** spoiler alert ** "I knew to the depths of my soul that nothing I did was errant, that in the greater sense, I acted out of righteousness, however vengeful and indirect it seemed."

In Nicole Galland’s wonderful, “I, Iago”, Iago ponders the intricate web of deceit, defamation and lies he weaves that will culminate in an inevitable calamity of heartache, pain and bloodshed.

The reader, of course, knows what’s coming. William Shakespeare’s “Othello” is well known in its original form, but has also been adapted for modern audiences in film. Iago is the center point upon which all of the characters in Shakespeare’s play orbit. He is the masterful manipulator. He’s a debonair deceiver. He’s the ultimate enigma.

Two recently released books look to shed light on this most puzzling character. What drives the manipulator of men to create a situation where his best friend, his wife, and his admired General all wind up dead?

While David Snodin’s “Iago” focuses strictly on the aftermath of the events in “Othello”, and attempts to unwind the character through a continuation of the story, Nicole Galland takes a more courageous approach by exploring Iago’s personality from his modest upbringing in Venice right up through, and including, the well-known events as they occur on the Mediterranean island of Cyprus.

Galland leaps right into the heart of the enigma in the first lines of her novel: “They call me “honest Iago” from an early age, but in Venice, this is not a compliment. It is a rebuke. One does not prosper by honesty.”

Gallands’s smooth handling of Iago’s first-person narration immediately struck me. Despite a certain expectation of awkward Renaissance-era language, Iago comes across comfortably and familiar.

He’s born the fifth son of an extremely demanding and cold father, and instantly the character of Iago starts to take shape. He grew up in the shadow of siblings who were all destined for greater things than he. Even if it was only because they’d been born sooner.

Honesty and truth, naturally, are running themes throughout the novel. As he grows older, Iago becomes a bit of a minor celebrity in Venice, establishing himself for bluntness, honestly and forthrightness. He’s consistent in his need to remain truthful, even as he learns how to twist and modify his words to elicit the response and action he so desires. The truth becomes slightly less than truth, but thoroughly manipulative and certainly foreshadowing the coming disaster played out in Shakespeare’s portion of Iago’s tale.

Repeatedly, Iago finds himself among the social elite of Venice, where his utter disdain for the social game becomes a practice ground for Iago’s oral manipulations. In seeking to identify the motivational factors that make Iago who he is, Galland puts on display Iago’s distaste for the ‘frippery’ and fakery of Venetian society.

While Iago’s childhood friend Roderigo is introduced early in the story, Galland teases out the other key Shakespearian characters throughout the first half of the story. Galland portrays a wonderfully romantic, albeit short, courtship between the Emilia and Iago. The remaining characters seamlessly integrate into Iago’s life; the highlight of which is an enjoyable first meeting of Othello himself.

We learn of Iago’s intense propensity towards jealousy. The drivers are miniscule, but exposed throughout the story and combined with sporadic but fierce bouts of rage, Galland continues to foreshadow the inescapable conclusion.

This jealousy extends even to his relationship with Othello. The two fall into a comfortable ‘bromance’ as Iago becomes Othello’s anchor point in connecting with the very foreign and incomprehensible Venetian superficiality. It takes little for Iago to question Othello’s loyalty, an insecurity we see in all of his relationships, eventually. Iago reflects, "it was some twisted fear in me, the residue of childhood insults from my father, that could make me doubt Othello even for a moment. "

Iago is extremely self analytical. It's constant. Through the eyes of someone who also has a constant anxiety-ridden self-dialogue, I found this very understandable.

We are introduced to Desdemona and slowly see Othello fall for her, shortly followed by Iago’s indignity at Othello breaking the “bros before 'hos” philosophy, despite its one-sidedness because, of course, Iago is married. He’s simply overcome by resentment, as the Florentine, Michele Cassio, becomes Othello’s confidant in wooing Desdemona.

At times Iago is fully aware of his conniving, and realistic enough to be disgusted with himself. At other times, he rationalizes. He hides behind the auspices of wanting to protect his friend and general, while the jealousy and resentment burn slowly like a fuse to an explosive. His honesty is what enables his deceptions to work so effectively but also empowers things to run so wildly and quickly out if control.

I thoroughly enjoyed this book, though found greater enjoyment in the early goings as we meet the young and still developing personality, while exploring society and life in Renaissance Venice. Galland beautifully describes 16th century Venice, in all of it’s mercantile, military and societal glory. Likewise, she does a marvelous job of putting flesh on the bone of this remarkably likable character. For this, I give the book 4 out of 5 stars.

The second half focuses on the manipulations and their effects among Othello, Emelia, Desdemona, Cassio, and Iago himself. Still well written, I find some of the plot devices a bit wearisome, repetitive and somewhat annoying in that same way I can’t watch ‘Three’s Company” or “Friends” because of the weekly miscommunication that causes riotous sitcom mayhem.

The book is smart and is, at its heart, an enjoyable character study. One needn’t have deep familiarity with the Shakespeare original to appreciate and enjoy the story.

I received this book as part of the Amazon Vine reviewers program.