Reading Group Guide

Questions for Discussion

1. Gabriel Allon has settled with Chiara in Jerusalem. Considering this location and the specific description of their home at the beginning of Chapter 3, how would you describe the state he’s in at this point in his life?

2. Consider the fictional version of the painting of Susanna and the Elders believed to be by Jacopo Bassano. What do the details offered about her story add to how you think about Madeline Hart?

3. Gabriel, once a talented painter of original works, admits he began to study art restoration because his profound and brutal three-year experience at the center of operation Wrath of God changed him. What might he have lost that a creative artist needs?

4. Graham Seymour, Deputy Director of Britain’s MI5, is close to Gabriel as fellow members of “a secret brotherhood who did the unpleasant chores no one else was willing to do” to keep their countries safe. What else accounts for Gabriel’s willingness to trust and work with him?

5. Seymour responds to Gabriel’s compliment about an esteemed career by saying that “it’s difficult to measure success in the security business, isn’t it? We’re judged on things that don’t happen—the secrets that aren’t stolen, the buildings that don’t explode. It can be…profoundly unsatisfying.” What are other important careers or actions that prove difficult to measure regarding success?

6. After Madeline is kidnapped, she appears in a video “as if she were responding to questions posed by a television interview.” What connotations does this simile, another journalistic reference, add to the scene?

7. In what various ways does the relationship between Gabriel and Chiara demonstrate real equality? In what ways are they valuably different?

8. What layers of meaning are added to the novel by the fictional discovery and museum exhibition of the “twenty-two pillars of Solomon’s Temple”?

9. How does Chiara’s tragic experience at the hands of Ivan Kharkov and that of Gabriel’s first wife and only son Daniel affect Gabriel’s decisions and actions regarding Madeline Hart?

10. What does the location of Corsica and what goes on there bring to the novel? What about the details of the macchia?

11. Examine the fascinating character of the signadora. What does her supernatural presence and behavior bring to the novel? How does this fit or contradict Gabriel’s belief system, one quite important to how he goes about his job? What are the possible benefits or dangers of belief in such a medium?

12. Consider the character of Christopher Keller and his elaborate evolution from upper-middle-class Brit to rebellious soldier and top member of the SAS’s Regiment to presumed dead rogue assassin-for-hire employed by Don Orsati. In what ways are he and Gabriel similar or different?

13. Explain the details and psychology that allows Gabriel to trust and work with Keller, someone who was at one point hired to kill him. What qualities are necessary to transform a work relationship into a friendship?

14. What does the banter between Gabriel and Christopher Keller add to the novel? What’s the role of humor in a work of such weighty subject matter?

15. Consider the many artists and works of art mentioned throughout the novel (Bassano, Viktor Frankel, Bellini’s San Zaccaria altarpiece, Cezanne, Matisse, Monet, Puccini, Wagner, Dumas, Dickens, Forster, etc.). What specific and overall effects do such references have?

16. A number of times Gabriel mentions the immense amount of waiting, often intense or stressful waiting, “always the waiting.” What’s challenging about such a seemingly simple activity?

17. Will Gabriel make a good director of Israel’s secret intelligence service? Why or why not?

18. What profound effects would becoming a father again have on Gabriel?

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Reading Group Guide

Questions for Discussion

1. The book begins with a profound statement from Elie Wiesel about the power of “one person of integrity.” How do you define integrity? Where do you see it in the novel?

2. Consider the landscape of Cornwall where we first find Gabriel and Chiara. What mood does it create? What does it suggest about Gabriel’s mindset and condition?

3. When walking in Covent Garden Market, Gabriel notices the threat because his “gnawing vigilance…forced him to make a mental charcoal sketch of every passing face.” How might his artistic skills and understanding aid him as an agent?

4. Late in the novel, Gabriel is described as a painter who possesses “the meticulous draftsmanship of the Old Masters” and the “freedom of the Impressionists.” Where do you see these opposing qualities in his work with the agency?

5. While Madonna and Child with Mary Magdalene is a fictitious painting by Titian, it is threaded throughout the novel. What does the title and its various mentions add or suggest?

6. How would you describe the relationship between Gabriel and Chiara? What does their intimate interaction add to the thrilling, tense subject matter?

7. Consider the powerful and complex character of Nadia al-Bakari. How does she represent the challenge and tension between the Middle East and the West? What of her extensive experience helps explain her willingness to forgive and even to help those who killed her father? What role does art play in her life?

8. Just before Nadia’s important and dangerous meeting in a hotel in Dubai, she speaks with Gabriel beneath a small metallic cloth tent to protect them from surveillance. He refers to it as a chuppah, beneath which vows are taken in the Jewish wedding ceremony. How is this significant to this moment in the novel? What is the complex nature of the relationship between the two of them?

