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Hanno Stiffeniis #1
Critique of Criminal Reason
Most honourable Procurator Stiffeniis,
You talents have been brought to Our attention by a gentleman of eminence, who believes that you alone are capable of resolving a situation which holds Our beloved Königsberg in a grip of terror. All Our faith and consideration are due to the notable personage who suggested your name, and that same faith and consideration now resides in you. We have no reason to doubt that you will accept this Royal Commission, and act accordingly with all haste. The fate of the city lies in your hands.
--King Frederick Wilhelm III
It has been years since Immanuel Kant's landmark philosophical work, Critique of Pure Reason, brought him fame throughout Europe and made him Königsberg's best-known citizen. Now, rumors have begun to surface of a new work by this aging but still acute mind. Yet unlike his earlier work, this book will not examine the mind of the average man, but the mind of the serial killer.
Hanno Stiffeniis, a young magistrate, has been called to Königsberg to assist in the investigation of an enigmatic string of murders. Is it part of a plot formed by Napoleon's spies to undermine the Prussian king or the work of a solitary, unknown killer? The case would seem unsolvable, were it not for the assistance and unmatched intellect of his mentor, Immanuel Kant. Together Stiffeniis and the elderly, eccentric philosopher must track down the killer who has the city of Königsberg by the throat.
Hugely atmospheric, entertaining, and intelligent, Critique of Criminal Reason marks the outstanding debut of a new name in historical fiction.
You talents have been brought to Our attention by a gentleman of eminence, who believes that you alone are capable of resolving a situation which holds Our beloved Königsberg in a grip of terror. All Our faith and consideration are due to the notable personage who suggested your name, and that same faith and consideration now resides in you. We have no reason to doubt that you will accept this Royal Commission, and act accordingly with all haste. The fate of the city lies in your hands.
--King Frederick Wilhelm III
It has been years since Immanuel Kant's landmark philosophical work, Critique of Pure Reason, brought him fame throughout Europe and made him Königsberg's best-known citizen. Now, rumors have begun to surface of a new work by this aging but still acute mind. Yet unlike his earlier work, this book will not examine the mind of the average man, but the mind of the serial killer.
Hanno Stiffeniis, a young magistrate, has been called to Königsberg to assist in the investigation of an enigmatic string of murders. Is it part of a plot formed by Napoleon's spies to undermine the Prussian king or the work of a solitary, unknown killer? The case would seem unsolvable, were it not for the assistance and unmatched intellect of his mentor, Immanuel Kant. Together Stiffeniis and the elderly, eccentric philosopher must track down the killer who has the city of Königsberg by the throat.
Hugely atmospheric, entertaining, and intelligent, Critique of Criminal Reason marks the outstanding debut of a new name in historical fiction.
395 pages, Hardcover
First published January 1, 2006
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January 29, 2018
Can I play too?
Tractatus Logico-Forensico (extract)
"It is dinner time," said Wittgenstein suddenly. "I must eat." Pausing only to put on his hat, he opened the door and began to descend the old spiral staircase like a champion skier negotiating a steep slope. I followed as best I could, and caught him up when we were halfway across Whewell's Court. I remembered that it was named after William Whewell, another philosopher and a former Master of the College, who among many other distinctions was often credited with inventing the word 'scientist'. We passed the Porter's Lodge, took a sharp right, and a minute later were in the Whim restaurant, a modest establishment diagonally opposite Trinity College's imposing Great Gate. Wittgenstein was evidently a regular; a waiter greeted him, and showed us to one of the tables.
"My usual order," said the philosopher curtly. The waiter nodded, and turned to me. I was about to order a steak, but remembered just in time that Wittgenstein was a vegetarian.
"I will have the same," I stammered. The waiter gave me an inquiring look, shrugged, and made a notation on his pad. He left without another word.
"I hope--" I began, and broke off. What did I in fact hope? Wittgenstein gave me a direct look. His eyes burned with an unparalleled ferocity, like those of a wild animal.
"I received your letter," he said.
"Good!" I replied, relieved. "Good! Then -- then may I ask what you think of the case?"
Wittgenstein considered carefully, his eyes still fixed on me. "The case consists of everything that is the case," he said at last. I waited, but he did not continue.
"Did you -- did you know the victim?" I asked after a while. Wittgenstein considered again.
"One may ask," he said at last, "what it means to 'know' another individual. I was able to use various expressions in order to refer to this person. I have for example at various times uttered the words 'her over there' or 'Bertie's old flame' or 'that appalling woman who had the presumption to come to my seminar'. In different contexts, all of these were correctly understood. But does it follow that I 'knew' her?"
I could not think how to answer his question. At that moment, the waiter returned, holding two steaming plates; with a flourish, he placed one in front of me, and one in front of the philosopher. I saw to my stupefaction that each plate contained five Brussels sprouts and nothing else. Wittgenstein began to eat his food, neatly dividing each sprout into equal quarters and consuming them in turn.
"Do you have any picture of what could have happened?" I asked when he had finished the second sprout.
"We make pictures to ourselves of the world," replied Wittgenstein after another lengthy pause. He began to cut up the third sprout.
Tractatus Logico-Forensico (extract)
"It is dinner time," said Wittgenstein suddenly. "I must eat." Pausing only to put on his hat, he opened the door and began to descend the old spiral staircase like a champion skier negotiating a steep slope. I followed as best I could, and caught him up when we were halfway across Whewell's Court. I remembered that it was named after William Whewell, another philosopher and a former Master of the College, who among many other distinctions was often credited with inventing the word 'scientist'. We passed the Porter's Lodge, took a sharp right, and a minute later were in the Whim restaurant, a modest establishment diagonally opposite Trinity College's imposing Great Gate. Wittgenstein was evidently a regular; a waiter greeted him, and showed us to one of the tables.
"My usual order," said the philosopher curtly. The waiter nodded, and turned to me. I was about to order a steak, but remembered just in time that Wittgenstein was a vegetarian.
"I will have the same," I stammered. The waiter gave me an inquiring look, shrugged, and made a notation on his pad. He left without another word.
"I hope--" I began, and broke off. What did I in fact hope? Wittgenstein gave me a direct look. His eyes burned with an unparalleled ferocity, like those of a wild animal.
"I received your letter," he said.
"Good!" I replied, relieved. "Good! Then -- then may I ask what you think of the case?"
Wittgenstein considered carefully, his eyes still fixed on me. "The case consists of everything that is the case," he said at last. I waited, but he did not continue.
"Did you -- did you know the victim?" I asked after a while. Wittgenstein considered again.
"One may ask," he said at last, "what it means to 'know' another individual. I was able to use various expressions in order to refer to this person. I have for example at various times uttered the words 'her over there' or 'Bertie's old flame' or 'that appalling woman who had the presumption to come to my seminar'. In different contexts, all of these were correctly understood. But does it follow that I 'knew' her?"
I could not think how to answer his question. At that moment, the waiter returned, holding two steaming plates; with a flourish, he placed one in front of me, and one in front of the philosopher. I saw to my stupefaction that each plate contained five Brussels sprouts and nothing else. Wittgenstein began to eat his food, neatly dividing each sprout into equal quarters and consuming them in turn.
"Do you have any picture of what could have happened?" I asked when he had finished the second sprout.
"We make pictures to ourselves of the world," replied Wittgenstein after another lengthy pause. He began to cut up the third sprout.
August 31, 2008
Lot's of silly suspense, fake drama and a trite main character. When I bought this book, I thought Immanuel Kant would play a more active role as in those mystery novels built ariund Jane Austen and other historical characters. Instead, Kant is a pathetic old man with no real exploration of him. The protagonist is a young magistrate who would like to be an intellectual but isn't. He is too sentimental and inconsiderate and goes off in all kinds of directions becuase he doesn't really know where he's going.
The mystery in this book is not as interesting as it sounds and the conculsion comes quickly wihtout a real path towards the answer. It's unsatisfying and seems rushed after 395 pages!
I expected this book to be deeper and to have more exploration of who Kant was and what his philosophy was and why it was influential. I know this was just a mystery novel but the authors spend a lot of time building the Kant character up as revolutionary and important but he turns out just to be a silly old man and the reader has no investment in him and there is no understanding of how or why he is the protagonist's mentor.
The mystery in this book is not as interesting as it sounds and the conculsion comes quickly wihtout a real path towards the answer. It's unsatisfying and seems rushed after 395 pages!
I expected this book to be deeper and to have more exploration of who Kant was and what his philosophy was and why it was influential. I know this was just a mystery novel but the authors spend a lot of time building the Kant character up as revolutionary and important but he turns out just to be a silly old man and the reader has no investment in him and there is no understanding of how or why he is the protagonist's mentor.
August 3, 2011
Fighting crime with Immanuel Kant. It was as hilariously bad as it sounds. And boring too.
August 29, 2009
Okay, this book had a great premise: put the character of Immanuel Kant into a murder mystery involving a grisly serial killer. I am a fan of well researched historical fiction, and the setting, East Prussia in the Napoleonic era, is not one I have thought or studied much about, so I went into this book expecting some marvelous philosophical ruminations about using Reason to outsmart a serial killer and some memorable descriptions of social behaviors and life in a city on the Baltic Sea at the beginning of the nineteenth century.
