. In the cavalry, a rich man could afford a better mount than could a poor man, and therefore accomplish more. I did not want to rise because of the horse my father’s money could buy; I wanted to earn what I became. I did not want people whispering what my own inner demons whispered to me: you are nothing at all, only your father’s unloving wealth gives you the right to exist. On your own, you’re nothing, because you are uncouth.

And so in the swampy height of summer, ruminating languidly upon my summer bedding, I chose the way of the sea. I had a weakness for the romantic: I liked the notion of continuing the ancient tradition of ruling the waves. I was, of everyone I knew (possibly excepting Roderigo), the least capable of filling the boots of the ancient mariners who went before me—and yet I committed to it in my heart. That commitment, once made privately, filled me with a giddy expectation. I stood and looked about at my piles of books, then selected Herodotus and resettled beneath the bare canopy frame, to revisit the Battle of Salamis with a new appreciation now knowing that I might someday find myself in straits similar to Xerxes’.

But my reading was interrupted by a tentative rap at my door. Come, I said. A pretty, plump servant girl, whom I suspected my father was sleeping with, pushed open the door just enough to glance inside.

If you please, master, your father has called for you, she said, with lowered gaze.

Thank you, I said and set Herodotus aside, glad of the summons. I would have made my way down to his office soon anyhow, to share with him my vocational intentions.

Father was a silk merchant—or more precisely, an entrepreneur, a setaiòlo. He bought raw silk, oversaw the production without dirtying his own hands, and then traded the finished product at a profit. He was an officer in the Silk Guild and often took his dinner at the Silk Office in Campo San Giovanni Crisostomo, across the Grand Canal.

His storeroom was the first floor of our home, but his office was one broad flight of steps up from there, the marble burnished bright from so many feet trampling on it over centuries. Our bedrooms were all one floor above that; I descended briskly, affecting an energy I did not really have in the oppressive heat. I felt a happy nervousness; as I descended the steps, I anticipated Father’s reaction to my decision. I knew he would agree with it, as it would save him the cost of a horse, but since he never outright approved of anything about me, I wondered how he would manage to express his approval in a disapproving manner.

The heavy oak door to his office was standing ajar, and I stepped through.

Father had a very comfortable chair in his office, of dyed leather rigged on a wooden frame. The seat was permanently concave from decades of taking the imprint of his buttocks. It was the only chair in this room; all other seating consisted of floor cushions around low tables, a custom borrowed from our one-time trading partners far to the east.

I was in my favorite ormesini summer wear. (The youngest son always gets the cheapest weave.) Father, in his black silk cap, in his unadorned red broccatello doublet, his samite breeches, his eyes glancing over an invoice from one of his shops, gestured me to sit on a fat cushion on the rugs. I did so, bowing first.

And so, Father began, his eyes still on his work. The da Cremona Artillery School starts next week.

I blinked in confusion. I do not know anything about that, Father. I have decided on a naval career, I said.

He glanced up briefly as he transferred the invoice to a pile on his left while taking a new invoice from a pile on his right. I tried to ignore the sudden sinking feeling in my gut.

A naval career for whom? he asked.

Myself, I said.

An expression crossed his face as if a bug was worrying his ear. Then the expression softened and he said, with a small cough, No, you’re going into the artillery. I have already enrolled you at the school.

Father—

I have given this more thought than you have, Iago. Every member of the navy must be in top fighting form at all times. You would fail at that. The artillery has excellent placement and also gives you an inside advantage for a civilian office in the infantry later.

I stared at him, flummoxed.

I do not need you making a fool of yourself or bringing embarrassment on our family name by being inadequate. I did not call you in here to discuss which branch of the military you prefer.

Swallowing a stomachful of bile in total silence, I managed to ask, Then why did you call me in here, Father?

His voice almost muffled behind the new invoice he was purposelessly staring at, he replied, To remind you to pay your respects to your mother before you depart. She gets sentimental about these things, and I do not have the energy, in this heat, to soothe her. Make sure to leave her contented. And take this, he said, picking up a leaf of paper from his desk and holding it out to me without looking at it, or at me. It details your training program. You’re dismissed.

TOO FURIOUS TO be stunned, too stunned to be furious, I slumped on my bed and read the leaf he had given me.

The state-sponsored Artillery School, I learned, had once been based in the campo of Santa Barbara, Barbara being the patron saint of things that explode. The school’s official quarters had moved to Campo Santa Maria Formosa, but there was a particular intensive training program based within the Arsenal. Our three-month-long sequestering is meant as much to induct participants into military life as to teach artillery skills I read. This includes living as members of a company, specifically mess and bed in a dormitory built 350 years ago, when the entire Republic gave herself over to the creation of a Crusader fleet.

That fleet, by the way, besieged and defeated Constantinople, the greatest city in the world. You never see Venice attempt such heroics nowadays.

Chapter 3

ON THE APPOINTED DAY, my father’s servants packed a leather satchel for me with the few requisite items that the Academy had advised. I was so disinterested in my imminent career that I did not even bother to examine the contents of the satchel. I added only a small blank parchment and a stub of lead, to capture interesting thoughts, if I should happen to have any.