9. What do the many intelligent and powerful women in the novel add to the exploration of equal rights and their suppression? Which woman is the most compelling to you? Why?

10. Throughout the novel, we are introduced to various male characters and their wives. What is the overall effect of this? How does it connect to the larger theme of gender equality that gets explored?

11. The modern media—both its nature and role in politics—is presented and explored in the novel and even figures into the activities of the various agencies. What are the pros and cons of such technologically evolved, global journalism? To what extent is it or should it be an element of politics? The military?

12. At one point Adrian Carter lashes out at the journalistic use of “narrative,” and suggests that they should report “facts” while novelists create narrative. What should be the limits of storytelling (however factual) in news reporting? What is the role or responsibility of the novelist to inform?

13. In what ways is “finint,” or financial intelligence, more valuable or volatile than traditional human or signals sources?

14. What do the intense auction scenes at Christie’s bring to the novel?

15. Consider the extensively described desert landscapes. What moods do they evoke? What do they add to any understanding of the political and personal history of the regions? In what ways is it possible for such barren land—even when a place of horrendous violence and suffering—to seem beautiful?

16. When Gabriel mentions the surviving families of the tragedies in Paris, Copenhagen, and London, Adrian Carter says, “That’s an emotional response,” and “James McKenna doesn’t tolerate emotion when it comes to talking about terrorism.” And yet Gabriel, Nadia, and Ali al-Masri have powerful emotional interactions. What is an appropriate role of emotional response and understanding of others in such a challenging international climate?

17. When interrogating Gabriel and referring to his involvement despite a supposed retirement, Kahlid says “your son has everything to do with this.” In what ways is this true?

18. Lying is a necessary part of Gabriel’s work, but even he says to only “lie as a last resort.” Outside the dangerous world of the spy, what are proper criteria for deciding when to lie?

19. A number of times in the novel, an important agency maxim is stated: “Hope is not an acceptable strategy when lives are at stake.” What is the value of hope? When is it appropriate?

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Praise

“Silva’s thrillers bring readers the best of all spy worlds….deft characterization and old-fashioned, spy-novel action.”
—Booklist

“Literate, top-notch action laced with geopolitical commentary.”
— Kirkus

“Allon is a great political operative, but Silva is an even greater writer….a must read.”
— Huffington Post

“Smart, unpredictable, and packed with history, art, heart, and imagination, this is a page-turner to be savored….The English Girl is a masterwork.”
— Neal Thompson, Amazon.com (an Amazon #1 best Book of the Month pick for July 2013)

“[Silva’s] Gabriel Allon novels have both entertained and informed tens of millions of readers…more than any other writer over the past decade…You will read the book in at most a couple of sittings.”
— Washington Examiner

“A sleek, efficient thriller, delivering a neatly complicated plot with a minimum of fuss.”
The Columbus Dispatch

“As with all of Silva’s geopolitical and stylish thrillers, the pace is super fast and the storyline is engrossing, complicated, and twisty. Managing to be character centered even as the focus is action based, Silva’s current novel offers multiple rewards: the pure pleasure of top–notch skill—Allon is determined, able, honorable, and relentless; the book is set in a well-detailed and expansive landscape—the action moves between Israel, England, Corsica, France, and Russia and comes to life in each location; and finally, wonderful secondary characters (including the return of a man who once targeted Allon).”
— Library Journal

The English Girl is a top-notch, old-fashioned East-meets-West, cloak-and-dagger thriller from the old school, with a ripped-from-the-headlines theme…Someone once said that their favorite books are ones that entertain and inform at the same time. The English Girl is one of those novels.”
— Book Reporter

“Daniel Silva delivers another spectacular thriller starring Gabriel Allon: The English Girl…This captivating new page-turner from the undisputed master of spy fiction is sure to thrill new and old fans alike.”
— The DC Spotlight

 

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Excerpt

http://shanghaikiteboarding.com/zh/community/ 1

Piana, Corsica

They came for her in late August, on the island of Corsica. The precise time would never be determined—some point between sunset and noon the following day was the best any of her housemates could do. Sunset was when they saw her for the last time, streaking down the drive of the villa on a red motor scooter, a gauzy cotton skirt fluttering about her suntanned thighs. Noon was when they realized her bed was empty except for a trashy half-read paperback novel that smelled of coconut oil and faintly of rum. Another twenty-four hours would elapse before they got around to calling the gendarmes. It had been that kind of summer, and Madeline was that kind of girl.