The descriptions and depictions of Konigsberg there and then were interesting enough, but I noticed two very different tones and styles, one given to a romantic and slow evocation of place and culture, the other given to outbursts of Gothic horror and vile, carefully described violence, the kind of violence that draws people to watch the Saw movies. I checked and—I was right—a husband and wife wrote this book together under a pseudonym.
But it was the narrative structure and development of this tale that irritated me the most. In the opening pages we’re alerted one of the main characters is Kant, yet it takes us about 100 pages to finally meet him. Then, within a few pages of that encounter, any reasonably bright person can see where the rest of the story is headed, and then predict each next twist that occurs within a few paragraphs of each plot shift beginning. The sleuth here, in a word, is a dolt, and I grew quite exasperated with waiting for him to stumble along to the next major clue which he would then misinterpret. He was seeing it all as so incredible and I was seeing it all as so increasingly predictable, so the further I went, the harder it grew to care enough to keep going. I’m quite aware that the Power of the Irrational can be seen as a challenge to the rule of Reason—that’s why the Romantic Era followed the Enlightenment, we all get that—but the way this novel tried to draw out that confrontation, which could be dynamic or stimulating or provocative, clearly wasn’t.
The descriptions and depictions of Konigsberg there and then were interesting enough, but I noticed two very different tones and styles, one given to a romantic and slow evocation of place and culture, the other given to outbursts of Gothic horror and vile, carefully described violence, the kind of violence that draws people to watch the Saw movies. I checked and—I was right—a husband and wife wrote this book together under a pseudonym.
But it was the narrative structure and development of this tale that irritated me the most. In the opening pages we’re alerted one of the main characters is Kant, yet it takes us about 100 pages to finally meet him. Then, within a few pages of that encounter, any reasonably bright person can see where the rest of the story is headed, and then predict each next twist that occurs within a few paragraphs of each plot shift beginning. The sleuth here, in a word, is a dolt, and I grew quite exasperated with waiting for him to stumble along to the next major clue which he would then misinterpret. He was seeing it all as so incredible and I was seeing it all as so increasingly predictable, so the further I went, the harder it grew to care enough to keep going. I’m quite aware that the Power of the Irrational can be seen as a challenge to the rule of Reason—that’s why the Romantic Era followed the Enlightenment, we all get that—but the way this novel tried to draw out that confrontation, which could be dynamic or stimulating or provocative, clearly wasn’t.
August 9, 2016
Oh my god, why? Why was this written? What possibly could the author have desired to construct this biased borefest? Clearly the author has issues with Kantian philosophy, but . I earnestly hoped something would happen in this book, I really did. I like things to happen in books; it makes me feel like I didn't waste my time, seeing as I found enjoyment. Such is not to be had here. This is a procedural to the proceduralist degree. Any sort of actual event happening would just cloud the boring going on.
I very highly doubt I will look into the next book based on the absolute boredom this inspired.
I very highly doubt I will look into the next book based on the absolute boredom this inspired.
June 19, 2013
Neologism of the day: Forebludgeoning. Like foreshadowing, only, you know ... less subtle.
It's hard to say who this book is written for:
1) It's hard to imagine devotees of Immanuel Kant eating it up.
2) Mystery fans will find the story far too forebludgeoned:
Look, it's obvious early that Kant has some tie to the murders beyond mere investigatory; once the murder weapon is defined as ideal for a person with less strength the tie becomes obvious; Stiffeniis would notice the clues were he not so blinded by his loyalty to the Great Man (and the reader is not so blinded, unless s/he is a member of the I. Kant Fan Club, to which see point 1.) and honestly, the butler did it. OK, the recently released butler, but still ...
Gregorio blew a great chance to befuddle the reader by noting that the style of killing was the Prussian army's preferred method of dispatching fatally wounded comrades on the field of battle. The book is full of military men. But he introduces that point far to late to work as a dodge, which is too bad, as it was the perfect wild goose chase. Instead he throws in a couple of spurious female characters as obvious red herrings.
Speaking of forebludgeoning ... the whole thing with the cape and Kant's frenzy over getting it back and Holy Obviousmuch Batman!
But at the root of my problem with the book is the protagonist. A stuffy, self-righteous bore of a Prussian prosecutor, with bad self-esteem from some incident in his past, meets a boring, dying old fart of a philosopher (I kept seeing the emperor from Star Wars but with no Force powers = BORING). So I didn't care about his terrible youthful trauma, his long-winded soliloquies into the primacy of reason or how frickin' cold and wet he was. Just did not care. And if you don't care about the protagonist ...
It's hard to say who this book is written for:
1) It's hard to imagine devotees of Immanuel Kant eating it up.
2) Mystery fans will find the story far too forebludgeoned:
Look, it's obvious early that Kant has some tie to the murders beyond mere investigatory; once the murder weapon is defined as ideal for a person with less strength the tie becomes obvious; Stiffeniis would notice the clues were he not so blinded by his loyalty to the Great Man (and the reader is not so blinded, unless s/he is a member of the I. Kant Fan Club, to which see point 1.) and honestly, the butler did it. OK, the recently released butler, but still ...
Gregorio blew a great chance to befuddle the reader by noting that the style of killing was the Prussian army's preferred method of dispatching fatally wounded comrades on the field of battle. The book is full of military men. But he introduces that point far to late to work as a dodge, which is too bad, as it was the perfect wild goose chase. Instead he throws in a couple of spurious female characters as obvious red herrings.
Speaking of forebludgeoning ... the whole thing with the cape and Kant's frenzy over getting it back and Holy Obviousmuch Batman!
But at the root of my problem with the book is the protagonist. A stuffy, self-righteous bore of a Prussian prosecutor, with bad self-esteem from some incident in his past, meets a boring, dying old fart of a philosopher (I kept seeing the emperor from Star Wars but with no Force powers = BORING). So I didn't care about his terrible youthful trauma, his long-winded soliloquies into the primacy of reason or how frickin' cold and wet he was. Just did not care. And if you don't care about the protagonist ...
This entire review has been hidden because of spoilers.
June 25, 2020
Though a fan of historical fiction I can't say my reading has ever taken me to the Prussia of the early nineteenth century.
Wonderfully atmospheric; dark and brooding. I know its a bit of a cliche but the sights, the smells, the sounds, all wonderfully captured. The fear that paralyses the city palpable.
As for the characters? Hmm! What to say about the characters?
With a hypocritical, somewhat prudish protagonist at the helm (don't worry, if you are anything like me, come the end of the book Stiffeniis will have kind of grown on you), a lusty albino abortionist, a fur-clad cannibal, a paranoid general and a woman (a witch?) who may or may not be in league with the very Devil himself (I'll leave that for you to discover for yourself) - oh and one of the world's foremost thinkers (though to be fair Immanuel Kant doesn't feature in the book a lot) - I think it fair to say the characters are quirky.
As much as I enjoyed the 'murder mystery' and historical elements of the book, what really made the book for me was that, commonly solved by means of threats and torture, the reporting of any crime, lacking in logic at best and none existent at worst, Critique Of Criminal Reason features the beginning of modern day crime techniques to solve the mystery of just who was committing these grisly killings.
The first book in the Hanno Stifeniis series, written by husband and wife team Michael G. Jacob and Daniela De Gregorio under the pseudonym of Michael Gregorio which probably explains why at times I sensed a subtle difference in the tone and style of writing.
SUMMED UP IN A SENTENCE ... Not what I'd describe as your typical traditional mystery, if your looking for something that bit different in Critique Of Criminal Reason you may well have found it.
Copyright ... Felicity Grace Terry @ Pen and Paper
Wonderfully atmospheric; dark and brooding. I know its a bit of a cliche but the sights, the smells, the sounds, all wonderfully captured. The fear that paralyses the city palpable.
As for the characters? Hmm! What to say about the characters?
With a hypocritical, somewhat prudish protagonist at the helm (don't worry, if you are anything like me, come the end of the book Stiffeniis will have kind of grown on you), a lusty albino abortionist, a fur-clad cannibal, a paranoid general and a woman (a witch?) who may or may not be in league with the very Devil himself (I'll leave that for you to discover for yourself) - oh and one of the world's foremost thinkers (though to be fair Immanuel Kant doesn't feature in the book a lot) - I think it fair to say the characters are quirky.
As much as I enjoyed the 'murder mystery' and historical elements of the book, what really made the book for me was that, commonly solved by means of threats and torture, the reporting of any crime, lacking in logic at best and none existent at worst, Critique Of Criminal Reason features the beginning of modern day crime techniques to solve the mystery of just who was committing these grisly killings.
The first book in the Hanno Stifeniis series, written by husband and wife team Michael G. Jacob and Daniela De Gregorio under the pseudonym of Michael Gregorio which probably explains why at times I sensed a subtle difference in the tone and style of writing.
SUMMED UP IN A SENTENCE ... Not what I'd describe as your typical traditional mystery, if your looking for something that bit different in Critique Of Criminal Reason you may well have found it.
