Gemini (The House of Niccolo, 8)

Rating:
Summary: Stop at number 4 -- Scales of Gold
Review: I read the first book in the Niccolo series before I read the Lymond series or King Hereafter. After reading that book, I couldn't get enough of Dunnett. I've read everything she wrote, which took some doing, because many of the books were not readily available.
That said, I can't recommend Gemini. For the first four books, I thought the Niccolo series was the best historical fiction ever written. But the series begins to deteriorate with number 5, although there are still some good moments. Unfortunately by number 8, the story is just plain boring. Read about your own father -- he's probably more interesting.
I recommend that anyone not already in love with Dunnett's writing, just stop after the fourth book (Scales of Gold). And even if you ARE in love with Dunnett, I would give Gemini a miss. It's just too disappointing.

Rating:
Summary: Connected by blood (from the Times Literary Supplement)
Review: A slightly longer version of this review was originally published in The Times Literary Supplement (No. 5080 August 11 2000). Dorothy Dunnett was so pleased with it that she took the reviewer to dinner at her club, The Caledonian in Belgravia, London, not long before she died.

This is the final novel in Lady Dunnett's eight-volume The House of Niccolò series, the "prequel" to her six-volume The Lymond Chronicles (1961-1975).
The House of Niccolò series begins in 1459, with Niccolò, an eighteen-year-old dye-yard apprentice in Bruges. The period covered saw the beginning of a north-westerly migration of wealth from the Mediterranean, first to Bruges and Antwerp, and after, under the oppression of the Hapsburgs, on to Amsterdam and London. An unprecedented explosion of wealth from trade allowed a unique, and short-lived, social mobility between the merchants and the aristocracy, giving rise to the merchant-princes. The Renaissance was gaining momentum, accelerated by an exodus of scholars to the West, following the fall of Constantinople six years earlier. Seven novels later, Niccolò is a formidable figure, a master of trade and politics, who - among other adventures - was at the fall of Trebizond, visited the schools of Timbuktu before its destruction in 1468, dabbled in the Cypriot succession and fought with Charles the Bold at the Battle of Nancy.
Against this vast historical and geographical backdrop, a family history unfolds. Niccolò was rejected as illegitimate by his mother's husband, the beautiful and vicious Simon de St Pol, and when he tries to prove his legitimacy he is met with force, both physical and financial, from Simon and Simon's father, the formidable Jordan de Riberac. Niccolò works his way up from the lowly position they have forced on him, using a range of talents deriving from his superhuman abilities with mathematics.
Niccolò is soon in a position to exact revenge, and it is this which earns him the mistrust of his friends, especially when he attacks his family by bankrupting their homeland, Scotland. This is symptomatic of his one great flaw; Niccolò lacks malice, but he has no conscience when lost in the workings of his plans. "I'd begun to notice I'd gone too far... [but] it was beautiful. Wheels are beautiful." Scotland is also the winning-stroke in his eight year conflict with his wife. She tries to prove herself his equal but ends by accepting that no one is. When Gemini begins they are reunited, and Niccolò returns to Scotland for reparation and to neutralise the threat from his family. Another difficulty is that Simon is blindly bringing up Niccolò's son, Henry, as his own. The physical resemblance between Simon and Niccolò's son could prove Niccolò's origins, but he reckons the damage of the revelation would be too great. The author has no such qualms, and in Gemini, Dunnett mercilessly ties up loose ends. No more can be said without giving away the plot, for this is truly the last volume of a series. It can be read on its own, but should be taken as the conclusion of a great work.
Fiction is constrained by fact, and nowhere more so than historical fiction, where the story must fit in the spaces between recorded history. Dunnett gets around this difficulty by thorough research. There are something like 600 names in the character list for Gemini, of whom fewer than fifty are not "recorded in history". In two areas, however, Dunnett seems to lose her attachment to realistic historical narrative. The first is the weight given to astrology (hence the titles of the books) and divining, which increases as time passes. It is hard not to link this with her philosophy of history, which views the course of events as a directed stream, in a Hegelian sense, the avatars of which are the great men, fictional and real, who are central to her narrative. Dunnett may hold neither view personally, but both traits in the fiction suggest an underlying mysticism. Fortunately, the reader is not expected to swallow this completely.
Dunnett's writing style is not the neutral prose of genre fiction and can be hard to read. The rhythm of her writing is often awkward in descriptive passages containing unwieldy lists of information, combined with the archaic manner of which historical novelists are often guilty. At times, this works with the melodramatic content to produce a powerful, operatic mixture. As Dunnett has progressed her style has improved and developed. Her strongest writing is in the dialogue, where she displays her characters' intelligence while masking intentions. Her characters' speech is filled with apt quotation, sometimes a little too much. One would expect men of learning to know their Greeks, Romans and the Bible; obscure allusions to authors such as William Dunbar, the Pléiade poet de Baïf, and the playwright John Heywood are all used lightly - often just a phrase - and usually left unidentified and untranslated.