They had arrived on Corsica a fortnight earlier, four pretty girls and two earnest boys, all faithful servants of the British government or the political party that was running it these days. They had a single car, a communal Renault hatchback large enough to accommodate five uncomfortably, and the red motor scooter which was exclusively Madeline’s and which she rode with a recklessness bordering on suicidal. Their ocher-colored villa stood at the western fringe of the village on a cliff overlooking the sea. It was tidy and compact, the sort of place estate agents always described as “charming.” But it had a swimming pool and a walled garden filled with rosemary bushes and pepper trees; and within hours of alighting there they had settled into the blissful state of sunburned semi-nudity to which British tourists aspire, no matter where their travels take them.

Though Madeline was the youngest of the group, she was their unofficial leader, a burden she accepted without protest. It was Madeline who had managed the rental of the villa, and Madeline who arranged the long lunches, the late dinners, and the day trips into the wild Corsican interior, always leading the way along the treacherous roads on her motor scooter. Not once did she bother to consult a map. Her encyclopedic knowledge of the island’s geography, history, culture, and cuisine had been acquired during a period of intense study and preparation conducted in the weeks leading up to the journey. Madeline, it seemed, had left nothing to chance. But then she rarely did.

She had come to the Party’s Millbank headquarters two years earlier, after graduating from the University of Edinburgh with degrees in economics and social policy. Despite her second-tier education— most of her colleagues were products of elite public schools and Oxbridge—she rose quickly through a series of clerical posts before being promoted to director of community outreach. Her job, as she often described it, was to forage for votes among classes of Britons who had no business supporting the Party, its platform, or its candidates. The post, all agreed, was but a way station along a journey to better things. Madeline’s future was bright—“solar flare bright,” in the words of Pauline, who had watched her younger colleague’s ascent with no small amount of envy. According to the rumor mill, Madeline had been taken under the wing of someone high in the Party. Someone close to the prime minister. Perhaps even the prime minister himself. With her television good looks, keen intellect, and boundless energy, Madeline was being groomed for a safe seat in Parliament and a ministry of her own. It was only a matter of time. Or so they said.

Which made it all the more odd that, at twenty-seven years of age, Madeline Hart remained romantically unattached. When asked to explain the barren state of her love life, she would declare she was too busy for a man. Fiona, a slightly wicked dark-haired beauty from the Cabinet Office, found the explanation dubious. More to the point, she believed Madeline was being deceitful—deceitfulness being one of Fiona’s most redeeming qualities, thus her interest in Party politics. To support her theory, she would point out that Madeline, while loquacious on almost every subject imaginable, was unusually guarded when it came to her personal life. Yes, said Fiona, she was willing to toss out the occasional harmless tidbit about her troubled childhood—the dreary council house in Essex, the father whose face she could scarcely recall, the alcoholic brother who’d never worked a day in his life—but everything else she kept hidden behind a moat and walls of stone. “Our Madeline could be an ax murderer or a high-priced tart,” said Fiona, “and none of us would be the wiser.” But Alison, a Home Office underling with a much-broken heart, had another theory. “The poor lamb’s in love,” she declared one afternoon as she watched Madeline rising goddess-like from the sea in the tiny cove beneath the villa. “The trouble is, the man in question isn’t returning the favor.”

“Why ever not?” asked Fiona drowsily from beneath the brim of an enormous sun visor.

“Maybe he’s in no position to.”

“Married?”

“But of course.”

“Bastard.”

“You’ve never?”

“Had an affair with a married man?”

“Yes.”

“Just twice, but I’m considering a third.”

“You’re going to burn in hell, Fi.”

“I certainly hope so.”

It was then, on the afternoon of the seventh day, and upon the thinnest of evidence, that the three girls and two boys staying with Madeline Hart in the rented villa at the edge of Piana took it upon themselves to find her a lover. And not just any lover, said Pauline. He had to be appropriate in age, fine in appearance and breeding, and stable in his finances and mental health, with no skeletons in his closet and no other women in his bed. Fiona, the most experienced when it came to matters of the heart, declared it a mission impossible. “He doesn’t exist,” she explained with the weariness of a woman who had spent much time looking for him. “And if he does, he’s either married or so infatuated with himself he won’t have the time of day for poor Madeline.”

