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Commissario Montalbano #14
Η ηλικία της αβεβαιότητας
Ο Μονταλμπάνο ζει τη νύχτα. Σκάβει το σκοτάδι της. Μπροστά του ανοίγεται ένας λαβύρινθος από καθρέφτες. Χάνεται στους μαιάνδρους, καθώς ακολουθεί την αντανάκλαση τους: η προειδοποίηση και η νουθεσία της καλής και της κακής του συνείδησης.
Υπάρχει κάτι παραπάνω σε αυτό το μυθιστόρημα, σε σχέση με τα άλλα του Μονταλμπάνο. Η γλοιώδης συμπεριφορά του αστυνόμου Λάττες γίνεται ακόμη πιο ενοχλητική· δίνει δείγματα καλοσύνης που απρόσμενα εκρήγνυνται σαν νάρκες. Τα θορυβώδη χτυπήματα στην πόρτα και ο παράξενος τρόπος ομιλίας του Καταρέλλα, του μονίμως λαχανιασμένου αστυνομικού που κάνει πάντα σοβαρά λάθη και μεγάλα γλωσσικά ατοπήματα, τώρα ηχούν με ακόμη πιο ονειροπόλα αγριότητα.
Η Λίβια είναι ακόμη πιο απόμακρη και ευερέθιστη. Μαζί της, στο τηλέφωνο, ο Μονταλμπάνο είναι αναγκασμένος να προσπαθεί να κρατήσει ένα μυστικό που του καίει τα χείλη. Ο αστυνόμος δεν μπόρεσε ν' αυτοσυγκρατηθεί. 0 Μονταλμπάνο ζει το "γλυκό λάθος" που έζησε ο Πετράρχης. Μια καινούρια Λάουρα, "ωραία γυναίκα" κι αυτή όπως εκείνη του ποιητή, αλλά με στολή αξιωματικού του λιμενικού, τον έκανε να γίνει σαν τον Πετράρχη, αντιγράφοντας πιστά ακόμη και τη "ζήλια". Αν του Πετράρχη ήταν "νεανικό λάθος", το λάθος του Μονταλμπάνο ανήκει σχεδόν στην τρίτη ηλικία.
Υπάρχει κάτι παραπάνω σε αυτό το μυθιστόρημα, σε σχέση με τα άλλα του Μονταλμπάνο. Η γλοιώδης συμπεριφορά του αστυνόμου Λάττες γίνεται ακόμη πιο ενοχλητική· δίνει δείγματα καλοσύνης που απρόσμενα εκρήγνυνται σαν νάρκες. Τα θορυβώδη χτυπήματα στην πόρτα και ο παράξενος τρόπος ομιλίας του Καταρέλλα, του μονίμως λαχανιασμένου αστυνομικού που κάνει πάντα σοβαρά λάθη και μεγάλα γλωσσικά ατοπήματα, τώρα ηχούν με ακόμη πιο ονειροπόλα αγριότητα.
Η Λίβια είναι ακόμη πιο απόμακρη και ευερέθιστη. Μαζί της, στο τηλέφωνο, ο Μονταλμπάνο είναι αναγκασμένος να προσπαθεί να κρατήσει ένα μυστικό που του καίει τα χείλη. Ο αστυνόμος δεν μπόρεσε ν' αυτοσυγκρατηθεί. 0 Μονταλμπάνο ζει το "γλυκό λάθος" που έζησε ο Πετράρχης. Μια καινούρια Λάουρα, "ωραία γυναίκα" κι αυτή όπως εκείνη του ποιητή, αλλά με στολή αξιωματικού του λιμενικού, τον έκανε να γίνει σαν τον Πετράρχη, αντιγράφοντας πιστά ακόμη και τη "ζήλια". Αν του Πετράρχη ήταν "νεανικό λάθος", το λάθος του Μονταλμπάνο ανήκει σχεδόν στην τρίτη ηλικία.
304 pages, Paperback
First published January 1, 2008
273 people are currently reading
1372 people want to read
About the author
Andrea Camilleri
427 books2,452 followersAndrea Camilleri was an Italian writer. He is considered one of the greatest Italian writers of both 20th and 21st centuries.
Originally from Porto Empedocle, Sicily, Camilleri began studies at the Faculty of Literature in 1944, without concluding them, meanwhile publishing poems and short stories. Around this time he joined the Italian Communist Party.
From 1948 to 1950 Camilleri studied stage and film direction at the Silvio D'Amico Academy of Dramatic Arts, and began to take on work as a director and screenwriter, directing especially plays by Pirandello and Beckett. As a matter of fact, his parents knew Pirandello and were even distant friends, as he tells in his essay on Pirandello "Biography of the changed son". His most famous works, the Montalbano series show many pirandellian elements: for example, the wild olive tree that helps Montalbano think, is on stage in his late work "The giants of the mountain"
With RAI, Camilleri worked on several TV productions, such as Inspector Maigret with Gino Cervi. In 1977 he returned to the Academy of Dramatic Arts, holding the chair of Movie Direction, and occupying it for 20 years.
In 1978 Camilleri wrote his first novel Il Corso Delle Cose ("The Way Things Go"). This was followed by Un Filo di Fumo ("A Thread of Smoke") in 1980. Neither of these works enjoyed any significant amount of popularity.
In 1992, after a long pause of 12 years, Camilleri once more took up novel-writing. A new book, La Stagione della Caccia ("The Hunting Season") turned out to be a best-seller.
In 1994 Camilleri published the first in a long series of novels: La forma dell'Acqua (The Shape of Water) featured the character of Inspector Montalbano, a fractious Sicilian detective in the police force of Vigàta, an imaginary Sicilian town. The series is written in Italian but with a substantial sprinkling of Sicilian phrases and grammar. The name Montalbano is an homage to the Spanish writer Manuel Vázquez Montalbán; the similarities between Montalban's Pepe Carvalho and Camilleri's fictional detective are remarkable. Both writers make great play of their protagonists' gastronomic preferences.
This feature provides an interesting quirk which has become something of a fad among his readership even in mainland Italy. The TV adaptation of Montalbano's adventures, starring the perfectly-cast Luca Zingaretti, further increased Camilleri's popularity to such a point that in 2003 Camilleri's home town, Porto Empedocle - on which Vigàta is modelled - took the extraordinary step of changing its official denomination to that of Porto Empedocle Vigàta, no doubt with an eye to capitalising on the tourism possibilities thrown up by the author's work.
In 1998 Camilleri won the Nino Martoglio International Book Award.
Camilleri lived in Rome where he worked as a TV and theatre director. About 10 million copies of his novels have been sold to date, and are becoming increasingly popular in the UK and North America.
