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Neil Olson: The Icon

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Neil Olson The Icon

The Icon: краткое содержание, описание и аннотация

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From Publishers Weekly Literary agent Olson (of the Donadio Olson Literary Agency) moves to the other side of the desk with this gripping, intelligent first novel of art thievery, treachery and revenge. It's 1944, and a group of Greek partisans are hiding from the Germans near the village of Katarini. Their leader has put into play a scheme involving a German officer who wants to trade a cache of weapons that will be used to fight the Communists after the war for a painted icon known as the Holy Mother of Katarini. The plan goes awry, and the ancient Byzantine icon disappears, only to resurface 56 years later on the wall of a private chapel in the New York City home of a Swiss banker named Kessler. After Kessler dies, various parties-the Greek Orthodox Church, the Metropolitan Museum of Art, an elderly Greek gangster and other mysterious characters-vie to acquire the icon, which is said to posses paranormal powers. Kessler's granddaughter Ana and young Matthew Spear, an assistant curator at the Met, are swept up in the tangled plots to buy or steal the icon. The story twists back and forth between wartime Greece and the present day as the history of the icon and the men who lust for it is gradually revealed. Only the violent and inevitable end brings understanding and a measure of peace to those under the icon's spell. From Booklist In this debut thriller, the fast-paced action moves between a Greek village during World War II and the contemporary art scene in New York. There is also-no doubt with the popularity of The Da Vinci Code in mind-a patina of religious wonder shrouding the story. Two elderly friends/rivals, who fought both Communists and Nazis in Greece, are related by blood, broken dreams, and their quest to track down a religious icon, a Byzantine panel of the Virgin Mary reputed to have mystical healing powers. The grandson of one and the godson of another, Matthew Spear, is an art historian at the Met, and when the icon surfaces after the death of a collector, Matthew finds himself caught up in its deadly wake. Although both plot strands are nicely developed, it sometimes takes so long to get back to the World War II story that readers may forget who's who. Yet the evolution of the characters holds our attention, the action is gripping, and the quest for the ever-illusive icon provides just the right gossamer string to tie it all together.

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The captain could not respond at once. The cult of the icon had always seemed an old woman’s obsession to him, something his father had scorned, as he scorned all religion, something the young people of the local villages would surely grow up to reject, or ignore. Elias was no communist, but he was a man with his eye on the wider world, where science trumped superstition, where worship of the Mother of God did not guide men’s actions. Athens had given him a taste of that world, but perhaps he had been there too long. Or perhaps he’d done wrong to return here. His young fighters trusted priests even less then he did, yet in moments of fear they turned not to each other, like their brothers with the communists, but to God, and to Panayía, the forgiving Mother. How had it happened? If the priests and old women had no hold over them, from where had this belief emerged? Where had Mikalis, whose own father was utterly godless, found his faith? And how could Elias look such faith in the eye after setting such mischief in motion?

“Listen to me.”

There was nothing to say. His words would have hung unfinished in any case, but at that moment the captain noticed shadows on the far side of the church, moving among the graves. Müller and six or eight soldiers, looking for the rear entrance. They had gone the long way around but would be upon the andartes in moments. Distracted, Elias loosened his grip fractionally. It was enough; the priest was gone from beneath his hands, leaping the broken wall and racing up the remaining slope for the dark portal. The captain froze, unable to call out. The Germans apparently recognized the black cassock and did not shoot, but one soldier darted forward to intercept the cleric.

“Halt, halt.”

A rifle boomed to the captain’s left-Spiro’s old Männlicher-and the soldier sat heavily, listed sideways to the ground. A moment later shots came from the other side, springing hot chips from the stone wall, and the guerrillas ducked their heads as the Germans sought cover. Mikalis stumbled over the fallen soldier but righted himself and disappeared into the entry.

Elias, calmed by the eruption of fighting, found his voice and commanded his men to spread out along the wall and shoot as fast as they could reload. Accuracy was not important. The crosses and narrow tablets gave the Germans no refuge; their only real cover was the corner of the church-and since only one or two men at a time could fire from that position, the guerrillas might keep them pinned briefly, while disguising their own paltry numbers. It would be four against fifty once the rest of the Germans arrived, presumably in minutes, but perhaps the priest would emerge before that.

Then a second figure was leaping the wall and making for the door. Black shirt and kerchief, running low and swift. Kosta. What the hell was the boy up to? He had no love for priests or icons, but so be it: the action was undertaken. Reloading the Enfield was too slow; the captain tossed the rifle aside, drew his pistol, and fired blindly at the shadows, wasting precious ammunition. Spiro and Leftheris picked up their fire as well, and Kosta raced through the doorway.