Despite her misgivings, Fiona threw herself headlong into the challenge, if for no other reason than it would add a hint of intrigue to the holiday. Fortunately, she had no shortage of potential targets, for it seemed half the population of southeast England had abandoned their sodden isle for the sun of Corsica. There was the colony of City financiers who had rented grandly at the northern end of the Golfe de Porto. And the band of artists who were living like Gypsies in a hill town in the Castagniccia. And the troupe of actors who had taken up residence on the beach at Campomoro. And the delegation of opposition politicians who were plotting a return to power from a villa atop the cliffs of Bonifacio. Using the Cabinet Office as her calling card, Fiona quickly arranged a series of impromptu social encounters. And on each occasion—be it a dinner party, a hike into the mountains, or a boozy afternoon on the beach—she snared the most eligible male present and deposited him at Madeline’s side. None, however, managed to scale her walls, not even the young actor who had just completed a successful run as the lead in the West End’s most popular musical of the season.

“She’s obviously got it bad,” Fiona conceded as they headed back to the villa late one evening, with Madeline leading the way through the darkness on her red motor scooter.

“Who do you reckon he is?” asked Alison.

“Dunno,” Fiona drawled enviously. “But he must be someone quite special.”

It was at this point, with slightly more than a week remaining until their planned return to London, that Madeline began spending significant amounts of time alone. She would leave the villa early each morning, usually before the others had risen, and return in late afternoon. When asked about her whereabouts, she was transparently vague, and at dinner she was often sullen or preoccupied. Alison naturally feared the worst, that Madeline’s lover, whoever he was, had sent notice that her services were no longer required. But the following day, upon returning to the villa from a shopping excursion, Fiona and Pauline happily declared that Alison was mistaken. It seemed that Madeline’s lover had come to Corsica. And Fiona had the pictures to prove it.

* * * * * *

The sighting had occurred at ten minutes past two, at Les Palmiers, on the Quai Adolphe Landry in Calvi. Madeline had been seated at a table along the edge of the harbor, her head turned slightly toward the sea, as though unaware of the man in the chair opposite. Large dark glasses concealed her eyes. A straw sun hat with an elaborate black bow shadowed her flawless face. Pauline had tried to approach the table, but Fiona, sensing the strained intimacy of the scene, had suggested a hasty retreat instead. She had paused long enough to surreptitiously snap the first incriminating photograph on her mobile phone. Madeline had appeared unaware of the intrusion, but not the man. At the instant Fiona pressed the camera button, his head had turned sharply, as if alerted by some animal instinct that his image was being electronically captured.

After fleeing to a nearby brasserie, Fiona and Pauline carefully examined the man in the photograph. His hair was gray-blond, windblown, and boyishly full. It fell onto his forehead and framed an angular face dominated by a small, rather cruel-looking mouth. The clothing was vaguely maritime: white trousers, a blue-striped oxford cloth shirt, a large diver’s wristwatch, canvas loafers with soles that would leave no marks on the deck of a ship. That was the kind of man he was, they decided. A man who never left marks.

They assumed he was British, though he could have been German or Scandinavian or perhaps, thought Pauline, a descendant of Polish nobility. Money was clearly not an issue, as evidenced by the pricey bottle of champagne sweating in the silver ice bucket anchored to the side of the table. His fortune was earned rather than inherited, they decided, and not altogether clean. He was a gambler. He had Swiss bank accounts. He traveled to dangerous places. Mainly, he was discreet. His affairs, like his canvas boat shoes, left no marks.

But it was the image of Madeline that intrigued them most. She was no longer the girl they knew from London, or even the girl with whom they had been sharing a villa for the past two weeks. It seemed she had adopted an entirely different demeanor. She was an actress in another movie. The other woman. Now, hunched over the mobile phone like a pair of schoolgirls, Fiona and Pauline wrote the dialogue and added flesh and bones to the characters. In their version of the story, the affair had begun innocently enough with a chance encounter in an exclusive New Bond Street shop. The flirtation had been long, the consummation meticulously planned. But the ending of the story temporarily eluded them, for in real life it had yet to be written. Both agreed it would be tragic. “That’s the way stories like this always end,” Fiona said from experience. “Girl meets boy. Girl falls in love with boy. Girl gets hurt and does her very best to destroy boy.”

Fiona would snap two more photographs of Madeline and her lover that afternoon. One showed them walking along the quay through brilliant sunlight, their knuckles furtively touching. The second showed them parting without so much as a kiss. The man then climbed into a Zodiac dinghy and headed out into the harbor. Madeline mounted her red motor scooter and started back toward the villa. By the time she arrived, she was no longer in possession of the sun hat with the elaborate black bow. That night, while recounting the events of her afternoon, she made no mention of a visit to Calvi, or of a luncheon with a prosperous-looking man at Les Palmiers. Fiona thought it a rather impressive performance. “Our Madeline is an extraordinarily good liar,” she told Pauline. “Perhaps her future is as bright as they say. Who knows? She might even be prime minister someday.”