Possibly the only issue about which my father and I were in agreement (although for different reasons) was that I should carry my own satchel to the Arsenal, rather than be escorted by a servant. I liked the notion of appearing self-sufficient from my first moment there.

Father liked the notion that he would not be inconvenienced by the lack of a servant for the afternoon.

I LEFT THE house on the fifteenth of August. This was the eve of the feast of San Rocco, when the doge would make a pilgrimage to our neighborhood church. I was glad to miss the pomp of that. There were no emotional leave-takings, not even with my mother.

To avoid the crowded Rialto, I took a gondola across the Grand Canal and then serpentined through the narrow alleys of San Marco until they opened up into the Piazza. Fabric stretched on large wooden frames had been erected to afford some shade to all the ministers and commissioners and aides and clerks who were trying to conduct business among the peddlers and fortune-tellers and flower sellers and notaries. The cloth frames had crowds beneath them; the rest of the Piazza was baking, heat rising in mercurial shimmers for two hundred paces.

I skirted the edge of the Piazza, asking pardon of the young gentles who were grudgingly trying to impress the older gentles in a game of patrician politics that I, by birth, would never be allowed to join. I turned right into the Piazzetta and, by the two columns, considered a second gondola. I decided that was a choice for weaklings. I was a man, and strong, and self-sufficient. I would walk. Laden with satchel, I strode the length of the Riva degli Schiavoni, growing sticky and then slick with sweat in the sultry breeze meandering in from the lagoon.

Near the Arsenal—a part of the city I had never ventured into—a series of side streets led me to a goodly campo, beside an inn called the Dolphin. Off the far right corner of the campo was the Arsenal’s water gate. But directly ahead of me, the paved yard led to the Arsenal’s sole doorway: a large iron gate in a brick wall, with stone lions flanking either side of it.

For centuries, this has been the most guarded door in the entire Venetian empire. Citizens have easier entry to the Doge’s Palace than to the storehouses of the Republic’s armaments. Beyond that wall lies all the munitions of our state, from rifle shot to warships. And gunpowder. Lots of gunpowder. I was about to be among the favored few allowed within. This was something most of those young gentles hobnobbing in the Piazza could not claim.

With clammy palms clinging to the satchel as if for comfort, I crossed the sun-baked campo. My heart beat harder with each step. Finally I reached the steps leading up to the door. I took a deep breath, heaved a steadying sigh, and climbed the steps, feeling my garments sucking at my skin with sweat.

A young guard in a red-and-white jerkin brusquely asked my name and I gave it, surprised to hear my voice tremble. The Arsenal entrance swung open to receive me.

The guard, not much older than myself, and proudly hefting an arquebus as well as sword and dagger, squired me over the high-arching Arsenal Bridge. There were large, intimidating guards posted in pairs on either end of it. We crossed between two tall brick buildings; when we emerged from the shaded canyon between them, to our left opened out a huge man-made boat basin, at least ten times the size of Piazza San Marco. My jaw fell slack. About a dozen galleons sat moored in there; they looked like sparrows in an enormous puddle, so vast was the basin.

To our right, fronting this basin, was a row of enormous brick buildings full of men, lumber, and loud mechanical devices: they were actually building ships!

I tamped down my eagerness, because I was a man now, and men do not get giddy about such things.

We walked to the end of the basin past the different groups of men who were building ships, then turned left to skirt the basin, and then shortly after that, turned right across a small wooden bridge into a walled triangle of brick buildings and open courtyards. From reading father’s educational leaf, I knew that this was to be my home for the next three months.

The barracks was the least ornate building I had ever entered in my life. There was not one decorative flourish to the architecture, no devices anywhere to suggest that those associated with the building had time or money to waste on nicety. It was functional, and nothing else. I noticed this detail with unexpected pleasure, almost a thrill. This building, like myself, had no time for artifice. For certain, military life would be likewise, and however dilatory, I would finally feel at home somewhere.

Inside, a corridor led down to a mess hall, but to our immediate left there was a spiral stairway—spiral! Small, compact, efficient, no broad swaths of carpeting, no murals, no alabaster handrails, no broad concourse to accommodate womanish costumes. Climbing that stairway, I fell in love with military life.

Briefly.

My enthusiasm was dampened immediately by what awaited me in the dormitory. Perhaps because I did not have a servant to help me with my load, I had arrived last, and there were nine other youths my age making up their sleeping cots.

. . . just a bit trashy, isn’t it? one snickered to another. They might have warned us of that.

They all wore brightly dyed silk jerkins—canevazze mostly, by my guess—and breeches; jerkin and breeches slashed with crosses or stars, showing white taffeta beneath. I, in sharp contrast, wore a jerkin with a better weave than theirs but of much simpler tailoring, and no slashes at all. I looked, almost literally, like the black sheep of the herd.

I glanced quickly at the faces and realized at once that I would make no friends here. Not that I would have known what a friend’s face looked like, but I know complacency at a glance, and these fellows fairly radiated it. At a guess I’d say that all of them had come from families like mine—well-off merchants—although I was mystified why so many well-off merchant families would send their sons, in peacetime,

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