Not ready to spoil

I'm glad to see some interesting comments go up in the postings. There are some interesting perspectives (even those of Devil's advocate, if someone wishes to play that part), and I hope that we all continue to brainstorm on every book.

I must make a confession. I have already read the entire book, however I will not spoil things. Was it that good? We'll talk about that later, for now I did want to comment on some other postings.

I like that Puddleglum points out the symbolism of Classical art/feminism and Christianity/patriarchy. There is alot of symbolism in this book even if the author does not intent it to be so (again, we can talk about our ratings of this book later). I find there is a sense of duality throughout the book that was flesshed out in the beginning: female/male; Classical/Christian; religion/truth; colour/monochrome; peace/war; education/ignorance; beauty/intelligence; passion/piety; dark/light; husband/wife. In the history I have read, these types of diachotomies appear distinct (even if they weren't at the time), however nowadays they seem more blurred.

I, too, agree that without the prologue, much is lost in the story. The prologue provides the tension for the book -- the question I'm seeing from so many of you is: is Alessandra Sister Lucrezia? That was the book's hook. And, yes, I do see a tone change between the prologue and the introductory chapters. This is repeated again in the last parts of the book. But, as I think Puddleglum has also confessed, I also do not think that the ending is in line with Alessandra's character. Despite the two comments that you will have now read regarding the ending of the book, I highly encourage you to finish reading, especially read the comments after the ending, ie. the Epilogue and author's comments. Without us all having read the same material, how can we debate??

That is all for now as I wish not to spoil the rest of the book for you by my comments. Happy reading!

Chapters 4-8: Lib-Chik's views

I really am enjoying the character and story development. It is almost a murder mystery, with the savaged, sexually mutilated bodies. There is a recurring theme of death (the murders) and birth (Plautilla's pregnancy)

• I wonder about the enmity between Alessandra and Tomaso, is it because of jealousy, hers at not being a male and able to follow her heart and passion, and his because of her quick intellect, so obviously more disciplined than himself?
• I wonder about Tomaso's and Luca's late night wanderings, are they in any way tied to the gruesome murders? Do they know something, witnessed, or taken part in anything that will bring calamity down on the family?
• Is the painter really visiting whores in the middle of the night? My thought is that he is studying their bodies, sketching and posing them. Also, it is possible that he is studying human anatomy (dissecting), is he the one who is committing the atrocities? I don't think so, but anything is possible... as he draws Alessandra's fingers you wonder..."It is as if he is reading my hands from under the skin, building the image from the inside out." And when Alessandra sees his drawing of the young girl, the central figure in the fresco, where the "singular most arresting thing about her body is its complete lifelessness."
• It seems that Alessandra has met someone who will play an important role in her life, an unknown man at her sister's wedding, I think he appreciates her talents, though how he knows of them is not clear, but is hinted at as being the result of her brothers' gossiping.
• Will the painter help Alessandra, tutor her in the ways of being an artist? She admits to him that she draws and asks his help, but will he? I think so.

The emphasis on sin and sexuality is more pronounced. Savonarola is becoming more passionate and influential, it feels like darkness is enveloping Florence, it is going to get worse before it gets better.