* * * * * *

That night, the four pretty girls and two earnest boys staying in the rented villa planned to dine in the nearby town of Porto. Madeline made the reservation in her schoolgirl French and even imposed on the proprietor to set aside his finest table, the one on the terrace overlooking the rocky sweep of the bay. It was assumed they would travel to the restaurant in their usual caravan, but shortly before seven Madeline announced she was going to Calvi to have a drink with an old friend from Edinburgh. “I’ll meet you at the restaurant,” she shouted over her shoulder as she sped down the drive. “And for heaven’s sake, try to be on time for a change.” And then she was gone. No one thought it odd when she failed to appear for dinner that night. Nor were they alarmed when they woke to find her bed unoccupied. It had been that kind of summer, and Madeline was that kind of girl.

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The English Girl

Seven days

One girl

No second chances

Madeline Hart is a rising star in Britain’s governing party: beautiful, intelligent, driven by an impoverished childhood to succeed. But she is also a woman with a dark secret: she is the lover of Prime Minister Jonathan Lancaster. Somehow, her kidnappers have learned of the affair, and they intend to make the British leader pay dearly for his sins. Fearful of a scandal that will destroy his career, Lancaster decides to handle the matter privately rather than involve the British police. It is a risky gambit, not only for the prime minister but also for the operative who will conduct the search.

You have seven days, or the girl dies.

Enter Gabriel Allon—master assassin, art restorer and spy—who is no stranger to dangerous assignments or political intrigue. With the clock ticking, Gabriel embarks on a desperate attempt to bring Madeline home safely. His mission takes him from the criminal underworld of Marseilles to an isolated valley in the mountains of Provence to the stately if faded corridors of power in London—and, finally, to a pulse-pounding climax in Moscow, a city of violence and spies where there is a long list of men who wish Gabriel dead.

From the novel’s opening pages until the shocking ending when the true motives behind Madeline’s disappearance are revealed, The English Girl will hold readers spellbound. It is a timely reminder that, in today’s world, money often matters more than ideology. And it proves once again why Daniel Silva has been called his generation’s finest writer of suspense and foreign intrigue.

To read the first teaser excerpt, click here.

To read the second teaser excerpt, click here.

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Reading Group Guide

Questions for Discussion

1. Of what interest and significance is it that the story begins in St. Peter’s “mighty Basilica,” with the caretaker Niccolo Moretti?

2. Consider the detailed description of the painting Gabriel Allon is restoring, Caravaggio’s The Deposition of Christ (12). What does that choice add to the novel?

3. Caravaggisto Giacomo Benedetti suggests that part of The Deposition of Christ perhaps shouldn’t be restored (13), an opinion that foreshadows the larger issue of the handling of art and antiquities. What are the pros and cons of restoring aged art?

4. Not unlike the many artifacts and antiquities mentioned throughout the novel, Gabriel Allon is at times referred to as a “damaged” object himself (13), and with “a damaged canvas of his own” (302). In what ways does this seem true and how is it important to his character?

5. Monsignor Luigi Donati is described as following the Machiavellian idea that “it is far better for a prince to be feared than loved” (19). In what ways is this appropriate or not to his responsibilities? Machiavelli is also named to describe the deal Gabriel Allon strikes with General Ferrari (87). How is this similar or different?

6. On a number of occasions it is suggested that Monsignor Luigi Donati and Gabriel Allon, despite their obvious differences, are quite alike (19). In what ways is this true and why do you think they have established such a close relationship?

7. At the Villa Giulia, Gabriel Allon realizes the Euphronios krater, “one of the greatest single pieces of art ever created,” is kept where few people ever see it (89). Dr. Veronica Marchese later talks of getting many works from her husband’s collection into museums (118). What is the proper place for antiquities? Should they be privately held? Do countries of origin have a rightful claim to them?

8. The Euphronios krater depicts “Sarpedon, son of Zeus, being carried off for burial by the personifications of Sleep and Death” (91). What do the similarities of this scene to Caravaggio’s The Deposition of Christ add to the novel?

9. At one point, Veronica makes the claim that Gabriel Allon “would have made an excellent priest” (94). What qualities might she be referring to?

10. Consider Monsignor Donati’s early involvement with “liberation theology” as he describes it to Gabriel Allon (105). What does this add to your understanding of his personality and actions throughout the novel?

11. What does it add to your understanding of Monsignor Donati to learn of his crisis of faith during which he left the priesthood and fell in love? (106)

12. Consider Rivka, the often-mentioned woman whose skeleton Eli Lavon discovered in temple ruins. (141, 355, 379) What does she represent? What does Eli’s emotional attachment add to the narrative?

