Okay, so, I realize that there's not a ton of crossover of those who regularly read James Rollins' SIGMA series and those who read lesbian fiction, but, I read both, and this book is totally a SIGMA like novel, but, with LGBTQ+ characters instead of straight ones. It's so awesome.

It's mainly the story of Joanne and Sara. Although there's also the story of Leonora and the story of another Sarah in there as well. But, the main action, and there was some action for sure, was with Joanne and Sara.

Joanne is a Renaissance Historian and she hires Sara to be her sorta co-historian, sorta researchish assistant, mostly because Sara knows Venetian (Which I guess is different than Italian, you learn something new every day).

They go to Venice and they get knee deep in a conspiracy while they're trying to find out about what happened to Leonora, her press, and her escape from Venice.

But, then, they start finding more beyond that story, and into an even deeper story, the one that got Leonora in trouble in the first place. And, because it is also a romance book, they start getting closer, although, it is quite the slow burn, especially for a BS book.

It was a delightful novel. I haven't read a ton of this sorta puzzle thriller with lgbtq+ main characters, maybe even ever. It wasn't quite a mystery, definitely not just a romance, but an awesome combination of both with some different looks at religion thrown in there for good measure.

And I was sitting there at the end definitely wanting them to have another adventure studying (and getting into all sorts of trouble over) another history mystery of some sort.

So much fun. And the Meta, oh the Meta!!! ( )

Sarah, Son of God is the latest in an outstanding line of adventure/mystery novels from Justine Saracen that re-examine history through rainbow-coloured eyes. On the surface, there’s a natural temptation to describe her as the gay/lesbian answer to Dan Brown, but the truth is that she’s so much more than that. Her characters are better developed, the romance is honest (not clichéd), the scenery is breathtaking, and she’s wonderfully adept at letting the history, rather than the puzzle, carry the story along.

Like many of her novels, Justine places an attractive and intelligent woman at the forefront of the story. The fact that Joanna is a lesbian has very real implications. It is used to cast light on the social concerns of the time (late 1960s/early 1970s), and on the religious culture of Venice, but it never dominates the story. Her partner, the exquisite Sara, is something of a unique character in Justine’s work (and what initially attracted me to the story). Sara is transgendered, and although she herself isn’t quite sure where she falls in the transvestite/transsexual spectrum, she is clearly more comfortable in the expression of her femininity. Much like Joanna’s sexuality, her gender has immediate and ongoing implications for both women, and the development of their relationship (both personal and professional) casts its own light on events.

While there is an element of romance here, it’s rather more subdued than in some of Justine’s other novels, but it’s handled beautifully. When Joanna first meets Tadzio, she’s distinctly uncomfortable with the well-dressed young man who so blatantly defies gender stereotypes with his earrings, mascara, and lipstick. Although he knows his languages and his history, Joanna is justifiably concerned for the reaction his appearance is likely to elicit in the religious climate of Venice. When he returns the next day, this time as Sara, a tentative foundation of trust, respect, and friendship is established. Their relationship fluctuates over the course of the story, with both women making significant social gaffes with one another, but it isn’t long before we, as readers, begin to hope for the bloom of romance.

Visually, this is an absolutely gorgeous story, filled with a wealth of detail. Justine travelled extensively in her research, and that commitment to the story shows. From the streets of New York city to the canals of Venice; from the halls of academia to the vaults of the church; from the filthy depths of a Spanish prison cell to the equally filthy decks of a Venetian ship; in each case, Justine sets our feet firmly in the scene and allows us to see and feel not only what she herself witnessed, but what the characters are experiencing.

Historically, this is a tale within a tale, presenting us with the stories of two women – Sarah, whose sacrifice changed history significantly; and Leonora, whose trials have made it possible for that sacrifice to finally come to light. Much of the story is told through a series of letters written by Leonora, detailing her captivity, torture, and treacherous escape from the hands of the Inquisition. All of this is a result of her involvement in publishing the story of Sarah, which takes us back to ancient Rome, and provides an interesting eye-witness account of Jesus and his disciples. Of course, it’s not quite as simple as that, but to reveal the significance of her account, and why the Church has killed to keep it hidden, would be to spoil the mystery.

Overall, this is a story that works – and satisfies – on so many levels. It’s entertaining and informative, inspiring and challenging. There is no question that the mystery of Sarah’s story is controversial, but it’s a very interesting approach to history . . . and one that I, personally, found very attractive. Some readers may have trouble getting past their emotional response to the secret, but it truly is worth the effort involved. Definitely recommended. ( )