Copyright ... Felicity Grace Terry @ Pen and Paper
February 7, 2014
Okay, I think I am ready to write a review.
Critique of Criminal Reason is titled after Kant's Critique of Pure Reason (Kritik der reinen Vernunft); however, the book itself has nothing to do with philosophy. This is purely a detective story (serial murders, woohoo!) which takes place in the 1800s Konigsberg.
Now, if you are a huge fan of Immanuel Kant, please don't read this, as you probably will feel uncomfortable how he is portrayed in the book. If not, have a go! I (adequately) enjoyed it because to me it was a whodunit mystery, which is always enjoyable. ((it was better than A Study in Pink but not as good as A Scandal in Bohemia. pardon me for comparing this to Sherlock Holmes, but I had to))
Critique of Criminal Reason is titled after Kant's Critique of Pure Reason (Kritik der reinen Vernunft); however, the book itself has nothing to do with philosophy. This is purely a detective story (serial murders, woohoo!) which takes place in the 1800s Konigsberg.
Now, if you are a huge fan of Immanuel Kant, please don't read this, as you probably will feel uncomfortable how he is portrayed in the book. If not, have a go! I (adequately) enjoyed it because to me it was a whodunit mystery, which is always enjoyable. ((it was better than A Study in Pink but not as good as A Scandal in Bohemia. pardon me for comparing this to Sherlock Holmes, but I had to))
November 25, 2010
Sarebbe stato meglio lasciare Kant alla filosofia. Scomodare nomi altisonanti per un giallo mediocre non è cortese.
January 14, 2011
Michael Gregorio, autore del thriller a sfondo storico “Critica della ragion criminale” (Einaudi) è un nom de plume dietro il quale si celano Daniela De Gregorio e Michael Jacob. Lei, figlia di un esponente della corrente pittorica dell’informale, insegna filosofia in un liceo; lui di Liverpool, dove è stato insegnante di letteratura, è direttore di una scuola di inglese di Spoleto, cittadina in cui, dopo essersi sposati, vivono da anni. Il loro libro è stato venduto da un’agenzia letteraria di Londra, prima in America alla St. Martin’s Press, poi all’inglese Faber & Faber che nel giro di pochi mesi lo ha rivenduto in tutta Europa, Giappone, Russia, Turchia e Cina. Ora la coppia è al lavoro su altri tre romanzi con protagonista il procuratore Hanno Stiifennis che andranno a completare una tetralogia ambientata agli albori del XIX secolo a Königsberg, la città natale di Kant. Abbiamo intervistato Michael (Jacob e Daniela De) Gregorio per farci raccontare qualcosa della “Critica” e dei loro prossimi lavori.
La “Critica della ragion criminale” è un libro nel libro, come inizierebbe se esistesse?
“C’è una sola esperienza umana che può paragonarsi al libero potere della Natura. La più diabolica di tutte. L’assassinio a sangue freddo…”
Kant, mentore del protagonista, lo aiuta nelle indagini ed è il perno attorno a cui ruota la vicenda. Avete pensato subito alla sua figura o è stata frutto inevitabile dell’ambientazione?
In principio fu Kant. Subito dopo, l’ambientazione. Ogni momento storico culturale ha una sua tipicità nel rappresentare il Male. Quello fra ‘700 e ’800 era il periodo in cui la fede nella ragione faceva credere di poter dominare ogni cosa. L’incontro con l’irrazionale, con l’oscurità dell’uomo, con il suo essere un “legno storto” come dice Kant, diventa per questo più inaspettato. La Prussia che sta per essere invasa dalla “razionale” Francia è il luogo dove il lato oscuro può venir fuori con energia. Dove il contrasto fra senso del dovere e del “bene” e le imprevedibili strade del crimine diventano interessanti. Tutto questo descritto dal punto di vista non tanto di Kant, ma di un giovane magistrato che vive dentro sé queste contraddizioni. Volendo parlare del crimine, del Male in quel periodo non si poteva lasciare fuori Kant. Al di là del suo modo di apparire razionale, rispettoso del dovere, “noioso”, come dicono gli studenti di oggi, ha manifestato più di un lato oscuro, “sinistro”, che lascia sconcertati e che ci ha sorpreso. Kant sapeva bene che la ragione è solo una diga che tiene a bada i flutti del mare tempestoso e misterioso che c’è là fuori. O dentro di noi. Ci siamo chiesti: e se quella diga si incrina?
Hanno Stiffeniis è un personaggio anomalo nel thriller. Non è sicuro di sé, si mette in discussione...
Intendevamo rappresentarlo così. Quando ad Hanno viene dato l’incarico di indagare sulla serie di incomprensibili delitti, la prima cosa che dice è: perché proprio io? Non ha esperienza. Fa il magistrato, ma si “nasconde” in una tranquilla cittadina perché non vuole incontrare il crimine. È il crimine che cerca lui. Si muove con ingenuità, ottusità, sbagliando e producendo ancora più caos e vittime. Per la gioia del “vero” assassino.
State preparando “una saga”, il cui primo capitolo è “Critica della ragion criminale”. Potete anticipare qualcosa?
Il secondo libro, “I giorni dell’espiazione” uscirà in agosto in Inghilterra e a novembre in Italia e poi negli altri paesi. Ancora una volta il crimine “cerca” Stiffeniis che questa volta indaga su un massacro avvenuto in un cottage nel bosco. L’indagine lo porterà ai confini del paese in una sinistra fortezza prussiana in mezzo alla neve dove accadono cose misteriose. Kant è morto, anche se sarà lui (come un’ombra), a guidare i passi di Hanno. Ad affiancare il protagonista ci saranno un eccentrico francese, uno studioso del crimine ed Helena Stiffeniis che non sarà solo una silhouette, ma una presenza decisiva. Attualmente stiamo lavorando alla terza storia ambientata sulla costa del mar Baltico dove si raccoglie uno dei materiali più affascinanti e misteriosi: l’ambra. La Prussia era la più grande produttrice di quello che veniva chiamato “l’oro del Baltico.” Nel momento in cui l’indagine di Stiffeniis ha luogo, il commercio dell’ambra è in mano ai Francesi. Stiffeniis si troverà a indagare su delle morti che coinvolgeranno anche la sua vita.
Raccontando il passato si racconta anche il presente?
C’è una sorta di storicità nell’onnipresenza del “male.” Il crimine ci ha sempre accompagnati e non facciamo una cosa originale indicando la vicenda di Caino o dicendo che Jack lo Squartatore era un prodotto dell’epoca vittoriana. Le motivazioni che spingono al male e il modo di attuarlo, ci rivelano molto di noi stessi. Molto più del bene. Un po' come diceva Tolstoi delle famiglie infelici che ci raccontano molto di più di quelle felici che sono tutte uguali. Il male “dice” di noi molto più del bene.
Cosa direbbe Kant della contemporaneità?
Andrebbe matto per Internet. Gli permetterebbe ancora meglio di non muoversi mai da Königsberg, cosa che ha fatto solo una volta per pochi chilometri. Essendo curioso, potrebbe esplorare attraverso il pc quello che c’è “là fuori” mentre il fedele servitore Lampe potrebbe tenere in ordine preciso i suoi file. Ma forse si permetterebbe un viaggio. Si metterebbe nella lista dei passeggeri per lo spazio. Di lassù il cielo stellato lo riempirebbe ancora di più di ammirazione.
Il "vostro" Kant è stato criticato?
In alcuni blog sono apparse critiche al nostro modo di rappresentarlo. La cosa che ci ha sorpresi è che lo sconcerto e il disappunto veniva da chi si diceva appassionato di Kant. Anche noi lo siamo. E crediamo proprio di avergli tributato un grande omaggio. Il nostro è un Kant dissacratore di se stesso. Quasi un rockettaro.
Quale è il vostro metodo di lavoro?
Una trama discussa e ridiscussa, scritta e riscritta. In genere in cucina, bevendo tè sotto lo sguardo interrogativo del nostro gatto. Poi ci dividiamo i capitoli. Lo decidiamo sulla base di ciò che pensiamo l’uno o l’altro possa scrivere meglio. Conosciamo i nostri rispettivi punti deboli e forti. Uno scrive in italiano e l’altro in inglese (la versione finale è inglese). Ci scambiamo i capitoli e l’uno fa da editor all’altro. Mike lavora nel suo studio circondato da libri, fogli, qualche volta i panni del bucato stesi e dalla sua collezione di dagherrotipi. Daniela lavora in cucina, su un tavolo, con libri alla rinfusa a una estremità, compiti degli studenti da correggere, il gatto dietro lo schermo del laptop e qualche pacco di spaghetti per la cena.
La “Critica della ragion criminale” è un libro nel libro, come inizierebbe se esistesse?
“C’è una sola esperienza umana che può paragonarsi al libero potere della Natura. La più diabolica di tutte. L’assassinio a sangue freddo…”
Kant, mentore del protagonista, lo aiuta nelle indagini ed è il perno attorno a cui ruota la vicenda. Avete pensato subito alla sua figura o è stata frutto inevitabile dell’ambientazione?
