IF there was ever a novel that practically begged to be made into a Hollywood movie it would be The Midwife of Venice. Set in 16th century Venice and Malta, it has all the stuff set designers and costume makers dream of: grand palazzos, filthy canals, depressing ghettos, colourful courtesans and capricious nobles. In short, a feast for all the senses.

And if one might make some suggestions to the casting director: Scarlett Johansson would be ideal as the handsome widow, while the role of the half-starved but still handsome and witty slave Isaac deserves to be played by Joseph Fiennes. As for brave Hannah, the midwife of the title, Natalie Portman immediately comes to mind.

But to suggest that a movie be made of it is by no means intended to take anything away from the rewarding experience of reading the novel itself. Or from the craft of its worthy author Roberta Rich. Au contraire; her vibrant characters and well-researched, detailed descriptions of Venice and Valletta, the capital city of Malta, practically lend themselves to script writing.

A former lawyer, Rich was inspired to write the book after taking a trip to Venice in 2007. She visited the city’s historic Jewish ghetto and there saw the birthing spoons that feature so promptly in her tale. Her narrative thus presents to the reader, as vividly as possible, the dank and decadent city of Venice at a time when it was about to be gripped once again by a plague in the year 1575. As more and more disease-ridden corpses started to appear in its

already filthy canals, the nobility began to flee to the relative safety of the countryside. And the endless balls and masquerades that characterised Venetian society came to a grinding halt.

This was a time when the Jews living in Venice were compelled to reside in the Jewish ghetto. Jewish men were required to wear scarlet berets to identify themselves and no one could leave or enter the ghetto after sundown. They were

also blamed for everything from petty crime to bad weather. The threat of an inquisition hung constantly over their heads and a massacre could be instigated at the flimsiest excuse. Only two professions were open to them: money lending and trading in second-hand clothing. And more importantly for the purpose of the novel, Jewish midwives were strictly forbidden from attending to Christian women.

However, one night when nobleman Conte Paolo di Padovan and his brother enter the ghetto to beg Hannah Levi to assist his suffering wife, she cannot resist. The reward for delivering the Conte’s heir will secure the release of her husband, Isaac, who has been sold to slave traders. Isaac had planned to engage in the lucrative sea trade between Venice and the Ottoman Empire. With the profits he made by selling silk in Constantinople and buying spices there to resell in Venice, he wanted to enable himself and Hannah to escape the ghetto. The angry Rabbi tells Hannah that Isaac would be dead long before she reached him, but she is determined to try.

Isaac is indeed alive, but just barely. Brought to the island of Malta by pirates employed by the Knights of St John, he and his fellow crew members, Turks from the Levant and Moors from North Africa, are all auctioned off to the highest bidder. In his case the bidder is Sister Assunta, head of the local convent, who is determined to convert him. A part of the payment though was donated by the Widow Gertrudis who is determined to court him. In between fending off the advances of both the women, Isaac must obtain enough scraps of food to keep himself alive and find a way to return to Venice and Hannah.

The novel’s structure is interesting. Chapters alternate precisely: one follows Hannah’s progress in Venice, the next describes Isaac in Malta. And each one ends at a cliff hanger. Instead of appearing too obvious, the technique works well. Scenes set in bright, sunny and clean Malta with its “sun-warmed oranges” and “grapes that were a deep purple with a blush of wild yeast” provide welcome relief from decaying Venice.

As a historical thriller the novel delivers the right balance of suspense and fast-paced narrative. There are some gaping holes in the plot, though. For instance, how could the Comte not see the obvious threat posed by his own greedy brothers? But the novel’s real strength lies in its dialogues. Snappy, smart and compelling, the reader will remain constantly amused.

The conclusion seems to have been wrapped up in a hurry, though not before suggesting that a sequel may be expected. Hopefully one which will be set in Constantinople, where Jews “could own any kind of business, not just second-hand clothing or money lending as in Venice. We could buy land, live in any quarter of the city, work at anything we pleased.” It was a period in history when the general tolerance shown to religious minorities living in Muslim lands stood in striking contrast to the persecution they suffered elsewhere.

Ah, the good old days.

The Midwife of Venice

(NOVEL)

By Roberta Rich

Doubleday, Canada

ISBN 9780385668279

352pp. $15