In addition to the degree of popularity brought him by the novels, in recent months Andrea Camilleri has become even more of a media icon thanks to the parodies aired on an RAI radio show, where popular comedian, TV-host and impression artist Fiorello presents him as a raspy voiced, caustic character, madly in love with cigarettes and smoking (Camilleri is well-known for his love of tobacco).
He received an honorary degree from University of Pisa in 2005.
Originally from Porto Empedocle, Sicily, Camilleri began studies at the Faculty of Literature in 1944, without concluding them, meanwhile publishing poems and short stories. Around this time he joined the Italian Communist Party.
From 1948 to 1950 Camilleri studied stage and film direction at the Silvio D'Amico Academy of Dramatic Arts, and began to take on work as a director and screenwriter, directing especially plays by Pirandello and Beckett. As a matter of fact, his parents knew Pirandello and were even distant friends, as he tells in his essay on Pirandello "Biography of the changed son". His most famous works, the Montalbano series show many pirandellian elements: for example, the wild olive tree that helps Montalbano think, is on stage in his late work "The giants of the mountain"
With RAI, Camilleri worked on several TV productions, such as Inspector Maigret with Gino Cervi. In 1977 he returned to the Academy of Dramatic Arts, holding the chair of Movie Direction, and occupying it for 20 years.
In 1978 Camilleri wrote his first novel Il Corso Delle Cose ("The Way Things Go"). This was followed by Un Filo di Fumo ("A Thread of Smoke") in 1980. Neither of these works enjoyed any significant amount of popularity.
In 1992, after a long pause of 12 years, Camilleri once more took up novel-writing. A new book, La Stagione della Caccia ("The Hunting Season") turned out to be a best-seller.
In 1994 Camilleri published the first in a long series of novels: La forma dell'Acqua (The Shape of Water) featured the character of Inspector Montalbano, a fractious Sicilian detective in the police force of Vigàta, an imaginary Sicilian town. The series is written in Italian but with a substantial sprinkling of Sicilian phrases and grammar. The name Montalbano is an homage to the Spanish writer Manuel Vázquez Montalbán; the similarities between Montalban's Pepe Carvalho and Camilleri's fictional detective are remarkable. Both writers make great play of their protagonists' gastronomic preferences.
This feature provides an interesting quirk which has become something of a fad among his readership even in mainland Italy. The TV adaptation of Montalbano's adventures, starring the perfectly-cast Luca Zingaretti, further increased Camilleri's popularity to such a point that in 2003 Camilleri's home town, Porto Empedocle - on which Vigàta is modelled - took the extraordinary step of changing its official denomination to that of Porto Empedocle Vigàta, no doubt with an eye to capitalising on the tourism possibilities thrown up by the author's work.
In 1998 Camilleri won the Nino Martoglio International Book Award.
Camilleri lived in Rome where he worked as a TV and theatre director. About 10 million copies of his novels have been sold to date, and are becoming increasingly popular in the UK and North America.
In addition to the degree of popularity brought him by the novels, in recent months Andrea Camilleri has become even more of a media icon thanks to the parodies aired on an RAI radio show, where popular comedian, TV-host and impression artist Fiorello presents him as a raspy voiced, caustic character, madly in love with cigarettes and smoking (Camilleri is well-known for his love of tobacco).
He received an honorary degree from University of Pisa in 2005.
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Displaying 1 - 30 of 434 reviews
October 22, 2021
I thought this was again standard-fare Camilleri, #14 in the series. The food, the beauty of Sicily, the corruption of the mafia and the government. The goofball supporting cast working for the Inspector. And I finally have figured out the obvious: You can’t have Salvo marry Livia; if this happened, we maybe wouldn’t be able to see him fall head over heels for a different gorgeous woman as happens in each of these books! In this one it is Laura, the Port Authority officer. All the men fall for a particular woman in each of these books, and this is a comic aspect of all of them. The dreamboat Mimi Augello is also assigned “under cover” work to try and get information from a woman, too. This is pretty amusing.
The crime involves a “blood diamond” smuggling operation, but we spend less time on that than Salvo’s and Mimi’s obsessions with women.
I like some of the history of Italy we get in these books, extending back to the fascist period under Mussolini. I also like it that Montalbano reads a lot, and through him we get suggestions for further reading, such as Elio Vittorini’s “Conversations in Sicily.” We also see that Montalbano reads mysteries such as Les Pitard by Georges Simenon.
A solid entry with some humor throughout.
The crime involves a “blood diamond” smuggling operation, but we spend less time on that than Salvo’s and Mimi’s obsessions with women.
I like some of the history of Italy we get in these books, extending back to the fascist period under Mussolini. I also like it that Montalbano reads a lot, and through him we get suggestions for further reading, such as Elio Vittorini’s “Conversations in Sicily.” We also see that Montalbano reads mysteries such as Les Pitard by Georges Simenon.
A solid entry with some humor throughout.
June 30, 2012
“The Age of Doubt,” which is #14 in the Inspector Montalbano series, is one of the best. Andrea Camilleri does a masterful job employing his characteristic story-telling techniques.
The just-released translation by Stephen Santarelli inspired Tom Nolan to publish a wonderful review of the Montalbano series in the Wall Street Journal: “Sicily’s Most Exquisitely Tormented Detective,” June 15, 2012, http://online.wsj.com/article/SB10001.... Nolan highlights one particular literary technique that crops up often in the series: synesthesia, which is defined as “a description of one kind of sensation in terms of another” (theliterarylink.com/definitions.html). As Nolan points out, “for Montalbano, emotion has aroma, which in turn has color.” For the detective, fear smells sour and is colored yellow-green. This technique is even reflected in some titles, such as “The Shape of Water” and “The Smell of the Night.”
Another feature of Camilleri’s writing are literary references that offer the reader the opportunity to learn more about historical events or to explore the works of other practitioners of the detective fiction genre. The author builds on this tradition in “The Age of Doubt.” For background on Italy’s fascist period, Camilleri recommends Elio Vittorini’s “Conversations in Sicily.” As for the detective genre, Camilleri refers to “ Les Pitard” by the French Georges Simenon. Previously in the series, Camilleri alluded to the story of a young girl’s murder in “It Happened in Broad Daylight” by the Swiss dramatist Friedrich Dürrenmatt. He also called attention to the Inspector Martin Beck series by the Swedish author-couple Maj Sjöwall and Per Wahlöö. Such reading suggestions are always appreciated.