In principio fu Kant. Subito dopo, l’ambientazione. Ogni momento storico culturale ha una sua tipicità nel rappresentare il Male. Quello fra ‘700 e ’800 era il periodo in cui la fede nella ragione faceva credere di poter dominare ogni cosa. L’incontro con l’irrazionale, con l’oscurità dell’uomo, con il suo essere un “legno storto” come dice Kant, diventa per questo più inaspettato. La Prussia che sta per essere invasa dalla “razionale” Francia è il luogo dove il lato oscuro può venir fuori con energia. Dove il contrasto fra senso del dovere e del “bene” e le imprevedibili strade del crimine diventano interessanti. Tutto questo descritto dal punto di vista non tanto di Kant, ma di un giovane magistrato che vive dentro sé queste contraddizioni. Volendo parlare del crimine, del Male in quel periodo non si poteva lasciare fuori Kant. Al di là del suo modo di apparire razionale, rispettoso del dovere, “noioso”, come dicono gli studenti di oggi, ha manifestato più di un lato oscuro, “sinistro”, che lascia sconcertati e che ci ha sorpreso. Kant sapeva bene che la ragione è solo una diga che tiene a bada i flutti del mare tempestoso e misterioso che c’è là fuori. O dentro di noi. Ci siamo chiesti: e se quella diga si incrina?
Hanno Stiffeniis è un personaggio anomalo nel thriller. Non è sicuro di sé, si mette in discussione...
Intendevamo rappresentarlo così. Quando ad Hanno viene dato l’incarico di indagare sulla serie di incomprensibili delitti, la prima cosa che dice è: perché proprio io? Non ha esperienza. Fa il magistrato, ma si “nasconde” in una tranquilla cittadina perché non vuole incontrare il crimine. È il crimine che cerca lui. Si muove con ingenuità, ottusità, sbagliando e producendo ancora più caos e vittime. Per la gioia del “vero” assassino.
State preparando “una saga”, il cui primo capitolo è “Critica della ragion criminale”. Potete anticipare qualcosa?
Il secondo libro, “I giorni dell’espiazione” uscirà in agosto in Inghilterra e a novembre in Italia e poi negli altri paesi. Ancora una volta il crimine “cerca” Stiffeniis che questa volta indaga su un massacro avvenuto in un cottage nel bosco. L’indagine lo porterà ai confini del paese in una sinistra fortezza prussiana in mezzo alla neve dove accadono cose misteriose. Kant è morto, anche se sarà lui (come un’ombra), a guidare i passi di Hanno. Ad affiancare il protagonista ci saranno un eccentrico francese, uno studioso del crimine ed Helena Stiffeniis che non sarà solo una silhouette, ma una presenza decisiva. Attualmente stiamo lavorando alla terza storia ambientata sulla costa del mar Baltico dove si raccoglie uno dei materiali più affascinanti e misteriosi: l’ambra. La Prussia era la più grande produttrice di quello che veniva chiamato “l’oro del Baltico.” Nel momento in cui l’indagine di Stiffeniis ha luogo, il commercio dell’ambra è in mano ai Francesi. Stiffeniis si troverà a indagare su delle morti che coinvolgeranno anche la sua vita.
Raccontando il passato si racconta anche il presente?
C’è una sorta di storicità nell’onnipresenza del “male.” Il crimine ci ha sempre accompagnati e non facciamo una cosa originale indicando la vicenda di Caino o dicendo che Jack lo Squartatore era un prodotto dell’epoca vittoriana. Le motivazioni che spingono al male e il modo di attuarlo, ci rivelano molto di noi stessi. Molto più del bene. Un po' come diceva Tolstoi delle famiglie infelici che ci raccontano molto di più di quelle felici che sono tutte uguali. Il male “dice” di noi molto più del bene.
Cosa direbbe Kant della contemporaneità?
Andrebbe matto per Internet. Gli permetterebbe ancora meglio di non muoversi mai da Königsberg, cosa che ha fatto solo una volta per pochi chilometri. Essendo curioso, potrebbe esplorare attraverso il pc quello che c’è “là fuori” mentre il fedele servitore Lampe potrebbe tenere in ordine preciso i suoi file. Ma forse si permetterebbe un viaggio. Si metterebbe nella lista dei passeggeri per lo spazio. Di lassù il cielo stellato lo riempirebbe ancora di più di ammirazione.
Il "vostro" Kant è stato criticato?
In alcuni blog sono apparse critiche al nostro modo di rappresentarlo. La cosa che ci ha sorpresi è che lo sconcerto e il disappunto veniva da chi si diceva appassionato di Kant. Anche noi lo siamo. E crediamo proprio di avergli tributato un grande omaggio. Il nostro è un Kant dissacratore di se stesso. Quasi un rockettaro.
Quale è il vostro metodo di lavoro?
Una trama discussa e ridiscussa, scritta e riscritta. In genere in cucina, bevendo tè sotto lo sguardo interrogativo del nostro gatto. Poi ci dividiamo i capitoli. Lo decidiamo sulla base di ciò che pensiamo l’uno o l’altro possa scrivere meglio. Conosciamo i nostri rispettivi punti deboli e forti. Uno scrive in italiano e l’altro in inglese (la versione finale è inglese). Ci scambiamo i capitoli e l’uno fa da editor all’altro. Mike lavora nel suo studio circondato da libri, fogli, qualche volta i panni del bucato stesi e dalla sua collezione di dagherrotipi. Daniela lavora in cucina, su un tavolo, con libri alla rinfusa a una estremità, compiti degli studenti da correggere, il gatto dietro lo schermo del laptop e qualche pacco di spaghetti per la cena.
November 10, 2012
Hanno Stiffeniis, a man in his early thirties, was serving as a magistrate in a small town in Prussia in 1804 when he receives a summons from King Frederick Wilhelm III ordering him to leave for Konigsberg. There have been a few unsolved murders and the circumstances of the murders have panicked the townspeople.
He hadn’t been in Konigsberg for seven years and had been told to never return there because of an incident between himself and Immanuel Kant, the philosopher and teacher but believes he cannot refuse his King’s command.
Other, more experienced men have been trying to solve the murders but have been unsuccessful. He doesn’t know how he would be able to succeed where they have failed. Soon after he arrives, he does meet with Dr. Kant and what happens next changes everything.
The usual way to solve crimes was through threats and torture. The murder victims are found in a kneeling position. The police reports lack a lot of basic information such as the cause of death and important names of people involved in the investigation. He begins his job by trying to determine a motive and, after finding one and determining the murderer; discovers he was wrong. This happens several other times. Dr. Kant, who is quite old at this point and in poor health, leads Stiffeniis to use logic and evidence in looking for the information he needs. It is the beginning of modern crime technique.
One quote of Kant, “...Reason operates on the surface alone. What happens beneath the surface shapes events,” helps Stiffeniis solve the murders as well as several others which occur after his arrival.
He eventually learns the reason he was recommended for the job as well as resolves some deep personal problems within his own family.
Michael Gregorio’s descriptions of people, places, and just about everything else are very detailed. The reader can picture what Stiffeniis sees. The book goes into very gory detail about the corpses. I eventually skipped over them and don’t think I missed anything important.
There are a lot of criminals who are being shipped to Russia and he sees them at a tavern while waiting for their ship. They are seated in a circle around a fire. “So many people, so close together, yet barely a word was said” made me think of our modern culture where people gather together and, rather than interact with the people around them, are involved with their smart phones. These prisoners didn’t have that option.
The book does a fairly good job weaving logic and philosophy into solving crimes at a level that most readers will be able to understand.
He hadn’t been in Konigsberg for seven years and had been told to never return there because of an incident between himself and Immanuel Kant, the philosopher and teacher but believes he cannot refuse his King’s command.
Other, more experienced men have been trying to solve the murders but have been unsuccessful. He doesn’t know how he would be able to succeed where they have failed. Soon after he arrives, he does meet with Dr. Kant and what happens next changes everything.
The usual way to solve crimes was through threats and torture. The murder victims are found in a kneeling position. The police reports lack a lot of basic information such as the cause of death and important names of people involved in the investigation. He begins his job by trying to determine a motive and, after finding one and determining the murderer; discovers he was wrong. This happens several other times. Dr. Kant, who is quite old at this point and in poor health, leads Stiffeniis to use logic and evidence in looking for the information he needs. It is the beginning of modern crime technique.
One quote of Kant, “...Reason operates on the surface alone. What happens beneath the surface shapes events,” helps Stiffeniis solve the murders as well as several others which occur after his arrival.
He eventually learns the reason he was recommended for the job as well as resolves some deep personal problems within his own family.
Michael Gregorio’s descriptions of people, places, and just about everything else are very detailed. The reader can picture what Stiffeniis sees. The book goes into very gory detail about the corpses. I eventually skipped over them and don’t think I missed anything important.
There are a lot of criminals who are being shipped to Russia and he sees them at a tavern while waiting for their ship. They are seated in a circle around a fire. “So many people, so close together, yet barely a word was said” made me think of our modern culture where people gather together and, rather than interact with the people around them, are involved with their smart phones. These prisoners didn’t have that option.
