Any fascinating book should be read sooner or later to the end, and it is hardly worthwhile resorting to a child's trick for slowing down the reading process as the final approaches. In general, this Raynov`s novel can be attributed to the fascinating literature, although it can not be included in the number of those books that are considered to be the so-called " light genre " or " mass read ". No, this book, for all its seeming ease, orientation to the tastes of the broad masses of readers, can be considered a model of the modern classic spy detective, and therefore there is every reason to believe that it will easily survive for more than a dozen years and not one hundred reissues. This bold forecast can be made based on how deeply the author thinks about the plot, how many trifles he connects, how harmoniously all these fleeting scenes, exact characteristics, hints and guesses are strung on the main storyline. In this regard, it is sometimes even surprising how Raynov did not forget, closer to the middle or end of his rather long narrative, what was happening to its beginning. On the contrary, events develop logically, interrelated, naturally and consistently. Suffice it to mention a short-lived appearance on the plot of Anna Ferrari near the end of the book, which, perhaps, even demanding to the portrayal of the storyline writer would have considered unnecessary, given how much attention Boyev's relationship with this woman was given at the beginning of the novel.
It would seem that her function has been exhausted for a long time, and she can be safely sent to a well-deserved rest, but tireless Raynov unexpectedly, though briefly, brings Anna to the spotlight in one of the last chapters. He also does not lose sight of the executioner Rovolt, who, like a flicker, suddenly appears, then quickly disappears at the beginning of the book, and at its end. Considerable surprise is how multi-faceted the picture of the world drawn by the author in this novel, which takes place in nearby European cities and therefore, it would seem more not like versatile and complex symphony, but a simple and clear play. On the contrary, Boyev whom a reader sees at the beginning of the book, does not resemble Boyev who acts in the middle of the book, and does not have much in common with the main character at the end of the book. On the first pages, which take place on the streets of Venice, he is an attentive, though weary, observer, a slow thinker, a sarcastic critic of the surrounding reality, at some moments even an art critic and philosopher. Some time later he becomes insidious seducer, a malicious scoffer, not too flattery about the readiness of women to build relationships with lavish rich, prone to reflection faithful campaigner, was very upset by failure to comprehend it during the quest. But this is by no means all the features of his character, since Boyev, boldly jumping rooftops on a rainy night to get to the Zodiac archive, also appears as a desperate daredevil willing to risk his life for the sake of achieving his goal, and his relationship to Edith reveals in him a deep heart, lyricism, romanticism, the ability to tender feelings.
You can make sure of this during Emil's communication with Edith in business issues, and during their leisure time at the artist's party, and, of course, at the time of their secret kiss on the evening street, and during their forced return from the suburbs on a bicycle. In the end, the reader will learn that Boyev can coolly look into the face of death when the Zodiac's employees actually kidnap him and that he is able to calmly, perhaps forever, part with a woman who has long become for him much more than a colleague, and therefore separation from which for him, too, in some measure is equal to a small death. But Boyev's most amazing ability are not his versatility, ability to be cruel, sentimental, unhurried and impetuous, but his ability to constantly think about his actions in every detail and from time to time look round his whole life from the beginning of childhood. Of course, the whole novel is based on how Boyev sees the world around him, what he thinks about it, how he assesses what is happening around him, what common moral tendencies stand out and what human qualities he focuses on. Nevertheless, the author's method of presenting the story, which makes the protagonist a constant interlocutor of the reader, is rather non-standard on the background of novels, the description of events in which comes from a third party. This allows you to be in constant psychological contact with Boev, learn about all his doubts, guesses, memories, regrets, feelings, sufferings. I must admit that the author limited Emil's emotional world to gloomy, gray and, at the best cases, lyrical moods, completely depriving him of reverie, and sending his rich imagination not to create pictures of a happy future, but to present difficult conversations with the leaders of his reconnaissance mission.
Perhaps this gray emotional series was due to the author's vision of the world and the life of the secret service agent in particular. That is why the novel seems to be so close to everyday reality, it seems to be taken from it as a bucket of water from sea waves, and can also instantly dissolve into the surrounding world if it is " thrown in " there. By the way, this is exactly what happens in the imagination of the reader who, after reading this book, does not feel at all that separation from reality, which often occurs after reading novels more based on a fictitious picture of the world. This novel is part of everyday life - rainy, cruel, full of murder, insidiousness, cunning plans, sufferings, partings, regrets. Perhaps, that is why, after its reading to an end, you can experience something like the famous catharsis, that is, the emotional purification experienced by the spectators of the ancient Greek tragedies. This book does not lead the reader into the world of solar dreams, but constantly pours on him the rain of harsh reality, which is created in the novel by Raynov by ruthless, low, creepy people. That is why it is necessary to read it, and to the last page, to the very scene of Emil's farewell to Edith at the railway station, which has nothing to do with a happy ending pleasant to the reader, but has much in common with true life in which even people that are satisfied with their social and material situation usually want to get even more from destiny and, unable to meet this need, suffer softly. Really, there is nothing better than bad weather - after all, the bad weather exactly reflects psychological condition in which a person is immersed in everyday life - and thereby facilitates the perception of the world around him, which, like his inner world, is shrouded in gray clouds and not illuminated with bright sun.