The just-released translation by Stephen Santarelli inspired Tom Nolan to publish a wonderful review of the Montalbano series in the Wall Street Journal: “Sicily’s Most Exquisitely Tormented Detective,” June 15, 2012, http://online.wsj.com/article/SB10001.... Nolan highlights one particular literary technique that crops up often in the series: synesthesia, which is defined as “a description of one kind of sensation in terms of another” (theliterarylink.com/definitions.html). As Nolan points out, “for Montalbano, emotion has aroma, which in turn has color.” For the detective, fear smells sour and is colored yellow-green. This technique is even reflected in some titles, such as “The Shape of Water” and “The Smell of the Night.”
Another feature of Camilleri’s writing are literary references that offer the reader the opportunity to learn more about historical events or to explore the works of other practitioners of the detective fiction genre. The author builds on this tradition in “The Age of Doubt.” For background on Italy’s fascist period, Camilleri recommends Elio Vittorini’s “Conversations in Sicily.” As for the detective genre, Camilleri refers to “ Les Pitard” by the French Georges Simenon. Previously in the series, Camilleri alluded to the story of a young girl’s murder in “It Happened in Broad Daylight” by the Swiss dramatist Friedrich Dürrenmatt. He also called attention to the Inspector Martin Beck series by the Swedish author-couple Maj Sjöwall and Per Wahlöö. Such reading suggestions are always appreciated.
June 1, 2012
Absolutely loved it; but then again, I'm a HUGE fan of the series.
As with many of the recent books in the series, Age of Doubt begins with a dream -- in this one, Montalbano walks into the station to let Catarella know he'll be away on a surprise trip to visit Livia in Bocadesse. Catarella responds that Salvo can't go to Bocadesse because he died the day before. He's also told he can't investigate the case because "he's too personally involved." Even worse, Livia's not sure she can make it to the funeral. After analyzing his dream, it's back to work; he gets stuck in a major traffic jam caused by the washing away of the road. In the first of a long line of cars, he comes across a woman whose car is sticking out over the edge of the washed-out road and rescues her, taking her home where she dries off and where he calls Gallo to come and get them. She's not his type, so they spend the time waiting talking about her. It turns out she's Vanna Digiulio, who was on her way to the Harbor Office to meet her aunt's yacht, also named Vanna, at 10 a.m. Gallo arrives; the yacht, as it turns out, is not supposed to arrive until 4, so Vanna waits with a book at the police station until it's time to go the harbor. But it isn't long after she leaves there's a call that sends Montalbano to the harbor -- it seems a dead man has been found in a dinghy and that it had been picked up by the Vanna. When Montalbano goes to talk to the Vanna's captain, the yacht's owner, Livia Giovannini, complains about having to be stuck there and Salvo gives her a list of things she might want to do to pass the time. When she wonders about how to get around, Salvo suggests she use her niece's car, to which she replies "What niece?"
While trying to figure out the corpse's identity, Salvo meets Lt. Laura Belladona of the Harbor Office and zing!!!! There is an instant mutual attraction, a dual-pronged Cupid's arrow that lands simultaneously in both of their hearts. As the story progresses, Salvo, now 58, begins to wonder if it's real love he's feeling for this much younger woman who makes him absolutely crazy or if it's something else completely:
"He hadn't done this sort of thing when he was sixteen, and now he was doing it at fifty-eight? Fifty-eight, Montalbà! Don't you forget it! Or was it perhaps the folly of old age that made him act this way?"
The Age of Doubt continues Camilleri's tradition of a good mystery at the core of the novel, surrounded by the characters that are by now like old friends to regular Camilleri fans. There are a number of incredibly funny scenes here, including Mimi Augello's undercover work (giving "undercover" a whole new connotation here!) , but there are also very serious moments. In just one example, Salvo muses critically about the government's handling of the immigration issue as he witnesses a load of hopeful immigrants being rounded up by the authorities at the harbor. The book is very well paced, and as usual, Camilleri takes his readers to the Vigata shoreline with the sights, smells, and tastes of this small corner of Sicily. This is also one of the more poignant Montalbano stories I've read; Sartarelli's translation making it even more so . Someone give that man an award for his work!!
I highly recommend this book to anyone who's followed Montalbano from the beginning -- although all of the series novels accentuate Montalbano as a person, this one goes beyond the norm. I loved it.
As with many of the recent books in the series, Age of Doubt begins with a dream -- in this one, Montalbano walks into the station to let Catarella know he'll be away on a surprise trip to visit Livia in Bocadesse. Catarella responds that Salvo can't go to Bocadesse because he died the day before. He's also told he can't investigate the case because "he's too personally involved." Even worse, Livia's not sure she can make it to the funeral. After analyzing his dream, it's back to work; he gets stuck in a major traffic jam caused by the washing away of the road. In the first of a long line of cars, he comes across a woman whose car is sticking out over the edge of the washed-out road and rescues her, taking her home where she dries off and where he calls Gallo to come and get them. She's not his type, so they spend the time waiting talking about her. It turns out she's Vanna Digiulio, who was on her way to the Harbor Office to meet her aunt's yacht, also named Vanna, at 10 a.m. Gallo arrives; the yacht, as it turns out, is not supposed to arrive until 4, so Vanna waits with a book at the police station until it's time to go the harbor. But it isn't long after she leaves there's a call that sends Montalbano to the harbor -- it seems a dead man has been found in a dinghy and that it had been picked up by the Vanna. When Montalbano goes to talk to the Vanna's captain, the yacht's owner, Livia Giovannini, complains about having to be stuck there and Salvo gives her a list of things she might want to do to pass the time. When she wonders about how to get around, Salvo suggests she use her niece's car, to which she replies "What niece?"
While trying to figure out the corpse's identity, Salvo meets Lt. Laura Belladona of the Harbor Office and zing!!!! There is an instant mutual attraction, a dual-pronged Cupid's arrow that lands simultaneously in both of their hearts. As the story progresses, Salvo, now 58, begins to wonder if it's real love he's feeling for this much younger woman who makes him absolutely crazy or if it's something else completely:
"He hadn't done this sort of thing when he was sixteen, and now he was doing it at fifty-eight? Fifty-eight, Montalbà! Don't you forget it! Or was it perhaps the folly of old age that made him act this way?"
The Age of Doubt continues Camilleri's tradition of a good mystery at the core of the novel, surrounded by the characters that are by now like old friends to regular Camilleri fans. There are a number of incredibly funny scenes here, including Mimi Augello's undercover work (giving "undercover" a whole new connotation here!) , but there are also very serious moments. In just one example, Salvo muses critically about the government's handling of the immigration issue as he witnesses a load of hopeful immigrants being rounded up by the authorities at the harbor. The book is very well paced, and as usual, Camilleri takes his readers to the Vigata shoreline with the sights, smells, and tastes of this small corner of Sicily. This is also one of the more poignant Montalbano stories I've read; Sartarelli's translation making it even more so . Someone give that man an award for his work!!