The book does a fairly good job weaving logic and philosophy into solving crimes at a level that most readers will be able to understand.
July 20, 2017
2 / 5 stars
The Book
An ambitious young procurator (magistrate), Hanno Stiffeniis, is summonsed to Königsberg in order to assist in solving a slew of murders, victims of which are all found kneeling with no visible wounds. Though he was banned from ever returning to the town, he knows that an opportunity to show his talent cannot go to waste. Leaving wife and children behind he is soon reunited with eccentric, and he notices, slightly more senile Immanuel Kant.
Introduced to new theories and methods by the philosopher Stiffeniis finds himself entirely consumed by this seemingly unsolvable case. If answers were easy, everyone would have them, and soon he will be wishing he'd never returned to Königsberg where asking questions and seeking answers seems to be increasing the body count.
What I loved
1. I enjoyed the time frame it was set in.
2. I had no idea who the murderer was. I was second guessing everyone
What I didn't love
1. There was an obvious shift in tone in the book, Steffanis seemed to alter in personality a little too often for my liking. Even the method of describing the town and other people seemed to alter. He would sway between being short tempered and frustrated to attentive and invested in his suspects.
2. Word usage - I found myself reading the dictionary almost as much as the book. I appreciate the opportunity to develop my knowledge, but do not enjoy having to divide attention the way I found myself doing.
While there were moments where I found myself highly engrossed in the book, overall it wasn't what I had expected to be. It dragged in plot and the tone and characterization seemed to be a little too bipolar for me. When a character seems to be as mad as the victims and suspects he is chasing - I cannot help but thank the stars I was not reliant on him for personal safety.
The main motivating factor in me lifting this book was the mention of Immanuel Kant. I was anticipating a brilliant fictional demonstration of his philosophies at work, however we are given but a brief summary of his approaches and nothing that really makes the presence of his character a necessity in aiding Stiffeniis. Also, quite frankly, if one looks at his overall 'performance', Stiffeniis doesn't actually seem to know what the hell he's doing and is more intent on validating his theories with Kant than anything else.
The Book
An ambitious young procurator (magistrate), Hanno Stiffeniis, is summonsed to Königsberg in order to assist in solving a slew of murders, victims of which are all found kneeling with no visible wounds. Though he was banned from ever returning to the town, he knows that an opportunity to show his talent cannot go to waste. Leaving wife and children behind he is soon reunited with eccentric, and he notices, slightly more senile Immanuel Kant.
Introduced to new theories and methods by the philosopher Stiffeniis finds himself entirely consumed by this seemingly unsolvable case. If answers were easy, everyone would have them, and soon he will be wishing he'd never returned to Königsberg where asking questions and seeking answers seems to be increasing the body count.
What I loved
1. I enjoyed the time frame it was set in.
2. I had no idea who the murderer was. I was second guessing everyone
What I didn't love
1. There was an obvious shift in tone in the book, Steffanis seemed to alter in personality a little too often for my liking. Even the method of describing the town and other people seemed to alter. He would sway between being short tempered and frustrated to attentive and invested in his suspects.
2. Word usage - I found myself reading the dictionary almost as much as the book. I appreciate the opportunity to develop my knowledge, but do not enjoy having to divide attention the way I found myself doing.
While there were moments where I found myself highly engrossed in the book, overall it wasn't what I had expected to be. It dragged in plot and the tone and characterization seemed to be a little too bipolar for me. When a character seems to be as mad as the victims and suspects he is chasing - I cannot help but thank the stars I was not reliant on him for personal safety.
The main motivating factor in me lifting this book was the mention of Immanuel Kant. I was anticipating a brilliant fictional demonstration of his philosophies at work, however we are given but a brief summary of his approaches and nothing that really makes the presence of his character a necessity in aiding Stiffeniis. Also, quite frankly, if one looks at his overall 'performance', Stiffeniis doesn't actually seem to know what the hell he's doing and is more intent on validating his theories with Kant than anything else.
August 8, 2021
I have always considered the area around the former Königsberg a cursed mystery. Just think about it: once upon a time there was a Baltic tribe there. Then, crussaders came. And eradicated the tribe and its culture. Based on what happened to these lands in the 20th century, someone within the tribe must have cursed the crussaders and their offspring for generations ahead real bad. There is nothing left of Königsberg or Ostpreuβen any more. Whomever lives there had to build and rename places totally anew. Oh well, what else can you do when you choose to live on somebody else‘s bones.
And what this area used to be is kind of a mystery. We know that Königsberg was the local cultural centre for ages. If not for this city and our scholars who studied there (take your hats off before Martynas Mažvydas), our delayed literacy would have possibly come even more delayed. If not for this city and the book smugglers, god knows if we would have managed to preserve Latin script during the prohibition of press published in Latin script by the tsar government in 1864-1904. So knowing this city perished to oblivion is like knowing that the Atlantis drowned. You wonder what may have happened there in an alternative reality and what was lost to ages.
So I was really intrigued to come across a story set in Königsberg. A detective story on top of that. Featuring – hold your breath – one of the great pop stars of the Enlightenment era: Immanuel Kant. Too good to be true, I‘d say.
In a way it was.
The story pretty much follows this: the beginning of the 19th century. Europe is terrorised by Napoleon and Königsberg – by a serial killer. By invitation from the King, a local Magistrate Hanno Stiffeniis arrives to investigate the crimes. Surprise surprise – no one is actually waiting for him, except for maybe the assistant of the Magistrate in Königsberg. The latter had been investigating the crimes and has just been struck by stroke. The reports by soldiers who were the first to see the crime sites and the bodies of victims are full of omissions and the hints as to what may have happened or who might be guilty are scarce. The only thing victims share – their bodies were found kneeling, leaning against the walls. What the hell is happening? Finding the answer to this is Hanno’s responsibility. However, his investigation is constantly complicated by conspiracies, necromancers, accumulating piles of bodies and supervision or interference by a living legend – Immanuel Kant.
I was expecting quite a bit from this book, but to be fair, there were things I liked and there were things I disliked.
I was so excited about the descriptions of Königsberg. They were there and I did spend some time googling for the images of the city, just to align them to what this city was. The areas described most – are the Fortress of Königsberg and the surrounding areas. The ports and shores by the Baltic sea, the Pregel and its multiple bridges with a mathematical problem of their own. A bitter, grey, cold and humid winter, not unlike that in Lithuania. Midwives doing part-time prostitution. Harbour hosting 11 or so ships a day, tobacconists, haberdashiers. Some mysterious Pietists. Soldiers, artillery, pox. Horses and chariots. Anticipation and fear of the war with Napoleon. Requirements for the educated individuals to be rational to their bones and simultaneously be open to paranormal occult activities. All these things I did enjoy. What a nice feel of Middle Europe noir with historical flavours.
What I did not enjoy was that it was unclear what the authors preferred: historical setting, the detective story or each of the two by each of the two writers behind the pen name. They did play a bit too much with descriptions in some cases and I did find that a little bit irritating despite not knowing the history of city or the era. Not because it’s bad per se. More that it was exploited at the expense of the detective story: in the beginning, the pacing was excruciatingly slow, then, in an eyeblink, there was a pile of dead bodies as if from nowhere and then it kept accumulating until the protagonist got stuck again.
I was also irritated by the protagonist. Capricious, childish and not too rational at times. Totally different from focused, cold Scandinavian noir investigators I am used to. I was so annoyed by the protagonist mentally satisfying himself through imagining how he was going to take the position of the Magistrate in Königsberg and how everyone would magically start respecting him once he takes that position. I was also driven to despair by his semi-erotic care of one of the suspects in the investigation. Fine, he may be inexperienced, but I would have expected him to be more professional. He did improve, but then he switched to semi-homoerotic fanboy attitude towards Kant. And that was vexing too. Come on, this is not a manga – I expect the characters to salivate less, work more. I would have ignored that but I think all this took the space that could have been used when developing the crime elements of the story.
I felt a bit irritated by the way Kant was depicted. Yes, I have barely any knowledge of his works, although I do know his famous quote on the star-lit sky. I also understand that historians may enjoy more and feel more comfortable playing with less known elements of the stories of historical figures. In this book Kant was depicted as elderly gentleman, well advanced in years. A little bit crazy genius, yet already senile too. Fine, this is fiction. But I felt a bit annoyed that as someone who does not know the figure well, I was not able to tell the difference between the playful elements and the history. And all those characters jumping around this fictional Kant and turning over their heads to please and protect him. I understand respect to once-in-a-generation genius but considering he was a genius, was all that jumping around and turning over their heads necessary?
Finally, I did not fully enjoy the detective line. In the beginning, nothing was happening. Then, shedloads happen, most of it red herrings, perhaps a few red herrings too many. Of course, in real life, all sorts of things happen to investigations. But what annoyed me was that at some point it becomes quite clear to the reader which way the story is going. And the protagonist is still messing around and confused. But what I expect from fictional investigators is that they are going to be more intelligent than me! And what’s worse, the authors chose to solve the case totally deus ex machina, leaving quite a few questions to the readers. And tying loose ends of some irrelevant stories for another 15 pages or so. It’s not that this is wrong. But it's totally against my liking.
