Neil Olson - The Icon

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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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“Walk. You are quite safe, but you must come along.”

In fact they were already moving, Risto’s power propelling both of them toward the broad staircase down to the street. Matthew fell into step so as not to tumble down the stairs and breathed deeply to calm himself. Things were moving too fast once more. He needed to think clearly and act quickly, and he must by no means allow himself to be put into a car. As Risto looked up and down the avenue, Matthew dared a glance downward, and realized that it was a fair-sized candle being stuck into his rib cage.

They reached the sidewalk and moved toward the curb, where a small blue compact sat idling, a man at the wheel. Matthew pretended to stumble, and as he was pulled upright again, drove his elbow backward at Risto’s solar plexus. The hard resistance of bone on bone told him he had missed the target, but the bigger man grunted and his grip relaxed briefly.

Matthew broke free and wheeled about, swinging wildly, his fist catching the side of Risto’s head. He turned to move away, figures scattering on the sidewalk before him, but felt a hand on his jacket collar, then a fierce blow to his lower back, stunning his spine and kidneys. He began to slide to his knees, but in a moment Risto had him firmly around the shoulders again, forcing him painfully into the car’s backseat.

Face mashed against vinyl, Matthew could make no sense of the shouting that followed, nor of Risto’s sudden weight on top of him, driving the air from his lungs. A new voice gave sharp, clipped commands, the car lurched into motion. Then there was silence, except for some heavy breathing. As the weight shifted off him, Matthew squirmed up into a sitting position, flushed and disoriented, blood roaring in his ears. Risto was pushed up against him, leaning forward with his head on the back of the driver’s seat. Sotir Plastiris sat on the other side of him with a small pistol against Risto’s right temple. In front, a younger man in the passenger seat had a larger pistol up against the driver’s head, and the car raced and wove through the thin traffic on the avenue.

“Matthew, you are well?” Sotir asked with that odd mix of genuine concern and fierce insistence so peculiar to the native Greek.

“Yes.” His tight throat barely released the word, and he did not trust himself to say more without his voice cracking.

“Here,” Sotir said to the front seat, and his companion communicated a left turn to the driver, who obeyed. The car bottomed out on a narrow, cobbled lane and immediately reduced speed. They were in a rabbit’s warren of small streets and after several turns stopped dead in a short alley. The silence was even more intense with the engine off. Matthew’s senses, emerging from a thick gauze of fear, now seemed suddenly sharp, almost unbearable. He was aware of each man’s scent, every movement in the car, throats clearing, mouths exhaling short breaths. The driver was young and very frightened, sweat staining his collar. The passenger with the large pistol was young also, slightly bored-looking, with curly black hair and handsome features not unlike Sotir’s. One of the nephews, presumably, and they had been watching Matthew without his knowing it, probably the entire day. Andreas’ hand was in this, but Matthew could not bring himself to be offended.

Sotir reached inside Risto’s coat and after some fumbling around removed a small pistol, placing it inside his own jacket.

“Who?” he asked quietly. When there was no answer after several seconds, he struck Risto sharply on the head with his pistol, drawing blood, and Matthew reflexively looked away.

“Who?” Plastiris demanded a second time.

“Livanos,” Risto said.

“Taki Livanos?” Matthew asked, suddenly finding his voice.

“Yes.”

“Fotis’ nephew,” he explained to Sotir, who nodded.

“And what do you want with the boy here?”

“Just to bring him to the house,” Risto answered.

“You need a gun for that?”

“I always carry it.”

“You need to hit him and push him just to bring him to the house?”

“They said he would be suspicious, but I must get him there anyway.”

“Why?”

“How the hell should I know?”

Sotir struck him again, and Matthew bit down on his protest.

“Where is Livanos?”

“Gone. Into the mountains, I think, with the old man.”

“So what happens at the house?”

“We keep him there for a day or two. I don’t know why, they didn’t tell me.” Risto braced for another blow.

“That’s all?” Matthew asked. “And then you just let me go?”

“Yes,” Risto insisted, and Matthew believed him. Fotis merely wanted enough time to disappear. Evidently Sotir believed it too, because he did not strike the man again.

“The boy is protected. Don’t come near him. Tell Livanos.”

“I don’t intend to speak to that bastard again,” Risto sighed.

Matthew, Sotir, and his nephew got out of the car slowly and carefully, but the bewildered occupants clearly intended no more trouble. The nephew snapped open a ridiculously large knife and methodically punctured a tire, just to be on the safe side. Then the three of them made their way through the narrow lanes to Plastiris’ own vehicle. Matthew’s legs struggled to hold him up. Two knuckles were swollen on his right hand, and his lower back ached badly. The taste of fear would be in his mouth for days, yet he felt grateful to have escaped with so little harm, and stupid for not realizing how far above his abilities this game was being played. The nephew smiled at him with condescending sympathy.

“That was good, pretending to fall. But next time, hit him in the balls, not the chest.”

“I’ll remember that.”

“We’ll call your grandfather now,” Sotir said. “He will be worried.”

“Thank you. For looking after me like that.”

Plastiris waved the comment off.

“We were slow, but it is good we were there. Do you know where your godfather is?”

“No. Not at the moment, anyway. But I have a fair guess where he’s going.”

On the switchback road that climbed to Veria, Fotis was sure they were being followed. Taki laughed. This isn’t America, Uncle, there is only one road. Which was true, more or less; only one major road-narrow and winding-penetrated the mountainous heart of Macedonia. Yet something about the white Peugeot troubled the old man, the half-obscured license plate, the way it kept a perfect distance, even when Fotis made Taki slow down. Greeks did not drive so carefully.

He had Taki pull the black Mercury over at his favorite chapel, first making sure that two other cars were parked by the food stand across the long bend of road, beyond which the ground fell away to a landscape of beige hills spotted with dark vegetation. Hot and barren as Lebanon; not like the green hills of Epiros. From its little rise, creamy white in the dying sun, the chapel looked out over everything, a rocky cliff rising steeply behind it. The Peugeot stopped also. The driver bought a stick of souvlaki and a beer for himself, but nothing for the older man with him. The driver ate slowly, wandering back and forth from the cliff edge to the car, never once looking in Fotis’ direction, yet tarrying.

The Snake seemed not to be looking either, but saw all in his usual sidelong fashion. He spent a full ten minutes examining the small church, shut up at the moment, standing inside the tiny vestibule, out of the sun, while Taki paced like a panther and checked his watch. The road could be dangerous after dark, but Fotis had his mind on other dangers. At length, the young driver got back into the white car and sped quickly out of sight. Perhaps a coincidence after all, Fotis thought, but he made Taki wait another ten minutes before proceeding.

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