However, it is neither as a literary novelist nor as a historian, but as a writer of historical fiction that Dorothy Dunnett deserves recognition. She has taken two men, Lymond and Niccolò, who, like all heroes of romantic fiction, are described exclusively in superlatives, and thought about how such "megalopsychic" creatures would affect and be affected by others. This psychological realism within the fantasy is matched by the convolutions of plot. A mere fifty pages before the end of Gemini, we discover that one of Niccolò's oldest friends, familiar for over 4,000 pages and twenty-five years, is his most implacable enemy. We then discover that Niccolò knew this, and resisted taking action because of consanguinity. The revelation is rendered credible by a lightly drawn but consistent trail of evidence and by the technique of never revealing a character's whole thoughts, even when the narrative perspective is within the character's mind. The author's patience and complexity run through both series of novels, which are linked, something hinted at by the first physical description of Simon. The publication of Gemini completes an ambitious literary circle.

Rating:
Summary: Connected by blood (from the Times Literary Supplement)
Review: A slightly longer version of this review was originally published in The Times Literary Supplement (No. 5080 August 11 2000). Dorothy Dunnett was so pleased with it that she took the reviewer to dinner at her club, The Caledonian in Belgravia, London, not long before she died.

This is the final novel in Lady Dunnett's eight-volume The House of Niccolò series, the "prequel" to her six-volume The Lymond Chronicles (1961-1975).
The House of Niccolò series begins in 1459, with Niccolò, an eighteen-year-old dye-yard apprentice in Bruges. The period covered saw the beginning of a north-westerly migration of wealth from the Mediterranean, first to Bruges and Antwerp, and after, under the oppression of the Hapsburgs, on to Amsterdam and London. An unprecedented explosion of wealth from trade allowed a unique, and short-lived, social mobility between the merchants and the aristocracy, giving rise to the merchant-princes. The Renaissance was gaining momentum, accelerated by an exodus of scholars to the West, following the fall of Constantinople six years earlier. Seven novels later, Niccolò is a formidable figure, a master of trade and politics, who - among other adventures - was at the fall of Trebizond, visited the schools of Timbuktu before its destruction in 1468, dabbled in the Cypriot succession and fought with Charles the Bold at the Battle of Nancy.
Against this vast historical and geographical backdrop, a family history unfolds. Niccolò was rejected as illegitimate by his mother's husband, the beautiful and vicious Simon de St Pol, and when he tries to prove his legitimacy he is met with force, both physical and financial, from Simon and Simon's father, the formidable Jordan de Riberac. Niccolò works his way up from the lowly position they have forced on him, using a range of talents deriving from his superhuman abilities with mathematics.
Niccolò is soon in a position to exact revenge, and it is this which earns him the mistrust of his friends, especially when he attacks his family by bankrupting their homeland, Scotland. This is symptomatic of his one great flaw; Niccolò lacks malice, but he has no conscience when lost in the workings of his plans. "I'd begun to notice I'd gone too far... [but] it was beautiful. Wheels are beautiful." Scotland is also the winning-stroke in his eight year conflict with his wife. She tries to prove herself his equal but ends by accepting that no one is. When Gemini begins they are reunited, and Niccolò returns to Scotland for reparation and to neutralise the threat from his family. Another difficulty is that Simon is blindly bringing up Niccolò's son, Henry, as his own. The physical resemblance between Simon and Niccolò's son could prove Niccolò's origins, but he reckons the damage of the revelation would be too great. The author has no such qualms, and in Gemini, Dunnett mercilessly ties up loose ends. No more can be said without giving away the plot, for this is truly the last volume of a series. It can be read on its own, but should be taken as the conclusion of a great work.
Fiction is constrained by fact, and nowhere more so than historical fiction, where the story must fit in the spaces between recorded history. Dunnett gets around this difficulty by thorough research. There are something like 600 names in the character list for Gemini, of whom fewer than fifty are not "recorded in history". In two areas, however, Dunnett seems to lose her attachment to realistic historical narrative. The first is the weight given to astrology (hence the titles of the books) and divining, which increases as time passes. It is hard not to link this with her philosophy of history, which views the course of events as a directed stream, in a Hegelian sense, the avatars of which are the great men, fictional and real, who are central to her narrative. Dunnett may hold neither view personally, but both traits in the fiction suggest an underlying mysticism. Fortunately, the reader is not expected to swallow this completely.
Dunnett's writing style is not the neutral prose of genre fiction and can be hard to read. The rhythm of her writing is often awkward in descriptive passages containing unwieldy lists of information, combined with the archaic manner of which historical novelists are often guilty. At times, this works with the melodramatic content to produce a powerful, operatic mixture. As Dunnett has progressed her style has improved and developed. Her strongest writing is in the dialogue, where she displays her characters' intelligence while masking intentions. Her characters' speech is filled with apt quotation, sometimes a little too much. One would expect men of learning to know their Greeks, Romans and the Bible; obscure allusions to authors such as William Dunbar, the Pléiade poet de Baïf, and the playwright John Heywood are all used lightly - often just a phrase - and usually left unidentified and untranslated.