In a word, I was expecting one thing, I ended up reading another thing. I did enjoy historical background but was a bit disappointed with the protagonist and the crime story line. But maybe it’s just me and maybe other readers will enjoy the book anyway. But I will have a second thought on whether I want to read about Hanno’s further adventures. Maybe. Afterall, we are talking Ostpreuβen here. But I will think on this.
And what this area used to be is kind of a mystery. We know that Königsberg was the local cultural centre for ages. If not for this city and our scholars who studied there (take your hats off before Martynas Mažvydas), our delayed literacy would have possibly come even more delayed. If not for this city and the book smugglers, god knows if we would have managed to preserve Latin script during the prohibition of press published in Latin script by the tsar government in 1864-1904. So knowing this city perished to oblivion is like knowing that the Atlantis drowned. You wonder what may have happened there in an alternative reality and what was lost to ages.
So I was really intrigued to come across a story set in Königsberg. A detective story on top of that. Featuring – hold your breath – one of the great pop stars of the Enlightenment era: Immanuel Kant. Too good to be true, I‘d say.
In a way it was.
The story pretty much follows this: the beginning of the 19th century. Europe is terrorised by Napoleon and Königsberg – by a serial killer. By invitation from the King, a local Magistrate Hanno Stiffeniis arrives to investigate the crimes. Surprise surprise – no one is actually waiting for him, except for maybe the assistant of the Magistrate in Königsberg. The latter had been investigating the crimes and has just been struck by stroke. The reports by soldiers who were the first to see the crime sites and the bodies of victims are full of omissions and the hints as to what may have happened or who might be guilty are scarce. The only thing victims share – their bodies were found kneeling, leaning against the walls. What the hell is happening? Finding the answer to this is Hanno’s responsibility. However, his investigation is constantly complicated by conspiracies, necromancers, accumulating piles of bodies and supervision or interference by a living legend – Immanuel Kant.
I was expecting quite a bit from this book, but to be fair, there were things I liked and there were things I disliked.
I was so excited about the descriptions of Königsberg. They were there and I did spend some time googling for the images of the city, just to align them to what this city was. The areas described most – are the Fortress of Königsberg and the surrounding areas. The ports and shores by the Baltic sea, the Pregel and its multiple bridges with a mathematical problem of their own. A bitter, grey, cold and humid winter, not unlike that in Lithuania. Midwives doing part-time prostitution. Harbour hosting 11 or so ships a day, tobacconists, haberdashiers. Some mysterious Pietists. Soldiers, artillery, pox. Horses and chariots. Anticipation and fear of the war with Napoleon. Requirements for the educated individuals to be rational to their bones and simultaneously be open to paranormal occult activities. All these things I did enjoy. What a nice feel of Middle Europe noir with historical flavours.
What I did not enjoy was that it was unclear what the authors preferred: historical setting, the detective story or each of the two by each of the two writers behind the pen name. They did play a bit too much with descriptions in some cases and I did find that a little bit irritating despite not knowing the history of city or the era. Not because it’s bad per se. More that it was exploited at the expense of the detective story: in the beginning, the pacing was excruciatingly slow, then, in an eyeblink, there was a pile of dead bodies as if from nowhere and then it kept accumulating until the protagonist got stuck again.
I was also irritated by the protagonist. Capricious, childish and not too rational at times. Totally different from focused, cold Scandinavian noir investigators I am used to. I was so annoyed by the protagonist mentally satisfying himself through imagining how he was going to take the position of the Magistrate in Königsberg and how everyone would magically start respecting him once he takes that position. I was also driven to despair by his semi-erotic care of one of the suspects in the investigation. Fine, he may be inexperienced, but I would have expected him to be more professional. He did improve, but then he switched to semi-homoerotic fanboy attitude towards Kant. And that was vexing too. Come on, this is not a manga – I expect the characters to salivate less, work more. I would have ignored that but I think all this took the space that could have been used when developing the crime elements of the story.
I felt a bit irritated by the way Kant was depicted. Yes, I have barely any knowledge of his works, although I do know his famous quote on the star-lit sky. I also understand that historians may enjoy more and feel more comfortable playing with less known elements of the stories of historical figures. In this book Kant was depicted as elderly gentleman, well advanced in years. A little bit crazy genius, yet already senile too. Fine, this is fiction. But I felt a bit annoyed that as someone who does not know the figure well, I was not able to tell the difference between the playful elements and the history. And all those characters jumping around this fictional Kant and turning over their heads to please and protect him. I understand respect to once-in-a-generation genius but considering he was a genius, was all that jumping around and turning over their heads necessary?
Finally, I did not fully enjoy the detective line. In the beginning, nothing was happening. Then, shedloads happen, most of it red herrings, perhaps a few red herrings too many. Of course, in real life, all sorts of things happen to investigations. But what annoyed me was that at some point it becomes quite clear to the reader which way the story is going. And the protagonist is still messing around and confused. But what I expect from fictional investigators is that they are going to be more intelligent than me! And what’s worse, the authors chose to solve the case totally deus ex machina, leaving quite a few questions to the readers. And tying loose ends of some irrelevant stories for another 15 pages or so. It’s not that this is wrong. But it's totally against my liking.
In a word, I was expecting one thing, I ended up reading another thing. I did enjoy historical background but was a bit disappointed with the protagonist and the crime story line. But maybe it’s just me and maybe other readers will enjoy the book anyway. But I will have a second thought on whether I want to read about Hanno’s further adventures. Maybe. Afterall, we are talking Ostpreuβen here. But I will think on this.
August 10, 2013
Lento e noioso, con un investigatore (uomo onesto e timorato di Dio, con famiglia amorevole e obbligatorio segreto doloroso al seguito) che non ne imbrocca una nemmeno se l'indizio gli viene messo davanti con tanto di freccia al neon.
Sono arrivata faticosamente alla fine e non mi sono chiare nè le motivazioni dei delitti nè il ruolo di Kant negli stessi (ho capito il come, ma il perchè fornito non mi convince per nulla. Insomma, mi sono sciroppata 450 pagine, il finale che sia col botto, almeno. Qui non raggiunge nemmeno la sfiatina). L'unica cosa che mi è chiara è che anche se inventassero la macchina del tempo, non vorrei mai e poi mai andare a Konigsberg, Prussia, nel 1804. E manco prima o dopo.
La miseria umana e civile che emerge da questo racconto è desolante; non si salva nemmeno il buon Stiffenis (gioco di parole con "stiffen" magari? Wow, che trovata), che vorrebbe essere illuminato ma non lo è, capace ma non lo è, retto ma non lo è. Questo non lo rende nè migliore nè peggiore di alcuno, solo umano, ma mentre altri autori riescono a dare ai loro protagonisti, anche quelli "fallati", una qualche eroicità, o quanto meno a far provare al lettore una certa simpatia, qui no. Vien solo voglia di lasciarlo in mezzo alla nebbia e sperare che i lupi facciano la loro parte.
Come il duo Michael Gregorio (lo pseudonimo di due scrittori, marito e moglie) sia riuscito a scrivere (e pubblicare) altri tre romanzi di questa serie non so. Magari nei prossimi libri la capacità narrativa migliora.
PS: Se a qualcuno interessa... è stato il maggiordomo!
Sono arrivata faticosamente alla fine e non mi sono chiare nè le motivazioni dei delitti nè il ruolo di Kant negli stessi (ho capito il come, ma il perchè fornito non mi convince per nulla. Insomma, mi sono sciroppata 450 pagine, il finale che sia col botto, almeno. Qui non raggiunge nemmeno la sfiatina). L'unica cosa che mi è chiara è che anche se inventassero la macchina del tempo, non vorrei mai e poi mai andare a Konigsberg, Prussia, nel 1804. E manco prima o dopo.
La miseria umana e civile che emerge da questo racconto è desolante; non si salva nemmeno il buon Stiffenis (gioco di parole con "stiffen" magari? Wow, che trovata), che vorrebbe essere illuminato ma non lo è, capace ma non lo è, retto ma non lo è. Questo non lo rende nè migliore nè peggiore di alcuno, solo umano, ma mentre altri autori riescono a dare ai loro protagonisti, anche quelli "fallati", una qualche eroicità, o quanto meno a far provare al lettore una certa simpatia, qui no. Vien solo voglia di lasciarlo in mezzo alla nebbia e sperare che i lupi facciano la loro parte.
Come il duo Michael Gregorio (lo pseudonimo di due scrittori, marito e moglie) sia riuscito a scrivere (e pubblicare) altri tre romanzi di questa serie non so. Magari nei prossimi libri la capacità narrativa migliora.
PS: Se a qualcuno interessa... è stato il maggiordomo!
This entire review has been hidden because of spoilers.