I highly recommend this book to anyone who's followed Montalbano from the beginning -- although all of the series novels accentuate Montalbano as a person, this one goes beyond the norm. I loved it.
April 27, 2015
Stamattina mi sono svegliata con in mente l'idea di leggere Camilleri....Salvo è un amico oramai. Abbiamo trascorso con lui tanti anni della sua vita e vissuto avventure su avventure. Ora ha 58 anni e se li sente pesare addosso. Vive la crisi di mezza età.Casualmente stamattina mi è passato sotto gli occhi un articolo di un giornale intitolato "quella strana tristezza dei cinquantenni maschi". Il pensiero è andato a Montalbano e a questo libro, che avevo appena terminato di leggere.Il libro è intriso di amarezza, nonostante non manchino pagine che mi hanno fatto ridere di gusto.
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April 11, 2018Le 'cotte' senili, lo sappiamo, sono pericolose e questa di Montalbano non mi è piaciuta per niente, anche se si riscatta alla fine con la 'morte' della ragazza. Sempre così.
This entire review has been hidden because of spoilers.
July 31, 2013
Inspector Salvo Montalbano loves food, particularly pasta and seafood, and living in Sicily, he doesn’t have to go far to find it. Plus, his housekeeper Adelina is an excellent cook. I always feel like I have gained ten pounds when I read one of the books in this series. I was lucky enough to have visited Florence and Siena and loved the pizza and gelato, but now I want to visit Sicily and eat mussels, sole, shrimp, sea urchins, clams, calamari, olives, anchovies, cheeses, and breads, the pastas, just not the octopus.
So far, according to Wikipedia, fourteen books have been translated by Stephen Sartarelli from the Italian, Sicilian, and Sicilianized Italian in which Camilleri wrote them. Here’s hoping there are more waiting to be translated; I don’t have time to learn all those languages. Sartarelli is thoughtful enough to include explanations of Italian and Sicilian references in the text which Americans otherwise might not understand.
The series has been so popular in Italy that the Montalbano novels have been made into an Italian TV series. Would someone please start a petition to PBS or some cable station to bring that series over here?
When Salvo is eating, he is solving murders. He can find a means to balance the elements of a sinister Sicilian world, a world of shady connections and favors owed and owing, while still keeping his conscience. He has occasional tussles with upper-management, but always finds a way to outwit them. The relationship with his girlfriend, the temperamental Livia, who lives in another city, has its ups and downs, but he is always faithful, in his way.
I can’t begin to name my favorite book in this series; each seems to be better than the last and, of course, each builds on what happened in the last book. This isn’t a noir series, and it isn’t a cozy series. What it is is a picture of another culture and an altogether individual inspector. And they are very funny (and mouth-watering).
So far, according to Wikipedia, fourteen books have been translated by Stephen Sartarelli from the Italian, Sicilian, and Sicilianized Italian in which Camilleri wrote them. Here’s hoping there are more waiting to be translated; I don’t have time to learn all those languages. Sartarelli is thoughtful enough to include explanations of Italian and Sicilian references in the text which Americans otherwise might not understand.
The series has been so popular in Italy that the Montalbano novels have been made into an Italian TV series. Would someone please start a petition to PBS or some cable station to bring that series over here?
When Salvo is eating, he is solving murders. He can find a means to balance the elements of a sinister Sicilian world, a world of shady connections and favors owed and owing, while still keeping his conscience. He has occasional tussles with upper-management, but always finds a way to outwit them. The relationship with his girlfriend, the temperamental Livia, who lives in another city, has its ups and downs, but he is always faithful, in his way.
I can’t begin to name my favorite book in this series; each seems to be better than the last and, of course, each builds on what happened in the last book. This isn’t a noir series, and it isn’t a cozy series. What it is is a picture of another culture and an altogether individual inspector. And they are very funny (and mouth-watering).
August 12, 2018
Matre santa!
Yes, it's time to revisit our Sicilian policeman, Inspector Salvo Montalbano.
One piece of business to get out of the way first. Ever since I've read Andrea Camilleri's Montalbano, I've compared his style to Georges Simenon who wrote the romans magnifiques featuring Inspector Maigret. Lo and behold, in my cliche-est Montalbano, Camilleri comes out and nearly admits he follows Simenon's style when he uses a character from one of the latter's novels.
When I say 'admits', I'm in no way denigrating Camilleri or claiming he plagiarizes Simenon. Camilleri does a fine job on his own. It's only that they are similar in the way they pull the strings of their respective investigators, each of which has a love of life and a troubling habit (for the crooks) of figuring out how the tiniest of details add up.
Montalbano is a lovely character who's always falling in love with female witnesses and conspirators. Heaven help him for aging with both feet in the past. His jealousy of fellow and younger investigators, who might get to spend time with a lovely witness instead of him, drives him insane.
The case Salvo Montalbano is working on is not important. Believe me, he will solve it brilliantly with Camilleri driving the pen. The joy of the Montalbano series is sitting back and watching him work in the lovely Sicily and enjoying the comedy of the plot.
When Catarella, the seriously pronunciation-defective switchboard operator, tells Montalbano someone is sitting in the waiting room and 'poissonally in poisson' wants to speak to him, the Inspector will be on the case.
Arrivederci until the next Montalbano (which I'll read out of order, of course)!
Oh, Montalbano is on TV in Italy. :)
Yes, it's time to revisit our Sicilian policeman, Inspector Salvo Montalbano.
One piece of business to get out of the way first. Ever since I've read Andrea Camilleri's Montalbano, I've compared his style to Georges Simenon who wrote the romans magnifiques featuring Inspector Maigret. Lo and behold, in my cliche-est Montalbano, Camilleri comes out and nearly admits he follows Simenon's style when he uses a character from one of the latter's novels.
When I say 'admits', I'm in no way denigrating Camilleri or claiming he plagiarizes Simenon. Camilleri does a fine job on his own. It's only that they are similar in the way they pull the strings of their respective investigators, each of which has a love of life and a troubling habit (for the crooks) of figuring out how the tiniest of details add up.
Montalbano is a lovely character who's always falling in love with female witnesses and conspirators. Heaven help him for aging with both feet in the past. His jealousy of fellow and younger investigators, who might get to spend time with a lovely witness instead of him, drives him insane.
