Frank Schätzing - Death and the Devil

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Death and the Devil: краткое содержание, описание и аннотация

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In the year 1260, under the supervision of the architect Gerhard Morart, the most ambitious ecclesiastical building in all of Christendom is rising above the merchant city of Cologne: the great cathedral. Far below the soaring spires and flying buttresses, a bitter struggle is underway between the archbishop of Cologne and the ruling merchant families to control the enormous wealth of this prosperous commercial center—a struggle that quickly becomes deadly.
Morart is the first of many victims, pushed to his death from the cathedral’s scaffolding by a huge man with long hair, clad all in black. But hiding in the branches of the archbishop’s apple orchard is a witness: a red-haired petty thief called Jacob the Fox, street-smart, cunning, and yet naive in the ways of the political world. Out of his depth and running for his life, he soon finds himself engaged in a desperate battle with some very powerful forces.
Most dangerous of all is the killer himself—a mysterious man with remarkable speed, strength, and intelligence, hiding dark secrets that have stripped away his humanity and turned him into a cruel, efficient hired assassin who favors a miniature crossbow as his weapon of choice. But who is he killing for?
Jacob the Fox—uneducated and superstitious—fears the killer is the Angel of Death himself. But the wily Fox makes an alliance with some of the strangest of bedfellows: a beautiful clothes dyer, her drunken rascal of a father, and her learned uncle, who loves a good debate almost as much as he loves a bottle of wine.
Can this unlikely foursome triumph against the odds and learn the truth of the evil conspiracy before their quest leads to their death at the end of a crossbow arrow?
Readers who loved the richly textured setting and historical accuracy of Umberto Eco’s “The Name of the Rose” will thrill to discover a new novel through which they can vicariously enter the medieval world. With its vivid evocation of both the rich and powerful and those struggling to survive another day at the bottom of society’s rungs in the Cologne of 1260, “Death and the Devil,” the first novel by Frank Schätzing, sends a clear announcement to the literary world that an important new voice in fiction is here.

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Before Jacob could say anything, Jaspar had taken him by the shoulders and pushed him out into the street. The rain had stopped, but it was still cold. Jacob looked around. There was an oil lamp swinging to and fro outside Bodo’s house next to the brewery. Key House opposite was silent. There was no one about.

“Off you go,” said Jaspar.

Jacob put his head back and pumped his lungs full of air till they were bursting. Although he was sore all over, he felt as if he had come alive again after a long time. Then he embraced Jaspar, pressing him so tight to his breast something cracked, and gave him a smacking kiss on his bald head. Jaspar stared at him, flabbergasted.

“Not like me.” He grinned, then turned and scurried away up Keygasse.

The archbishop’s palace, also known as the Hall, was on the southern side of the cathedral precinct, between Dragon Gate and Tollbooth Gate. Built a hundred years ago, it was an imposing, two-story castle with a row of arcades on double columns decorating the opulently furnished hall on the upper floor. That was where Conrad dispensed justice; it was also the place where he had outwitted the patricians when they had come for supposedly unarmed and peaceful discussions.

Conrad’s private apartments were to the rear, opposite the cathedral and not visible from the street. There was no point in trying to gain admittance there. Anyone who wanted something from the archbishop had to approach his soldiers and officials, which meant humbly begging audience at the front entrance.

Jacob had avoided the main streets, weaving his way through the narrow alleys like a salamander. There was a chance the patricians were still looking for him and Jaspar, but they couldn’t get into every nook and cranny, and that was where Jacob was at home.

He paused for a moment to draw breath. He was at the end of Pützgäßchen, which led into Am Hof, a broad, prestigious street with stately buildings such as the Crown House, where the dukes of Brabant held court when they were in Cologne, and the Klockring, the sheriffs’ headquarters. The archbishop’s palace was directly opposite. There were lights on in some of the ground-floor windows and the main door was open. A group of men in armor were talking with two night watchmen on horseback. Their muffled voices came to Jacob, but he could not tell what they were saying. With a burst of coarse laughter, the night watchmen spurred their horses and the soldiers withdrew into the building. The double doors screeched and slammed shut.

