Gathered together at an old and opulent palace are the corrupt and manipulative man who makes his home there; his devious factotum; a rich harridan and her paid companion; and two men who have ostensibly come to provide succor to their ostensibly ailing host. Each of them possesses great wealth, or desperately wishes to possess it, or both. The situation not only echoes that of many classic whodunit tales but also resembles the scenario of a truly classic work: the comedy Volpone; or, the Fox (1605–1606), by Ben Jonson. Indeed, several of these characters confess that they know the play and that they mean to turn this knowledge to their advantage.
Sterling, at any rate, puts his own erudition to good use, adding to the raw material of that source work the clues and the trickery of a detective story. In doing so, he forsakes none of the original’s comic flair and sardonic worldliness, and he leavens the plot with trenchant musings on death and its relation to life that transcend the humble mystery genre. Like its Renaissance forerunner, the novel uses Venice as its metaphorically freighted locale.