Captain Elias bent to reload his hot pistol and consider his position. A bad business, no helping that now. Spiro should not have shot but must have thought Mikalis was in danger. The dead German would cost the village dearly unless Elias could put it right with Müller. Müller, with whom he was now exchanging hostile fire, never a good place from which to negotiate. To hell with it all. If he had the men the Snake had taken to retrieve the weapons, he would scrap the whole dirty plan and kill as many Germans as he could. If. No, this was a foolish action, thoughtlessly undertaken, his own fault.

Never mind. From the woods to the north, almost behind them, he could just discern the sound of creaking rifle straps. From the lane behind the church, clattering boot heels. They would be encircled in minutes.

“Withdraw.”

He scrambled along the wall to Leftheris and Spiro, and when they would not listen he knocked their rifle barrels up and forcibly pushed them toward the wood line.

“Withdraw, damn you. Not the cave, the old monastery.” An eight-kilometer trek, hard on old Spiro, but the Germans would not pursue them so far in the dark, and they must by no means expose the cave.

Slowly, the men obeyed, disappearing into the trees, leaving the captain alone. He rushed back along the broken wall and slipped over it at a point closer to the front of the church, out of sight, he hoped. A heavy machine gun suddenly opened up from the graveyard, spraying the position were Elias and his men had been half a minute before. On his belly, he arrived at the church wall and slid upright against it. The tall stained-glass window above him had already shattered from the heat. Kerchief against his face, Elias peered in. The fire was nearly out in the front-having consumed everything there-but still in full fury near the back. The altar and ancient iconostasis were lost in smoke. Venerable wooden pews were skeletal beneath fiery cowls, roof timbers exploded above. The church was old, much of it contents centuries older, and even the godless captain felt the loss. He could not see the place where the icon was hidden, and there was no sign of any man.

He ducked down again. There were voices and rushing feet in the woods below. A lantern swung wildly. They would be up the slope any moment, finding only their fellow Germans in the graveyard beyond. With any luck the bastards would shoot each other. Elias dropped to his stomach and crawled back toward the front of the church.

The few soldiers who had been left in the courtyard had abandoned it, presumably to join the encircling troops. That left the front entrance clear, if the men inside had been able to fight through the flames to get to it. The crypt passage still seemed the most likely route, though. At a safe distance from the enemy, the captain reentered the woods, where he quickly stashed his rifle and bandoleer inside a split tree trunk. Then he tucked the pistol under his loose vest. Anyone with a good eye and a little bit of light to work with could spot him as an andarte, but it would have to do. He must make his way into the village. Already the wheels of his mind were turning with the night’s terrible possibilities. He had three places to search, four men to find, and some hard questions to answer. Then he had to make things right with the Prince.

By morning everything would be clearer, though certain questions would persist for a lifetime. Six weeks later, upon their retreat from the region, the Germans would burn the village of Katarini to the ground.

PART ONE

SPRING 2000

NEW YORK CITY

1

The blue sky that had oppressed him for days was gone, replaced by a solid wedge of leaden gray and the sound of rain in the courtyard. He could still make out the towering brown mass that formed the rear of an old hotel, but the wet leaves and branches of the giant plane tree were now beyond his failing sight. The nurse constantly assured him that the tree was still there, and he would accept her word. It had, after all, been there forty years and more, long before he’d moved into these haunted chambers. It would be there after he was gone. This was reassuring.

He had become grateful for the ordinary things that could be maintained in this thoughtless city. It was no longer necessary for these things to last indefinitely. A few more years would do, perhaps less. Better not to think too much about that, his granddaughter kept telling him. Absurd. It was all that he could think about; it was the only thing that made sense to think about. His wife and son were already gone before him. He spoke to no one but the nurse and the girl, when she made time for him, when she wasn’t in London, or California, spending his money. He could picture her now, perusing the walls of some slick Santa Monica gallery, striding about in the track-lit backroom, making hasty decisions she could repent at leisure. A Hockney or Thiebaud being wrapped for packing, or else some new, even less talented artist she had just discovered. Abominable. Why had she inherited his interest but not his taste? Where did she put all the pieces she bought? She must have filled the walls of all her flats by now. It couldn’t be that she was hanging them on the walls around him, taunting his advancing blindness? No, he didn’t think she hated him that much, but he would ask the nurse just the same. Of course, he wouldn’t know if she was telling him the truth. After all, she was stealing his books. That was all right; she could have them.

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