13. Consider the similarities between the tragic deaths of Rivka and Claudia Andreatti.

14. Archeologist Eli Lavon is said to be “waging war in those excavation trenches beneath the Western Wall” (224). How does archeology play a role in history and modern politics?

15. Gabriel Allon admits “a grudging respect” for Massoud, a terrorist leader, and even says, “in a parallel universe [he] might have been a renowned jurist or a statesman from a decent country” (250). What qualities might he be referring to?

16. Momentarily “paralyzed by memories” outside a restaurant where he once dined with his former wife Leah and their son, Gabriel Allon admits to being lost to a woman who looks to help him. Given that he knows where he is at that moment, in what other ways might he be lost?

17. Although Gabriel Allon admits to loving Israel “dearly,” and his wife Chiara claims that it feels like home, Gabriel is reluctant to return there to live. What are some of the reasons? Do you think he should return?

18. Many famous paintings are mentioned and described throughout the novel (12, 13, 14, 18, 76, 77, 120, 164, 170, 389). What does the subject matter of each, and art in general, add to the particular scene or the novel as a whole?

19. Where should Gabriel Allon go next?

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Praise

“Daniel Silva’s The Fallen Angel soars with authenticity….The Fallen Angel delivers the goods….Riveting espionage adventures that have timely, real-world relevance.”

   — Dallas-Fort Worth Star-Telegram

“Meticulously researched….The Fallen Angel is a first-class spy mystery painted on a grand scale.”

Columbus Dispatch

“Another heart-pounding escapade of art restorer and Israeli intelligence legend Gabriel Allon gets masterful treatment.”

AudioFile Magazine

“His past 12 books, all featuring enigmatic spy/art restorer Gabriel Allon, have kept Silva’s name high in the ranks; the latest, the Vatican-set The Fallen Angel, seems unlikely to reverse the trend.”

Arizona Republic

“In addition to being fun, Silva’s novels have the virtue of being prescient: Several key developments in the realms of diplomacy and espionage have been presaged, if not outright predicted, in Silva’s work—a trend the author obliquely attributes to his “good contacts” inside various intelligence agencies…”

Tablet

“The best vacation read available for the summer of 2012…superb combination of pacing and plot”

Hugh Hewitt on TownHall.com

“…One of the best in the series…Lots of action and interesting political points of view.”

Hutchinson Leader

“Silva’s books have active plots and bold, dramatic themes…Gabriel is the perfect hero for the new millennium.”

The Miami Herald

“This book is a must-read.”

American Thinker

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Excerpt

1.

VATICAN CITY

It was Niccolò Moretti, caretaker of St. Peter’s Basilica, who made the discovery that started it all. The time was 6:24 a.m., but owing to a wholly innocent error of transcription, the Vatican’s first official statement incorrectly reported it as 6:42. It was one of numerous missteps, large and small, that would lead many to conclude the Holy See had something to hide, which was indeed the case. The Roman Catholic Church, said a noteworthy dissident, was but one scandal away from oblivion. The last thing His Holiness needed now was a dead body in the sacred heart of Christendom.

A scandal was the last thing Niccolò Moretti had been expecting to find that morning when he arrived at the Vatican one hour earlier than his usual time. Dressed in dark trousers and a knee-length gray coat, he was scarcely visible as he hurried across the darkened piazza toward the steps of the Basilica. Glancing to his right, he saw lights burning in the third-floor windows of the Apostolic Palace. His Holiness Pope Paul VII was already awake. Moretti wondered whether the Holy Father had slept at all. The Vatican was swirling with rumors he was suffering from a crippling bout of insomnia, that he spent most nights writing in his private study or walking alone in the gardens. The caretaker had seen it before. Eventually, they all lost the ability to sleep.

Moretti heard voices behind him and, turning, saw a pair of Curial priests materialize from the gloom. They were engaged in animated conversation and paid him no heed as they marched toward the Bronze Doors and melted once more into the shadows. The children of Rome called them bagarozzi—black  beetles. Moretti had used the word once as a child and had been scolded by none other than Pope Pius XII. He’d never said it since. When one is chastised by the Vicar of Christ, he thought now, one rarely repeats the same offense.

He hiked up the steps of the Basilica and slipped into the portico. Five doors led into the nave. All were sealed except for the one at the far left, the Door of Death. In the opening stood Father Jacobo, an emaciated-looking Mexican cleric with strawlike gray hair. He stepped aside so Moretti could enter, then closed the door and lowered the heavy bar. “I’ll come back at seven to let in your men,” the priest said. “Be careful up there, Niccolò. You’re not as young as you used to be.”