May 30, 2009
I enjoy historical mysteries and was drawn to this book for its setting - Konigsberg - and time period - Napoleanic. I have also read other several books where fictionalized versions of real people are included in the story. In this case, Immanuel Kant was a key figure. The inclusion of a real person can work - The Pale Blue Eye's Poe was pretty good - or not - Charlotte Bronte as a detective? - and it's always interesting to see how an author handles the character he's created.
The setting and time period was interesting, but I found myself bothered by the occasional anachronisms and inaccuracies. I almost put the book down completely when the story referred to a knitting needle having its eye broken off. Or being used for carding. Are we really talking about darning needles? The fine pins that would be on a drum carder? Neither one is a knitting needle, which does not have an eye. Since this is the murder weapon, this is not a small detail. The later use of the term red herring almost made me put this library book down permanently. I'm not one to usually be bothered by things like this - I like vampire novels, which are not exactly factual.
The setting and time period was interesting, but I found myself bothered by the occasional anachronisms and inaccuracies. I almost put the book down completely when the story referred to a knitting needle having its eye broken off. Or being used for carding. Are we really talking about darning needles? The fine pins that would be on a drum carder? Neither one is a knitting needle, which does not have an eye. Since this is the murder weapon, this is not a small detail. The later use of the term red herring almost made me put this library book down permanently. I'm not one to usually be bothered by things like this - I like vampire novels, which are not exactly factual.
December 11, 2009
Like many of the other reviewers, I found that the book dragged a bit. However, overall, I found the atmosphere wonderful--the lustful albino abortionist, the fur-clad cannibal, the psychotically paranoid general seeing French spies everywhere. You do guess the ending. I think I guessed it maybe a third of the way through. But that's not necessarily a big problem if you're open to less traditional mystery novels.
Also like many of the reviewers here, I was initially annoyed by the hero, but by the end, I found his brand of hypocritical prudish hysteria quite amusing (and probably historically accurate). I get the feeling that the authors have a rather disturbed and erudite sense of humor that may be lost on some readers.
After spending much of the book implying that he murdered his brother, the narrator finally reveals that the death was some sort of mysterious accident for which he himself feels responsible.
It's at this point that he finds his brother's copy of The Sorrows of Young Werther, which he cluelessly informs us was his very favorite...
If you don't find this hilarious, or at least significant, you should probably not read Critique of Criminal Reason.
Also like many of the reviewers here, I was initially annoyed by the hero, but by the end, I found his brand of hypocritical prudish hysteria quite amusing (and probably historically accurate). I get the feeling that the authors have a rather disturbed and erudite sense of humor that may be lost on some readers.
After spending much of the book implying that he murdered his brother, the narrator finally reveals that the death was some sort of mysterious accident for which he himself feels responsible.
It's at this point that he finds his brother's copy of The Sorrows of Young Werther, which he cluelessly informs us was his very favorite...
If you don't find this hilarious, or at least significant, you should probably not read Critique of Criminal Reason.
November 15, 2010
sive Della cacca di Kant
"La porta dello studio si aprì con un cigolio e il professor Kant uscì nel corridoio. - La più riuscita delle evacuazioni, Stiffeniis! - esclamò con un sorriso radioso. - Uno stronzo di forma perfetta, compatto e denso nella sua composizione fecale e con un contenuto liquido minimo. Spero che anche voi siate riuscito a produrre qualcosa di analogo questa mattina. (p. 268)"
Concordo pienamente con Kant: come evacuazione è riuscitissima; forma, composizione e contenuto sono proprio come dice lui anche se no, io non sono stata in grado di produrre nulla di analogo nè questa nè altre mattine (ma, d'altro canto, non ne ho alcuna velleità. Come scrittrice, dico).
Ciò nonostante, sono rimasta alquanto delusa da questo romanzo il cui titolo accattivante prometteva così bene.
Spero che nessuno si indigni per forma, composizione e contenuto di questa recensione: non ho ritenuto di dover aggiungere alcun avvertimento a dissuasione di anime sensibili e genti schifiltose; d'altra parte è cacca di filosofo, di per sè inoffensiva.
Un po' come la pipì degli angeli, insomma.
"La porta dello studio si aprì con un cigolio e il professor Kant uscì nel corridoio. - La più riuscita delle evacuazioni, Stiffeniis! - esclamò con un sorriso radioso. - Uno stronzo di forma perfetta, compatto e denso nella sua composizione fecale e con un contenuto liquido minimo. Spero che anche voi siate riuscito a produrre qualcosa di analogo questa mattina. (p. 268)"
Concordo pienamente con Kant: come evacuazione è riuscitissima; forma, composizione e contenuto sono proprio come dice lui anche se no, io non sono stata in grado di produrre nulla di analogo nè questa nè altre mattine (ma, d'altro canto, non ne ho alcuna velleità. Come scrittrice, dico).
Ciò nonostante, sono rimasta alquanto delusa da questo romanzo il cui titolo accattivante prometteva così bene.
Spero che nessuno si indigni per forma, composizione e contenuto di questa recensione: non ho ritenuto di dover aggiungere alcun avvertimento a dissuasione di anime sensibili e genti schifiltose; d'altra parte è cacca di filosofo, di per sè inoffensiva.
Un po' come la pipì degli angeli, insomma.
September 29, 2014
The setting for this book is what made me check it out of the library. I had never seen a historical fiction set in Prussia and while I’ve never really looked for one, it seemed like such a good location for a mystery that I decided to give it a try.
The year is 1804 and Hanno Stiffeniis, a young magistrate, is summoned to Königsberg to take over the investigation of a series of murders that is paralyzing the city. With the help of his mentor, Immanuel Kant and his new scientific process of solving crimes, Hanno must stop the murderer.
This book is melodramatic with a bit of gothic thrown in for good measure. The descriptions of torture, death and prisons were dripping with gothic atmosphere and the descriptions of the city and people were often quite sensational. Our hero was depressingly inept and his mentor was disturbingly bizarre. The murder mystery was disappointingly simple and predictable. There were two things that kept this from being a 1 star book for me and that was the descriptions of the beginnings of forensic science and the city itself. Both interesting aspects of the story but unfortunately not enough to make it good.
The year is 1804 and Hanno Stiffeniis, a young magistrate, is summoned to Königsberg to take over the investigation of a series of murders that is paralyzing the city. With the help of his mentor, Immanuel Kant and his new scientific process of solving crimes, Hanno must stop the murderer.
This book is melodramatic with a bit of gothic thrown in for good measure. The descriptions of torture, death and prisons were dripping with gothic atmosphere and the descriptions of the city and people were often quite sensational. Our hero was depressingly inept and his mentor was disturbingly bizarre. The murder mystery was disappointingly simple and predictable. There were two things that kept this from being a 1 star book for me and that was the descriptions of the beginnings of forensic science and the city itself. Both interesting aspects of the story but unfortunately not enough to make it good.
March 24, 2012
This was a very interesting read for me. I had never heard of Kaliningrad, Russia before this mystery novel. The protagonist of this story is Detective Hanno Stiffenis who has been called to the city to find the serial killer. He is assisted by his mentor, Emmanuel Kant.
Although this was a long book, I was immersed in the story, partly because of not knowing anything about Konisberg (in Kaliningrad) and partly beccause of how Detective Stiffenis went about his work at a time whne there was little to help find a killer. There is also a continual atmosphere of fear and dread in the city as each new death comes to light.
Again, this is an oversized book with 395 pages. For the most part, it held my continual interest and I would read another book with Detective Stiffenis.
Although this was a long book, I was immersed in the story, partly because of not knowing anything about Konisberg (in Kaliningrad) and partly beccause of how Detective Stiffenis went about his work at a time whne there was little to help find a killer. There is also a continual atmosphere of fear and dread in the city as each new death comes to light.
Again, this is an oversized book with 395 pages. For the most part, it held my continual interest and I would read another book with Detective Stiffenis.
September 1, 2010
O título, por si só, pode servir de repelente para quem tenha estudado Kant e filosofia não tenha sido a disciplina de eleição... No entanto, enganam-se se pensam que este livro trata o método filosófico kantiano de forma enfadonha; pelo contrário, é um thriller misterioso em que a investigação se contrapõe entre a razão e a superstição.
"Um thriller que incorpora ideias de Immanuel Kant numa trama inacreditável."
É, sem dúvida, a melhor descrição deste livro!
"Um thriller que incorpora ideias de Immanuel Kant numa trama inacreditável."
É, sem dúvida, a melhor descrição deste livro!
July 11, 2008
I started reading this book and found it draggy and heavy-handed. I put it aside. My husband picked it up and read it on vacation for lack of anything else to read. He said it was a pass. It meandered, dragged and the ending as telegraphed about 1/2 way through the book.
I usually finish everything I start reading. Based upon his recommendation, I am not going back.
I usually finish everything I start reading. Based upon his recommendation, I am not going back.
March 26, 2012
Merely mentioning Immanuel Kant's name a few hundred times in a book does not qualify as a coherent plot. Artificial suspense gets trite after about 40 pages and I kept waiting for respite. Really wanted to like this book but can't really recommend it..
July 29, 2014
Počeci forenzike, eksplicitno jezive scene (barem meni), suradnja s Immanuelom Kantom... Više sam se ježila, nego uživala.