However, it is neither as a literary novelist nor as a historian, but as a writer of historical fiction that Dorothy Dunnett deserves recognition. She has taken two men, Lymond and Niccolò, who, like all heroes of romantic fiction, are described exclusively in superlatives, and thought about how such "megalopsychic" creatures would affect and be affected by others. This psychological realism within the fantasy is matched by the convolutions of plot. A mere fifty pages before the end of Gemini, we discover that one of Niccolò's oldest friends, familiar for over 4,000 pages and twenty-five years, is his most implacable enemy. We then discover that Niccolò knew this, and resisted taking action because of consanguinity. The revelation is rendered credible by a lightly drawn but consistent trail of evidence and by the technique of never revealing a character's whole thoughts, even when the narrative perspective is within the character's mind. The author's patience and complexity run through both series of novels, which are linked, something hinted at by the first physical description of Simon. The publication of Gemini completes an ambitious literary circle.

Rating:
Summary: Disappointed
Review: Dorothy Dunnett is a historical fiction writer extraordinaire. One can't help but become intensely enamored of the characters she creates throughout this series culminating in this final book, Gemini. The series takes you from Iceland to Africa, from Russia to Persia, and everywhere in between. Chock full of excitement, intrigue, tragedy, elation, Dorothy Dunnett has provided her readers with one heck of a yarn. Be sure to read this series from volume 1 through 8 and be prepared for a stunning ending.

Rating:
Summary: Satisfying Conclusion
Review: Gemini, the final book in Dorothy Dunnett's Niccolo series, is a satisfying conclusion to this series and a good link to her earlier series of novels about Francis Crawford.

Gemini is not always light reading. There is a considerable amount of fifteenth century history contained in it and a very large number of characters, most of whom are historical.

But the story is exciting, sometimes very funny, and always deeply moving. Her principal characters are complex creations. History and fiction are so well blended that it is hard to tell where one ends and the other begins.

Dunnett deserves to be much better known in the United States. Her books should be best sellers. Dunnett's work is superior to much of the so-called serious fiction of today.

Rating:
Summary: At Last
Review: I am stunned after completing this eighth book in the Niccolo series, but I'm also very, very sad. I have now finished all fourteen books in Ms. Dunnett's saga and it saddens me to know that there is no new installment where I can lose myself in this quite remarkable family. In this book we finally get a lot of answers as to why Niccolo acted as he did in all the previous books. We see who is real enemy has been over the years and it is a surprise to all of his friends even though Niccolo has known all along. He has tried to minimize the damage and tried to control this serpent in his midst, but finds that it can't be done and it comes to a sad, sad conclusion. Niccolo faces great losses in this book, but he comes out a stronger man for them. Ms. Dunnett is truly a master storyteller and I recommend that everyone read her series the way she suggests. She suggests that you read the six Lymond chronicles in the right order and then these eight in the Niccolo series, and then go back and re-read the Lymond chronicles. All will be much clearer and her prose is so complex that a first reading of all the books is not nearly enough to get all the complexities and double-dealings that occur as standard fare. I am exhilerated after completing the series, but as I mentioned, very sad. I don't think I'll find an author or a series to compare. I would give the entire series of fourteen books ten stars if I could.