The case Salvo Montalbano is working on is not important. Believe me, he will solve it brilliantly with Camilleri driving the pen. The joy of the Montalbano series is sitting back and watching him work in the lovely Sicily and enjoying the comedy of the plot.
When Catarella, the seriously pronunciation-defective switchboard operator, tells Montalbano someone is sitting in the waiting room and 'poissonally in poisson' wants to speak to him, the Inspector will be on the case.
Arrivederci until the next Montalbano (which I'll read out of order, of course)!
Oh, Montalbano is on TV in Italy. :)
March 15, 2015
Sebbene sia un’estimatrice di Camilleri (e non solo del Camilleri di “Montalbano”), questo romanzo mi ha lasciata un po’ perplessa e, sinceramente, non lo trovo molto riuscito. Condivido molte delle critiche che gli sono state mosse da altri utenti di aNobii.
Ad esempio, concordo con Jestercap sul fatto che l’uso del dialetto siciliano sia decisamente aumentato e che questo non giochi a favore delle fluidità espressiva. Se, all’inizio, il mix tra italiano e siciliano era ben calibrato, ora lo sbilanciamento a favore del secondo mi pare eccessivo.
Concordo anche con Procyon Lotor quando osserva che “Compaiono anche in questo alcune esplicite tirate terzomondiste e solidali sulla misera immigrazione a mo’ di lezioncina.
Preferivamo quando questi sentimenti erano mostrati attraverso la storia come nel “Ladro di merendine” e molti altre occasioni, se incollati sopra come un'etichetta diventano fervorini morali che sanno alternativamente da minculpop da librocuore e altre sventure didascaliche”. Indubbiamente questi “buonismi” così politically correct, ficcati a caso all’interno della storia, stonano, oltre che a non dire assolutamente nulla né di nuovo, né di sostanziale.
Personalmente, non ho mai letto Camilleri per la “trama gialla” che fa da sfondo ai romanzi di Montalbano. L’ho sempre considerata secondaria rispetto al particolare universo letterario che ha saputo creare. Tuttavia è indubbio che, in questa occasione, anche la storia “poliziesca” in sé faccia abbastanza acqua e venga trascinata avanti in modo fiacco, poco convinto e talmente frammentario da risultare quasi fastidioso.
Assolutamente ridicola e risibile, al limite della stupidaggine, è poi la questione sorta con Lattes e con il questore Bonetti-Alberighi circa la morte del “presunto” figlio di Montalbano. Se il fatto che Lattes non sia mai riuscito a ficcarsi in testa che Montalbano non sia sposato e non abbia figli e, di conseguenza, chieda sempre al commissario notizie di questa fantomatica famiglia era un particolare che poteva starci e che finiva per caratterizzare il personaggio, scegliere di protrarre la farsa sino alle estreme conseguenze, con tanto di invio di un cuscino mortuario, decisamente stride e travalica i limiti di “creduloneria” di qualsiasi lettore. Inoltre, resta del tutto in sospeso, perché nonostante la lavata di capo, il questore lascia poi cadere l’argomento e, dal canto suo, Montalbano semplicemente evita di parlare con Lattes. Parentesi decisamente mal riuscita.
Altro punto che, ormai, appare da troppo tempo trascurato è il rapporto con Livia. So che l’eterna “zita” non è simpatica a molti lettori e mi sa che ha ragione FelixTheCat_974 quando dice: “Mi sembra che l'affaire Livia/Salvo stia seguendo più che un'evoluzione narrativa, la "vox populi", visto che i lettori mal sopportano la donna del commissario e lo vorrebbero accompagnato da una persona più "umana". Credo proprio che questo utente di aNobii abbia centrato un punto fondamentale: Camilleri sembra voler lasciar scivolare questo particolare aspetto più verso la “soap opera” che non seguire uno sviluppo narrativo più maturo e, per così dire, di livello superiore.
Decisamente “disonesto” ho poi trovato il finale, un modo raffazzonato, frettoloso e insoddisfacente per chiudere “il problema Laura”, tanto più che è proprio su questa possibilità d’amore che, in pratica, si regge quasi tutto il romanzo. E’ “disonesto” perché evita di mettere Montalbano nella necessità di prendere decisioni e, di nuovo, rimanda indefinitamente il chiarimento con Livia. E, implicitamente, prende in giro i propri lettori. Finali così me li aspetto da scrittori di scarso talento, non certo da Camilleri che i ferri del mestiere, di solito, li sa usare bene.
Ad esempio, concordo con Jestercap sul fatto che l’uso del dialetto siciliano sia decisamente aumentato e che questo non giochi a favore delle fluidità espressiva. Se, all’inizio, il mix tra italiano e siciliano era ben calibrato, ora lo sbilanciamento a favore del secondo mi pare eccessivo.
Concordo anche con Procyon Lotor quando osserva che “Compaiono anche in questo alcune esplicite tirate terzomondiste e solidali sulla misera immigrazione a mo’ di lezioncina.
Preferivamo quando questi sentimenti erano mostrati attraverso la storia come nel “Ladro di merendine” e molti altre occasioni, se incollati sopra come un'etichetta diventano fervorini morali che sanno alternativamente da minculpop da librocuore e altre sventure didascaliche”. Indubbiamente questi “buonismi” così politically correct, ficcati a caso all’interno della storia, stonano, oltre che a non dire assolutamente nulla né di nuovo, né di sostanziale.
Personalmente, non ho mai letto Camilleri per la “trama gialla” che fa da sfondo ai romanzi di Montalbano. L’ho sempre considerata secondaria rispetto al particolare universo letterario che ha saputo creare. Tuttavia è indubbio che, in questa occasione, anche la storia “poliziesca” in sé faccia abbastanza acqua e venga trascinata avanti in modo fiacco, poco convinto e talmente frammentario da risultare quasi fastidioso.
Assolutamente ridicola e risibile, al limite della stupidaggine, è poi la questione sorta con Lattes e con il questore Bonetti-Alberighi circa la morte del “presunto” figlio di Montalbano. Se il fatto che Lattes non sia mai riuscito a ficcarsi in testa che Montalbano non sia sposato e non abbia figli e, di conseguenza, chieda sempre al commissario notizie di questa fantomatica famiglia era un particolare che poteva starci e che finiva per caratterizzare il personaggio, scegliere di protrarre la farsa sino alle estreme conseguenze, con tanto di invio di un cuscino mortuario, decisamente stride e travalica i limiti di “creduloneria” di qualsiasi lettore. Inoltre, resta del tutto in sospeso, perché nonostante la lavata di capo, il questore lascia poi cadere l’argomento e, dal canto suo, Montalbano semplicemente evita di parlare con Lattes. Parentesi decisamente mal riuscita.