The priest withdrew. Moretti dipped his fingers in holy water and made the sign of the cross before setting out up the center of the vast nave. Where others might have paused to gaze in awe, Moretti forged on with the familiarity of a man entering his own home. As chief of the sampietrini, the official caretakers of the Basilica, he had been coming to St. Peter’s six mornings a week for the past twenty-seven years. It was because of Moretti and his men that the Basilica glowed with heaven’s light while the other great churches of Europe seemed forever shrouded in darkness. Moretti considered himself not only a servant of the papacy but a partner in the enterprise. The popes were entrusted with the care of one billion Roman Catholic souls, but it was Niccolò Moretti who looked after the mighty Basilica that symbolized their earthly power. He knew every square inch of the building, from the peak of Michelangelo’s dome to the depths of the crypt—all forty-four altars, twenty-seven chapels, eight hundred columns, four hundred statues, and three hundred windows. He knew where it was cracked and where it leaked. He knew when it was feeling well and when it was in pain. The Basilica, when it spoke, whispered into the ear of Niccolò Moretti.

St. Peter’s had a way of shrinking mere mortals, and Moretti, as he made his way toward the Papal Altar in the gray coat of his uniform, looked remarkably like a thimble come to life. He genuflected before the Confessio and then tilted his face skyward. Soaring nearly one hundred feet above him was the baldacchino, four twisting columns of bronze and gold crowned by a majestic canopy. On that morning, it was partially concealed by an aluminum scaffolding. Bernini’s masterpiece, with its ornate figures and sprigs of olive and bay, was a magnet for dust and smoke. Every year, in the week preceding the beginning of Lent, Moretti and his men gave it a thorough cleaning. The Vatican was a place of timeless ritual, and there was ritual, too, in the cleaning of the baldacchino. Laid down by Moretti himself, it stated that once the scaffolding was in place, he was always the first to scale it. The view from the summit was one that only a handful of people had ever seen—and Niccolò Moretti, as chief of the sampietrini, demanded the privilege of beholding it first.

Moretti climbed to the pinnacle of the front column, then, after attaching his safety line, inched his way on all fours up the slope of the canopy. At the very apex of the baldacchino was a globe supported by four ribs and crowned by a cross. Here was the most sacred spot in the Roman Catholic Church, the vertical axis running from the exact center of the dome straight down into the Tomb of St. Peter. It represented the very idea on which the enterprise rested. You are Peter and upon this rock I will build my church. As the first crepuscular rays of light illuminated the interior of the Basilica, Moretti, faithful servant of the popes, could almost feel the finger of God tapping him on the shoulder.

As usual, time slipped from his grasp. Later, when questioned by the Vatican police, he would be unable to recall exactly how long he had been atop the baldacchino before he saw the object for the first time. From Moretti’s lofty perspective, it appeared to be a broken-winged bird. He assumed it to be something innocent, a tarpaulin left by another sampietrino or perhaps a scarf dropped by a tourist. They were always leaving their possessions behind, Moretti thought, including things that had no business being in a church.

Regardless, it had to be investigated, and so Moretti, the spell broken, maneuvered himself cautiously around and made the long descent to the floor. He set out across the transept but within a few paces realized the object was not a discarded scarf or tarpaulin at all. Moving closer, he could see the blood dried on the sacred marble of his Basilica and the eyes staring upward into the dome, sightlessly, like his four hundred statues. “Dear God in heaven,” he whispered as he hurried down the nave. “Please take pity on her poor soul.”

The public would know little of the events immediately following Niccolò Moretti’s discovery, for they were carried out in the strictest tradition of the Vatican, in complete secrecy and with a hint of Jesuitical low cunning. No one beyond the walls would know, for example, that the first person Moretti sought out was the cardinal rector of the Basilica, an exacting German from Cologne with a well-honed instinct for self-preservation. The cardinal had been around long enough to recognize trouble when he saw it, which explained why he neglected to report the incident to the police, choosing instead to summon the true keeper of the law inside the Vatican.

Consequently, five minutes later, Niccolò Moretti would bear witness to an extraordinary scene—the private secretary to His Holiness Pope Paul VII picking through the pockets of a dead woman on the floor of the Basilica. The monsignor removed a single item and then set out for the Apostolic Palace. By the time he reached his office, he had settled on a course of action. There would have to be two investigations, he concluded, one for public consumption, the other for his own. And for the private inquiry to be successful, it would have to be carried out by a person of trust and discretion. Not surprisingly, the monsignor chose as his inquisitor a man much like himself. A fallen angel in black. A sinner in the city of saints.