Rating:
Summary: Dame Dunnett Ran Out of Gas
Review: I mostly concur with those disappointed by this finale to an otherwise enthralling series.

There are really two "stories" to comment upon. First, the overarching story of the eight novels ends less than satisfactorily, with the wholesale slaughter of characters overdone. Where is the final confrontation with Simon? Hardly anyone at the end gets enlightened with Henry's true parentage--one of the main plot drivers of the whole series. And who the heck is Bonne? I'll pay Dunnett the compliment of intentionally leaving a few loose ends (do any of these dovetail into the Lymond books?), but they are frustrating all the same. Don't look for any further character development except for Henry and, perhaps, Jodi a bit. The fascinating Gelis turns into a cardboard character after the reconciliation, and Nicholas morphs into a helplessly manipulated wimp. An epilogue linking to the Lymond novels, though, is understated and beautiful--every word counts here.

Second, the story within the novel is a blithering account of mind-numbing minutiae of Scottish politics and history. Where is the adventure and suspense of Africa, Trebizond, Egypt, and Cypress? Other that a Scot, who cares about which clan supported which palace intrigue? And the occasional list of Scottish lords and their relationships (characters who are otherwise not introduced and about whom we care nothing, although they also pad the bloated List of Characters at the front of the book) are sleep-inducing at best. I am sure Dunnett waxed proud of her beloved Scotland, but had this been the first novel of the series, it would have been my last.

Despite all of the above, of course you should read Gemini if you have read the rest. It's hard to say goodbye to such compelling characters. Just be prepared for a big disappointment.

Rating:
Summary: Brilliant conclusion
Review: Imagine my delight when I discovered an 8th book to the series. I had thought the 7th book was the end.

I loved this book. Having the setting in one place, Scotland, allowed the author to paint a wonderful picture of life in the 15th century there, built a fascinating plot (foreshadowing Francis Crawford's later exploits), and tie up loose ends. Niccolo is a fully mature character in this book, and he is more likeable.

I recommend this series to all my friends. These books are intelligent and satisfying. Dunnett's talent shines though the complicated plots and the lovely, beautifully complex language. I can't wait for the Dorothy Dunnett Companion to be published in the US this July. Those looking for a quick, glib read won't like this series, or any of Dunnett's books.

Rating:
Summary: my review
Review: In this book, the eighth book in the Niccolo Series, Nicholas is a changed man and he tries to right all that he has done wrong in the past. He is again faced with many obstacles, and his enemies as still out "to get him". He finds peace in the end but it also comes at a high price.

I have given one less star for this book, because I think the author spends too much time in this book detailing Scottish history when it is not the main subject. It is certainly interesting but, she could have done what she did for all the other countries, where she only gave us a brief summary that enabled us to comprehend the complexities of "foreign policies" during that period.

I still have rarely enjoyed reading a hostorical novel so much. I was raised in Europe, and always felt very familiar with the places, names and people. Every scene was detailed and very entertaining and always the plot has been very well thought-out and very intelligent.

Rating:
Summary: Concentration necessary
Review: One reason for the delay in reviews from this reader is that I have been engrossed in the latest - and last - of the House of Niccolo novels. To do this absolutely unparalled historical series justice, one must be in a quiet place --read a bit --go away to ruminate on what has been read --and then return for another helping. Exhausting and exhaustive. Dame Dunnett is a walking encyclopedia of every aspect of 15th century life. Our hero (whose name changes throughout the course of the series, and whose unknown parentage is the force that drives him to be what he is) has been everywhere throughout the world in the course of these seven novels, and we have been there with him - from Bruges to France to Germany to Byzantium to Africa to Iceland to Scotland --and places in between. He is the darling - or the scourge - of almost all of the royal houses of Europe. It is necessary every once in awhile to refer back to earlier novels to keep all of the characters and incidences straight, and Dame Dunnett's way with commas doesn't make for easy reading, either. But many readers - myself among them - will be entranced with with the numerous memorable characters along the way. The history, although confusing, is fine - but we read on to discover what will finally happen to Nicholas and those who love him. Hard reading, but worth it. One only hopes that she doesn't really mean to end the series here - there are still questions unanswered, and people whose fate we want to discover. I know that the Lymond Chronicles are supposed to carry us on with the adventures of Nicholas's descendants, but I first need a long rest!