Altro punto che, ormai, appare da troppo tempo trascurato è il rapporto con Livia. So che l’eterna “zita” non è simpatica a molti lettori e mi sa che ha ragione FelixTheCat_974 quando dice: “Mi sembra che l'affaire Livia/Salvo stia seguendo più che un'evoluzione narrativa, la "vox populi", visto che i lettori mal sopportano la donna del commissario e lo vorrebbero accompagnato da una persona più "umana". Credo proprio che questo utente di aNobii abbia centrato un punto fondamentale: Camilleri sembra voler lasciar scivolare questo particolare aspetto più verso la “soap opera” che non seguire uno sviluppo narrativo più maturo e, per così dire, di livello superiore.
Decisamente “disonesto” ho poi trovato il finale, un modo raffazzonato, frettoloso e insoddisfacente per chiudere “il problema Laura”, tanto più che è proprio su questa possibilità d’amore che, in pratica, si regge quasi tutto il romanzo. E’ “disonesto” perché evita di mettere Montalbano nella necessità di prendere decisioni e, di nuovo, rimanda indefinitamente il chiarimento con Livia. E, implicitamente, prende in giro i propri lettori. Finali così me li aspetto da scrittori di scarso talento, non certo da Camilleri che i ferri del mestiere, di solito, li sa usare bene.
January 1, 2021
A girl whose car is almost washed off the road. A yacht with a voracious owner who reports a murder. A possible love interest: cases to solve, life's mysteries to resolve, and fine Sicilian meals to be eaten.
Not one of the stronger installments in the series; it's a little less smoothly and tightly woven than the others. But still a fine read.
Recommended if you like the series. Probably not a great place to start. As always, excellent on audio.
Not one of the stronger installments in the series; it's a little less smoothly and tightly woven than the others. But still a fine read.
Recommended if you like the series. Probably not a great place to start. As always, excellent on audio.
March 2, 2020
This is my favourite Montalbano installment to date. The writing was exquisite and had me on the edge of my seat. It made me feel more emotions and shocked me more times than I expected. I have fallen in love with the characters over the course of this series and feel like I am visiting old friends with each new book.
I would highly recommend this installment to any Montalbano fan!
I would highly recommend this installment to any Montalbano fan!
July 26, 2012
I found Andrea Camilleri's latest installment in the Inspector Montalbano series Camilleri's most disappointing. The unconsumated affair with Laura (and its tragic ending) was never quite convincing; the love affair between the two characters seemed the raison d'etre of the novel rather than the mystery surrounding blood diamonds that lurked in the background; blood diamonds as a plot device are kind of passe (surely?); and even the descriptions of Montalbano's usual repasts did little to lighten the mood. Camilleri's novels are always light reading, but this one seemed as insubstantial as fairy floss (not sure what Americans call it)...just too much sugar.
August 4, 2020
Si no llevo mal las cuentas es la novela No. 18 que leo sobre el comisario Montalbano.
Pese a que con el correr de los volúmenes las tramas policiales han decaído un poco, la presente es sin dudas la más divertida de todas. Nuestro querido Salvo, enamorado, comete varias torpezas dignas de Peter Selleres en la Pantera Rosa. Te saca un par de carcajadas. Es raro en un escrito policial.
El personaje, cerca de los 60 años, nos revela sus pensamientos. Él sabe que laboralmente es muy buen policía pero como hombre es una calamidad. Contradicciones y tentaciones hacen a Montalbano en la edad de la duda.
Pese a que con el correr de los volúmenes las tramas policiales han decaído un poco, la presente es sin dudas la más divertida de todas. Nuestro querido Salvo, enamorado, comete varias torpezas dignas de Peter Selleres en la Pantera Rosa. Te saca un par de carcajadas. Es raro en un escrito policial.
El personaje, cerca de los 60 años, nos revela sus pensamientos. Él sabe que laboralmente es muy buen policía pero como hombre es una calamidad. Contradicciones y tentaciones hacen a Montalbano en la edad de la duda.
February 24, 2025
4.5
Non iniziare a leggere i montalbani dal numero 14 sarebbe stata una mossa più intelligente ma va bene lo stesso. Da ora in poi si riparte dal primo
Non iniziare a leggere i montalbani dal numero 14 sarebbe stata una mossa più intelligente ma va bene lo stesso. Da ora in poi si riparte dal primo
January 11, 2016
By this point in the series I just love the characters, so I could read about their summer vacations at the beach and it would be entertaining. Especially Catarella; my goodness.
This is certainly one of the best in the series. Salvo at this point is so accessibly human. He is one of the best examples of the flawed protagonist that I have personally ever come across. And to see through his coat of armor is not to feel sadness or disappointment with our heroes or anything like that. To see through his coat of armor is in many ways to look through our own. So we laugh. We laugh at him, at ourselves.
To say these are character-driven novels is to state the obvious. Reading these books reminds me of what it was like to watch my favorite sitcom when sitcoms were still a thing, whether it was Friends or Cheers or something else depending on the decade. These books are so like that. I can't say that any of these have been "unputdownable" thrillers. You pick them up over and over again because you want to get back in touch with Salvo, Fazio, and Augello. You wonder what the hell Catarella is gonna do next. You wonder how Salvo is going to keep his charade going with Lattes. It's crazy fun, all of it, and I am very glad I gave that first one a chance.
This is certainly one of the best in the series. Salvo at this point is so accessibly human. He is one of the best examples of the flawed protagonist that I have personally ever come across. And to see through his coat of armor is not to feel sadness or disappointment with our heroes or anything like that. To see through his coat of armor is in many ways to look through our own. So we laugh. We laugh at him, at ourselves.
To say these are character-driven novels is to state the obvious. Reading these books reminds me of what it was like to watch my favorite sitcom when sitcoms were still a thing, whether it was Friends or Cheers or something else depending on the decade. These books are so like that. I can't say that any of these have been "unputdownable" thrillers. You pick them up over and over again because you want to get back in touch with Salvo, Fazio, and Augello. You wonder what the hell Catarella is gonna do next. You wonder how Salvo is going to keep his charade going with Lattes. It's crazy fun, all of it, and I am very glad I gave that first one a chance.
November 18, 2015
2/5; 2 stars; C
Just OK. I thought I'd try this when I saw it on the library shelf because some of my GR friends seem to love this author. Maybe its because I don't have any investment in the main characters but I found it a bit boring. I felt empathy for the main character but not as a romantic hero, more of a deluded middle aged man with a slightly wonky romance radar. The mystery was pretty good but took too long to unfold for my taste.