Cautiously he peered out into the broad thoroughfare. Farther up he saw a few monks scuttle through the darkness into the provost’s quarters. There was garbage lying everywhere. Heavy rain, such as that during the night, swept everything the citizens threw into the street down through the steep east side of the city toward the Rhine. And there was nothing the good citizens did not throw into the street. The senses were assaulted by the mixture of the ubiquitous pig dung with an amalgam of rotting vegetable scraps and gnawed bones. Despite that, all appeals to throw everything in the cesspits were ignored, or dismissed with the irrefutable argument that the gold diggers—the local term for the unfortunates who were supposed to empty them—performed their function too rarely.

Jacob decided he had waited long enough. Making sure not a single red hair was sticking out from under his hood, he ran over to the door and knocked loudly.

Immediately a flap slid back and a pair of eyes scrutinized him. Jacob felt his hopes rise. “I have some important information for the archbishop,” he said breathlessly.

“What information?”

“A matter of life and death.”

“What?”

“For God’s sake, just let me in before it’s too late.”

The flap slid to, then one of the doors opened and Jacob found himself face to face with a man in armor and helmet. There were three more behind him, regarding him with curiosity.

“The Lord be—oh, why bother?” muttered Jacob as he sketched a blessing and hurried inside. The door snapped shut behind him.

He looked around. The entrance was lit by pairs of torches in elaborate holders. At one side a broad stone staircase with a massive stone balustrade led to the upper floor. Between the torches the wall was hung with tapestries representing chimeras and Titans, sphinxes, naiads, and centaurs, beings with snakes’ heads and bats’ wings, manticores baring their fangs and dwarves with the faces of dogs, cyclops, scaly devils and gorgons, birds with women’s heads and werewolves, forming a garland of merry horror around the ecstatic saints with eyes turned to heaven, bodies disfigured by the wounds of martyrdom, hands raised to the angels with their powerful gold-blue-and-turquoise wings and haloes. Above them all was Christ, His right hand raised, His earnest gaze directed straight ahead. The dark eyes appeared to see everything and at the same time into the heart of each and every individual. Jacob trembled. He saw the living God and felt strong, felt new courage well up inside him.

An iron-gloved hand was laid on his shoulder. He turned away from the comforting eyes of Christ and found himself looking into the soldier’s.

“What’s all this about, monk?” the guard barked.

Monk? Oh, of course.

“I have to speak to the archbishop,” Jacob said, against all reason.

The man stared at him, then roared with laughter. The others joined in. “It’s not that easy to get to speak to the archbishop, Friar Oaf. Has no one ever taught you to bow your head when you ask for audience?”

“And what have you been taught?” Jacob retorted. “Conrad von Hochstaden is in great danger and you make fun of the messenger who might save his life. Do you want to end up bowing your head on the executioner’s block?”

The laughter died away. The soldier scratched his beard, unsure what to do. “What’s this danger you’re talking about?” he asked.

“Mortal danger!” Jacob cried. “God wither your loins if you don’t take me to Conrad this instant.”

“I can’t take you to His Excellency,” the soldier shouted back. “The archbishop is occupied with the preparations for the procession.” He gave an indignant snort, then went on more calmly. “But I could call the archbishop’s secretary. Would that do?”

Success!

“All right,” he said with feigned sullenness, “if that’s the best you can do.”

The guard nodded and sent two of his comrades up the stairs. Jacob waited, hands clasped behind his back. He didn’t know precisely what a secretary was, but it sounded important.

Surprisingly quickly a short, skinny man appeared with the two soldiers at the top of the stairs and descended with mincing steps. A gold chain lay resplendent on his lilac-and-black robe, his hands were in gloves of burgundy leather. A kindly face with watery blue eyes was framed by a fluffy white beard. He came up to Jacob and smiled. When he spoke, Jacob noticed the accent of some Latin country.

“The Lord be with you and with thy spirit.”

Jacob sniffed in embarrassment. “Yes. Of course. Definitely.”

The secretary put his head to one side. “What can I do for you, my son? I was told you had information for the archbishop, but are unwilling to say what.”

“I must talk to him,” said Jacob. “The archbishop is in great danger.”

“Danger?” The secretary came closer and lowered his voice. “Don’t speak so loudly in front of the soldiers, my son. They’re loyal, but you never know. Archbishops have occasionally been murdered by their own nephews. Whisper in my ear. Who wants to harm our archbishop?”

Jacob leaned forward and whispered, “Conrad is to be killed today. I don’t know if it will be during the procession or the service, but they intend to kill him.”

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