Jonathan Holt (www.carnivia.com)
Head of Zeus (headofzeus.com)
WALL STANDING IS NOT TORTURE.
AT 9 P.M. THIS EVENING, SHE WILL NOT BE TORTURED.
WATCH IT LIVE ON CARNIVIA.
When the teenage daughter of a high-ranking US soldier is abducted from one of Venice’s sex clubs, it seems that the protesters against the new US Air Force base at nearby Vicenza have graduated from nuisance to terrorists. But videos of Mia start appearing on Daniele Barbo’s anonymous website, Carnivia.com, and it quickly becomes clear that there are other motives for the kidnapping. Led to Dal Molin for different reasons, Colonel Aldo Piola and Captain Kat Tapo of the Carabinieri find themselves working together on this high-profile case in a race against time to find this young girl before it’s too late. With the help of Barbo, and US military liaison Holly Boland, they might just have some chance of success.
Jonathan Holt’s first novel, The Abomination, was one of my favourites of last year. With The Abduction he returns to the characters and locales (both physical and virtual) that made the first novel such a compelling read. This time around there is a sense of opportune timing, with the recent release of the so-called “torture memos”, since earlier leaked versions of these documents form the core message of Holt’s narrative: Mia’s captors use the memos to direct the course of treatment for the young girl, with each Torture/Not Torture session broadcast over Carnivia.com for the world to assess and decide.
Holt has his finger very much on the pulse, and uses an excellent device to appeal to the modern reader, who is also, most likely, a voracious consumer of social media; the abductors invite the public to take to the Internet and decide for themselves whether what they are watching (described by the US government as “not torture”) is #Torture or #NotTorture. Holt uses this device to examine the current state of what we think of as “news”, examining the traditional outlets (TV and newspapers) and also the impact of newer, less-regulated channels, such as political bloggers.
Alongside this fast-paced countdown, there is another mystery, which is what initially draws Aldo Piola to the Dal Molin construction site: a skeleton is discovered in one of the construction vehicles during a break-in by the same group that have purportedly abducted Mia. This skeleton is over seventy years old, and Piola finds himself unravelling a conspiracy that came to life towards the end of the Second World War, and which involves the police, the Church (including one of their highest-placed clerics), the CIA and the Christian Democrats, who governed Italy for over forty years. The two mysteries dovetail neatly as the book draws towards its climax, leaving the reader more than satisfied on both counts.
At the centre of this clever novel are the four characters we first met in The Abomination. In the time since the end of that previous novel, much has changed: Aldo Piola is under investigation by Internal Affairs over the sexual harassment claim filed by Kat Tapo; Kat and Holly’s friendship has terminated in a rather abrupt manner that means they haven’t spoken in some time; and Daniele Barbo has retreated back into himself and taken refuge once again in the virtual world he has created. A large part of the attraction of this novel (and its predecessor) is the focus on the relationships between the characters, and the different personalities that Holt has created for them: the outgoing and promiscuous Kat;, neat and ordered Holly; introverted, nerdy Daniele. It’s an interesting dynamic, a group of people that should not work well together, but which has as much drawing power as the book’s central mystery.
Holt also provides us with some insight into the mind of Mia and her abductors, as we watch some of the proceedings through her eyes. The sense of fear is palpable, to the point that we get a vicarious shiver every time there is a hint that something unpleasant is on the way. A rapport develops between Mia and one of her captors, despite the fact that she never sees him without his carnevale mask. This viewpoint also allows the author to examine the torture memos in more detail, and provide some context for their inclusion in the story.
The Abduction, like The Abomination before it, examines, in some depth, the Italian political, legal and justice systems, their respective problems, and their inextricable links not only with organised crime in the country, but also with the Catholic Church, which – to Holt’s mind, at least – rules supreme from the extraterritorial Vatican City at the heart of the country’s capital city. It’s an interesting slant on the old-fashioned police procedural, and a unique problem for crime fiction set in Italy.
Very much in the realms of Neal Stephenson, William Gibson and their ilk, The Abduction is a mix of technological, historical and espionage thriller with a healthy dose of police procedural for good measure. Building on the world he has already created in last year’s The Abomination, Holt develops his characters, their background, and the shady Internet site that sits at the centre of the story, even further in this second outing. It’s a fast-paced and engaging read that works as a complete unit, while also providing deeper insight into the world of Venice and of Carnivia, laying further groundwork for next year’s third, much-anticipated (by me, at the very least) volume, The Absolution.