Just OK. I thought I'd try this when I saw it on the library shelf because some of my GR friends seem to love this author. Maybe its because I don't have any investment in the main characters but I found it a bit boring. I felt empathy for the main character but not as a romantic hero, more of a deluded middle aged man with a slightly wonky romance radar. The mystery was pretty good but took too long to unfold for my taste.
November 13, 2017
Ο αστυνόμος Μονταλμπάνο έχει καβατζάρει τα 58 αλλά δεν παύει να συμπεριφέρεται μερικές φορές σαν σκανταλιάρικο παιδί. Η αιώνια αρραβωνιαστικιά του εξακολουθεί να βρίσκεται μακριά και να τον πρήζει εκ περιτροπής. Τακτοποιημένος στην καθημερινότητα του, μοιράζει το χρόνο του στη βεράντα του σπιτιού του με θέα τη θάλασσα τρώγοντας τα εξαιρετικά φαγητά της οικονόμου του, το αστυνομικό τμήμα και την ταβέρνα του Έντζο που τον ταϊζει όλη τη γκάμα των θαλασσινών και των ψαριών. Κάνει μεγάλες βόλτες για να σκεφτεί και να χωνέψει και γράφει γράμματα στον εαυτό του για να ξεκαθαρίσει τις σκέψεις του.
Ο Κύριος και Διοικητής, κατά Καταρέλλα, του βοηθού - τηλεφωνητή του αστυνομικού τμήματος, έχει βαλθεί να του κάνει τη ζωή κόλαση γραφειοκρατίας. Ο ίδιος ανθίσταται επινοώντας ψέμματα και ξεκαρδιστικές μικροαπάτες. Μέχρι που στην καθημερινότητα του εισβάλλει ένα γιώτ με τη ζωηρή τεκνατζού ιδιοκτήτρια του, μια βενζινάκατος με ύποπτες κινήσεις, ένας νεκρός σε μια βάρκα και μια ωραιοτάτη λιμενικός, η Λάουρα, που κάνει την καρδιά του να χτυπήσει τρελλά.
Ο αστυνόμος επιστρατεύει τον αστυνόμο Μιμί σε ρόλο πράκτορα - ζιγκολό, κρατάει τη γλώσσα του Καταρέ σε κατανοητά επίπεδα και καταστρώνει σχέδια για να λύσει τα μυστήρια που ξεφυτρώνουν το ένα μετά το άλλο. Παράλληλα προσπαθεί και δεν προσπαθεί να αντισταθεί στα βέλη του έρωτα. Το τέλος είναι μελαγχολικό και ο αστυνόμος μένει με μια πικρή γεύση στο στόμα, την οποία σίγουρα θα σπεύσει να εξουδετερώσει με τα ψαρο-εδέσματα του ταβερνιάρη.
Σε όλα τα βιβλία του Καμιλλέρι υπάρχει πάντα η άποψη του για ένα κοινωνικό θέμα. Στο βιβλίο αυτό γίνεται μνεία για τις καραβιές των απελπισμένων προσφύγων και μεταναστών που ξεβράζονται στα ιταλικά παράλια.
Το βιβλίο αναδείχτηκε πολύ από την εξαιρετικά γλαφυρή ανάγνωση του Περικλή Ματαράγκα.
Ήταν το κάτι άλλο!!!
Ο Κύριος και Διοικητής, κατά Καταρέλλα, του βοηθού - τηλεφωνητή του αστυνομικού τμήματος, έχει βαλθεί να του κάνει τη ζωή κόλαση γραφειοκρατίας. Ο ίδιος ανθίσταται επινοώντας ψέμματα και ξεκαρδιστικές μικροαπάτες. Μέχρι που στην καθημερινότητα του εισβάλλει ένα γιώτ με τη ζωηρή τεκνατζού ιδιοκτήτρια του, μια βενζινάκατος με ύποπτες κινήσεις, ένας νεκρός σε μια βάρκα και μια ωραιοτάτη λιμενικός, η Λάουρα, που κάνει την καρδιά του να χτυπήσει τρελλά.
Ο αστυνόμος επιστρατεύει τον αστυνόμο Μιμί σε ρόλο πράκτορα - ζιγκολό, κρατάει τη γλώσσα του Καταρέ σε κατανοητά επίπεδα και καταστρώνει σχέδια για να λύσει τα μυστήρια που ξεφυτρώνουν το ένα μετά το άλλο. Παράλληλα προσπαθεί και δεν προσπαθεί να αντισταθεί στα βέλη του έρωτα. Το τέλος είναι μελαγχολικό και ο αστυνόμος μένει με μια πικρή γεύση στο στόμα, την οποία σίγουρα θα σπεύσει να εξουδετερώσει με τα ψαρο-εδέσματα του ταβερνιάρη.
Σε όλα τα βιβλία του Καμιλλέρι υπάρχει πάντα η άποψη του για ένα κοινωνικό θέμα. Στο βιβλίο αυτό γίνεται μνεία για τις καραβιές των απελπισμένων προσφύγων και μεταναστών που ξεβράζονται στα ιταλικά παράλια.
Το βιβλίο αναδείχτηκε πολύ από την εξαιρετικά γλαφυρή ανάγνωση του Περικλή Ματαράγκα.
Ήταν το κάτι άλλο!!!
August 20, 2022
Historia mnie nie porwała, ale postacie i klimat na tyle polubiłam, że w przyszłości sięgnę po inne części serii.
December 20, 2024
Mannaggia a te Camilleri, che sofferenza.
March 4, 2018
Ein unterhaltsamer Krimi, mit melancholischen Untertönen aus Camilleris geschickter Feder.
April 2, 2017
I've only just discovered this detective series set in Sicily thanks to a recommendation from Jennifer.
I really like the humour and the quirky characters.
I really like the humour and the quirky characters.
February 21, 2018
Triste e intenso questo Montalbano, sempre più solo, ma ancora capace di sorprendere e incantare il lettore affezionato.
October 27, 2017
Splendido! Fa concorrenza a "La voce del violino" che fino ad ora era in assoluto il mio preferito.
Le consuete indagini, pur occupando gran parte del racconto, sono quasi oscurate dai pensieri di Montalbano, dai suoi dubbi; debbo dire che la narrazione non ne risente affatto, anzi! Solo qualche dubbio sulla fine che l'autore riserva ogni volta a chi potrebbe scalzare Livia dal suo posto; qui con Laura abbiamo veramente toccato punte mai viste prima!