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The Fallen Angel

After narrowly surviving his last operation, Gabriel Allon, the wayward son of Israeli intelligence, has taken refuge behind the walls of the Vatican, where he is restoring one of Caravaggio’s greatest masterpieces. But while working early one morning in the conservation lab, he is summoned to St. Peter’s Basilica by his friend and occasional ally Monsignor Luigi Donati, the all-powerful private secretary to his Holiness Pope Paul VII. The body of a beautiful woman, a curator from the antiquities department, lies smashed and broken beneath Michelangelo’s magnificent dome. The Vatican police suspect suicide, though Gabriel, with his restorer’s eye and flawless memory, believes otherwise. So, it seems, does Donati. But the monsignor is fearful that a public inquiry might inflict another scandal on the Church, and so he calls upon Gabriel to use his matchless talents and experience to quietly pursue the truth—with one important caveat.

“Rule number one at the Vatican,” Donati said. “Don’t ask too many questions.”

Gabriel soon learns that the dead woman had uncovered a dangerous secret—a secret that threatens a global criminal enterprise that is looting timeless treasures of antiquity and selling them to the highest bidder. But there is more to this network than just greed. A  mysterious operative, an old enemy out for vengeance, is plotting an unthinkable act of sabotage that will plunge the world into a conflict of apocalyptic proportions. Once again, Gabriel must return to the ranks of his old intelligence service—and place himself, and those he holds dear, on the razor’s edge of danger.

An intoxicating blend of art, intrigue, and history, The Fallen Angel moves swiftly from the cloistered chambers of the Vatican, to the glamorous ski slopes of St. Moritz, to the graceful avenues of Berlin and Vienna—and, finally, to a shocking climax beneath the world’s most sacred and contested parcel of land. Each setting in this extraordinary novel is rendered with the care of an Old Master, as are the spies, lovers, priests, and thieves who inhabit its pages. It is a story of faith and of the destructive power of secrets. And it is an all-too-timely reminder that those who do not remember the past are doomed to repeat it.

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Behind the Writing

Whenever I go out on book tour, I am asked often for advice from writers struggling to finish their first manuscript. My response never varies: “I know it’s hard, but try to enjoy the experience. If you are lucky enough to be published, writing will never be the same again.”

I’m not sure I was always able to follow my own advice while I was working on my first novel, The Unlikely Spy, but I certainly had more fun writing it than any book that followed. I wrote without the pressure of a deadline or without the slightest expectation of being published. I wrote because I wanted to write. I wrote because I had to write.

A bit of background. I knew from the time I was a young boy that I wanted to be a writer. I did not come from a family of means—my parents were both schoolteachers—so the option of tinkering away on my first novel for a few years after graduation was not available to me. I became a journalist instead, in large part because I thought it would provide me with interesting experiences and good training in the art of storytelling. That turned out to be the case. After leaving graduate school before completing my master’s degree, I worked for UPI in San Francisco, Washington, and the Middle East. In December 1987, I met a beautiful and talented NBC News correspondent named Jamie Gangel while on assignment in the Persian Gulf. We decided to get married, and I returned to Washington, where I went to work for CNN. By the mid-1990s, I was the executive producer of CNN’s political talk show unit, which meant that I was responsible for programs such asCrossfireThe Capital GangEvans & Novak, and Inside Politics. It was a pressure cooker of a shop, populated by large egos and hot tempers. Within a few months of taking the job, I knew it was time to pursue my dream of writing a novel. I confessed my desire to my wife. She told me to get busy and was very supportive throughout the process.

I am often asked why I chose to write a World War Two thriller rather than one set in Washington. The answer is simple: I lived a Washington thriller every single day. I needed an escape from Washington. I chose to go back in time and to a place far, far away.

Wartime London and Berlin proved to be just the break I needed from my job. I devoured histories of the war, listened to wartime music, and watched every wartime film ever made. I rose early each morning, usually before five, and spent a few pleasant hours with Alfred Vicary, Catherine Blake, and Peter Jordan. Then I would head to the office and match wits with Patrick Buchanan, Michael Kinsley, and Robert Novak. It was difficult, and it was exhausting. But it was also an immense amount of fun.

I told no one of my secret life, because I wanted to preserve the right to fail in private. Fortunately, that turned out not to be the case. The manuscript was picked off the slush pile at a major New York publishing house and went to auction a few weeks later. In the winter of 1997, it spent five weeks on the New York Times bestseller list and received widespread critical acclaim. Some of my fans still think it’s my best book. I’m not so sure, but I’m flattered they think so. It was a definitely a labor of love.

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