Israeli top spy/art restorer, Gabriel Allon, would rather be working on a major art restoration in Italy, but a blackmailing member of the Italian Art Squad is able to tear him away from his project with a threat. In “The Heist,” a corrupt British spy who had been selling stolen artwork to an anonymous art collector winds up dead and a famous painting has gone missing. Enter Gabriel with his special expertise. In order to get an art dealer friend and associate cleared of suspicion for dealing in stolen goods, Gabriel must agree to do the impossible.
A plan is devised to lure the real thief (and murderer) into the open in order to find and recover a masterpiece that has been missing for decades – Caravaggio’s Nativity with St. Francis and St. Lawrence. But, Allon, next in line for the job as the head of Mossad, has friends and enemies in high places and it will be tricky to keep all the parties, himself included, alive and focused on the end game.
As we expect in Silva’s riveting series, the stakes in Gabriel’s personal and professional lives are higher than ever. In “The Heist,” Gabriel bends the laws of more than one country, enlists the assistance of men that specialize in assassination and special ops, and adds an additional layer of danger in order to help a survivor of a brutal attack years before in Syria. Returning characters create continuity for the series and keep the pages turning in true Silva fashion.
Silvia’s books give the reader a look at the world of politics and spies from an Israeli understanding, but we are always presented with multiple views of each of the conflicts addressed. “The Heist” is no different. This is a serious novel that tackles the Syrian turmoil, the effect of a country at war with itself, and its place within the context of the larger Middle East complexity.
As Gabriel is called upon to help his old friend, he is torn between duty to country and the price he has paid for it over the years. The excitement of the caper unfolds on the pages, but there is also a more cerebral feel to “The Heist ” – perhaps a nod to an aging Allon looking back over his life and taking stock. The action is less physical than in the previous book, “The English Girl,” as we are enmeshed in the worlds of art restoration, high finance, bank transfers, and politics, but there is plenty of action nonetheless.
“The Heist” is the fourteenth title in the sixteen book (so far) Gabriel Allon series.
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