Le consuete indagini, pur occupando gran parte del racconto, sono quasi oscurate dai pensieri di Montalbano, dai suoi dubbi; debbo dire che la narrazione non ne risente affatto, anzi! Solo qualche dubbio sulla fine che l'autore riserva ogni volta a chi potrebbe scalzare Livia dal suo posto; qui con Laura abbiamo veramente toccato punte mai viste prima!
Read
December 13, 2018ma la volete sapere quale è la vera ragione per la quale sono qua? è perché a 93 anni, dopo aver scritto quasi 100 libri, creato situazioni di continuo, personaggi, aver fatto il regista di teatro, di televisione, di radio ecc. in questo silenzio che si sta creando dentro di me mi è venuta la voglia non di capire, perché sarà assai difficile capirla, ma intuire cosa possa essere l'eternità.
http://youtu.be/DDWKuo3gXMQ
http://youtu.be/DDWKuo3gXMQ
December 3, 2025
Creano dipendenza e amo la scrittura di Camilleri!
February 20, 2017
Too passive. The concept of Mystery is that the author tells the reader the story and if the reader is paying attention (thinking & reasoning) then the reader may 'figure it out' or have a hunch about 'what really happened.' With Camilleri we don't get that satisfaction. We are trying, but in the end, he just brings everything together and ties a bow on it and it's done.
I'm done, but am sitting here with a pile of unanswered questions. Not that everything has to tidied up and explained, but there are just too many for me to be really satisfied with this book.
I'm done, but am sitting here with a pile of unanswered questions. Not that everything has to tidied up and explained, but there are just too many for me to be really satisfied with this book.
July 3, 2012
Pretty standard Montalbano. I could, at this point, do very well without Salvo's waffling back and forth over his long-suffering (and fairly insufferable) girlfriend, and having him move on to any of the quite fascinating ladies that inevitably cross his path in these stories. Also, the references to food here are rather too perfunctory; I would have appreciated further lingering on some of the dishes Montalbano is eating, especially the nightmare at the Pesce D'Oro.
October 18, 2015
Who could not love Camilleri's books!
February 4, 2023
Inspector Montalbano book # 14th
I was really captured by this story even if I hadn’t followed closely this series. I had no trouble to get caught in the going on at this point and enjoyed every bit of it. So I guess, it is safe to say you could nevertheless enjoy this installment while Montalbano goes about his tasks solving foul play.
In this one, Inspector Montalbano encounters a woman that is interested in a certain yacht scheduled to dock that afternoon. Beside this luxury vessel is anchored another yacht with a somewhat shady crew. When, the crew reports finding a disfigured corpse Montalbano investigates and thinks that the crew knows way more than they are letting know. Then the story will grab you and won’t let go.
I enjoyed passing time with this story even if I didn’t know most of the characters I slowly got to know them through this mystery while they went about their tasks. There are a number of incredibly funny scenes as well as very serious ones. The pacing very well done: slow and steady. In a warm narration, we are taken to the shoreline of a quaint village of Vigata, a lovely little corner of Sicily that comes to life with all the sights, smells and tastes. Mr. Camilleri knows how to pen not only a poignant story but a very captivating tale.
Not a bad read at all
I was really captured by this story even if I hadn’t followed closely this series. I had no trouble to get caught in the going on at this point and enjoyed every bit of it. So I guess, it is safe to say you could nevertheless enjoy this installment while Montalbano goes about his tasks solving foul play.
In this one, Inspector Montalbano encounters a woman that is interested in a certain yacht scheduled to dock that afternoon. Beside this luxury vessel is anchored another yacht with a somewhat shady crew. When, the crew reports finding a disfigured corpse Montalbano investigates and thinks that the crew knows way more than they are letting know. Then the story will grab you and won’t let go.
I enjoyed passing time with this story even if I didn’t know most of the characters I slowly got to know them through this mystery while they went about their tasks. There are a number of incredibly funny scenes as well as very serious ones. The pacing very well done: slow and steady. In a warm narration, we are taken to the shoreline of a quaint village of Vigata, a lovely little corner of Sicily that comes to life with all the sights, smells and tastes. Mr. Camilleri knows how to pen not only a poignant story but a very captivating tale.
Not a bad read at all
March 29, 2021
Oh how I have missed my Inspector Montalbano! Finally able to use our library again after Covid and renovations enabled me to get some books from my reading list. This series, by Anrea Camilleri, is one of my favorites of all time. As the Inspector deals with his dreams and worries he finds himself in the midst of some shenanigans going on at the dock. A body has been brought in to port after a storm, a mysterious girl leaves the Inspector questioning his skills, and the Lt at the Harbor office is a knockout. What is the identification of the body found in the dinghy? Does he have any connection with the boats docked there, and Mimi is being asked to go above and beyond the call of duty by Salvo. A great plot that is as addicting as the most powerful drug, calling you back to read more and more, even though your eyes are blurry. I don't know what I will do once I reach the end of this series, perhaps re-read them so once again I get the laughs and enjoyment from each one.
December 23, 2022
Sofferente, e per questo vero e bellissimo
Uno dei migliori tra quelli letti sinora. Camilleri amplia il respiro delle sue storie e si estende all'intrigo internazionale dal punto di vista della lotta al crimine, mentre a livello umano e personale conduce il quasi sessantenne Salvo a confrontarsi senza pietà con l'amore che non può essere, quello per una giovane donna tenera e bellissima che travolgerà i suoi pensieri e forse la sua vita tutta, se solo...
Intenso e drammatico. Ricco d'azione e colpi di scena nella componente poliziesca e intimo, confuso e lancinante nella componente personale. Laddove il dubbio, così come la speranza e l'emozione e i sentimenti, giocano la loro partita. Che a volte però non si risolve a quel tavolo, il nostro. Perché spesso la vita si diverte a cojonarti, ti lascia lì con un palmo di naso e il nulla stretto nel pugno. Non sempre, per fortuna.
Uno dei migliori tra quelli letti sinora. Camilleri amplia il respiro delle sue storie e si estende all'intrigo internazionale dal punto di vista della lotta al crimine, mentre a livello umano e personale conduce il quasi sessantenne Salvo a confrontarsi senza pietà con l'amore che non può essere, quello per una giovane donna tenera e bellissima che travolgerà i suoi pensieri e forse la sua vita tutta, se solo...
Intenso e drammatico. Ricco d'azione e colpi di scena nella componente poliziesca e intimo, confuso e lancinante nella componente personale. Laddove il dubbio, così come la speranza e l'emozione e i sentimenti, giocano la loro partita. Che a volte però non si risolve a quel tavolo, il nostro. Perché spesso la vita si diverte a cojonarti, ti lascia lì con un palmo di naso e il nulla stretto nel pugno. Non sempre, per fortuna.
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