June 12, 2015
So much potential unfulfilled.
October 8, 2022
Tämän kirjan nimi on väännös Immanuel Kantin Puhtaan järjen kritiikistä ja Käytännöllisen järjen kritiikistä. Kant-viittaus ei ole aivan joutilas, sillä tämän historiallisen dekkarin tapahtumat sijoittuvat Königsbergiin 1800-luvun alkuun ja Kant itse esiintyy kirjassa merkittävässä osassa. Pääosassa on kuitenkin Hanno Stiffeniis, vähäpätöinen pikkukaupungin maistraatti, joka yllättäen kutsutaan kuninkaan käskyllä Königsbergiin selvittämään kummallisten murhien sarjaa.
Talvinen Königsberg näyttäytyy kirjassa varsin synkässä valossa, mutta Stiffeniis sinnittelee murhatutkimuksissaan eteenpäin. Hän saa avukseen paikallisen ylikonstaapelin ja itse professori Kantin, joka opastaa Stiffeniisiä nykyaikaisen rikostutkimuksen pariin — 1800-luvun alussa poliisin menetelmät kun liikkuivat lähinnä kuulustelu- ja kidutuslinjalla. Kant opettaa Stiffeniisille rikospaikkatutkimusta ja muuta nykyaikaisempaa poliisityötä.
Pikkuhiljaa Stiffeniis eteneekin tehtävässään, vaikka ei oikein taitoihinsa luotakaan. Jännitystä luovat puheet Napoleonin suunnitelmista vallata kaupunki ja Stiffeniis joutuu myös kohtaamaan oman menneisyytensä haamut ja kaapissa lymyävät luurangot. Lopulta syyllinenkin selviää, mutta sekään ei ole aivan yksinkertainen juttu.
Critique of Criminal Reason on oivallinen, jos hieman hitaasti etenevä, historiallinen dekkari. Stiffeniis vaikuttaa välillä vähän turhankin tyhmältä, jotta Kant saa johdattaa häntä kädestä pidellen. 1800-luvun alun Königsberg on kuitenkin mielenkiintoinen ympäristö ja Kantin kaltaisen historiallisen henkilön ymppääminen osaksi tarinaa tuo siihen oman kiinnostavan vivahteensa. Jos tarinaan — ja Stiffeniisiin — ihastui, voi jatkaa lukemista, sillä Stiffeniis-trillereitä on ilmestynyt tähän mennessä yhteensä kolme. Itse taidan jättää jatkot väliin, mutta tämän kirjan parissa viihdyin kyllä kirjavinkin arvoisesti. (20.6.2010)
Talvinen Königsberg näyttäytyy kirjassa varsin synkässä valossa, mutta Stiffeniis sinnittelee murhatutkimuksissaan eteenpäin. Hän saa avukseen paikallisen ylikonstaapelin ja itse professori Kantin, joka opastaa Stiffeniisiä nykyaikaisen rikostutkimuksen pariin — 1800-luvun alussa poliisin menetelmät kun liikkuivat lähinnä kuulustelu- ja kidutuslinjalla. Kant opettaa Stiffeniisille rikospaikkatutkimusta ja muuta nykyaikaisempaa poliisityötä.
Pikkuhiljaa Stiffeniis eteneekin tehtävässään, vaikka ei oikein taitoihinsa luotakaan. Jännitystä luovat puheet Napoleonin suunnitelmista vallata kaupunki ja Stiffeniis joutuu myös kohtaamaan oman menneisyytensä haamut ja kaapissa lymyävät luurangot. Lopulta syyllinenkin selviää, mutta sekään ei ole aivan yksinkertainen juttu.
Critique of Criminal Reason on oivallinen, jos hieman hitaasti etenevä, historiallinen dekkari. Stiffeniis vaikuttaa välillä vähän turhankin tyhmältä, jotta Kant saa johdattaa häntä kädestä pidellen. 1800-luvun alun Königsberg on kuitenkin mielenkiintoinen ympäristö ja Kantin kaltaisen historiallisen henkilön ymppääminen osaksi tarinaa tuo siihen oman kiinnostavan vivahteensa. Jos tarinaan — ja Stiffeniisiin — ihastui, voi jatkaa lukemista, sillä Stiffeniis-trillereitä on ilmestynyt tähän mennessä yhteensä kolme. Itse taidan jättää jatkot väliin, mutta tämän kirjan parissa viihdyin kyllä kirjavinkin arvoisesti. (20.6.2010)
January 9, 2011
Michael Gregorio, autore del thriller a sfondo storico “Critica della ragion criminale” (Einaudi) è un nom de plume dietro il quale si celano Daniela De Gregorio e Michael Jacob. Lei, figlia di un esponente della corrente pittorica dell’informale, insegna filosofia in un liceo; lui di Liverpool, dove è stato insegnante di letteratura, è direttore di una scuola di inglese di Spoleto, cittadina in cui, dopo essersi sposati, vivono da anni. Il loro libro è stato venduto da un’agenzia letteraria di Londra, prima in America alla St. Martin’s Press, poi all’inglese Faber & Faber che nel giro di pochi mesi lo ha rivenduto in tutta Europa, Giappone, Russia, Turchia e Cina. Ora la coppia è al lavoro su altri tre romanzi con protagonista il procuratore Hanno Stiifennis che andranno a completare una tetralogia ambientata agli albori del XIX secolo a Königsberg, la città natale di Kant. Abbiamo intervistato Michael (Jacob e Daniela De) Gregorio per farci raccontare qualcosa della “Critica” e dei loro prossimi lavori.
La “Critica della ragion criminale” è un libro nel libro, come inizierebbe se esistesse?
“C’è una sola esperienza umana che può paragonarsi al libero potere della Natura. La più diabolica di tutte. L’assassinio a sangue freddo…”
Kant, mentore del protagonista, lo aiuta nelle indagini ed è il perno attorno a cui ruota la vicenda. Avete pensato subito alla sua figura o è stata frutto inevitabile dell’ambientazione?
In principio fu Kant. Subito dopo, l’ambientazione. Ogni momento storico culturale ha una sua tipicità nel rappresentare il Male. Quello fra ‘700 e ’800 era il periodo in cui la fede nella ragione faceva credere di poter dominare ogni cosa. L’incontro con l’irrazionale, con l’oscurità dell’uomo, con il suo essere un “legno storto” come dice Kant, diventa per questo più inaspettato. La Prussia che sta per essere invasa dalla “razionale” Francia è il luogo dove il lato oscuro può venir fuori con energia. Dove il contrasto fra senso del dovere e del “bene” e le imprevedibili strade del crimine diventano interessanti. Tutto questo descritto dal punto di vista non tanto di Kant, ma di un giovane magistrato che vive dentro sé queste contraddizioni. Volendo parlare del crimine, del Male in quel periodo non si poteva lasciare fuori Kant. Al di là del suo modo di apparire razionale, rispettoso del dovere, “noioso”, come dicono gli studenti di oggi, ha manifestato più di un lato oscuro, “sinistro”, che lascia sconcertati e che ci ha sorpreso. Kant sapeva bene che la ragione è solo una diga che tiene a bada i flutti del mare tempestoso e misterioso che c’è là fuori. O dentro di noi. Ci siamo chiesti: e se quella diga si incrina?
Hanno Stiffeniis è un personaggio anomalo nel thriller. Non è sicuro di sé, si mette in discussione...
Intendevamo rappresentarlo così. Quando ad Hanno viene dato l’incarico di indagare sulla serie di incomprensibili delitti, la prima cosa che dice è: perché proprio io? Non ha esperienza. Fa il magistrato, ma si “nasconde” in una tranquilla cittadina perché non vuole incontrare il crimine. È il crimine che cerca lui. Si muove con ingenuità, ottusità, sbagliando e producendo ancora più caos e vittime. Per la gioia del “vero” assassino.
State preparando “una saga”, il cui primo capitolo è “Critica della ragion criminale”. Potete anticipare qualcosa?
Il secondo libro, “I giorni dell’espiazione” uscirà in agosto in Inghilterra e a novembre in Italia e poi negli altri paesi. Ancora una volta il crimine “cerca” Stiffeniis che questa volta indaga su un massacro avvenuto in un cottage nel bosco. L’indagine lo porterà ai confini del paese in una sinistra fortezza prussiana in mezzo alla neve dove accadono cose misteriose. Kant è morto, anche se sarà lui (come un’ombra), a guidare i passi di Hanno. Ad affiancare il protagonista ci saranno un eccentrico francese, uno studioso del crimine ed Helena Stiffeniis che non sarà solo una silhouette, ma una presenza decisiva. Attualmente stiamo lavorando alla terza storia ambientata sulla costa del mar Baltico dove si raccoglie uno dei materiali più affascinanti e misteriosi: l’ambra. La Prussia era la più grande produttrice di quello che veniva chiamato “l’oro del Baltico.” Nel momento in cui l’indagine di Stiffeniis ha luogo, il commercio dell’ambra è in mano ai Francesi. Stiffeniis si troverà a indagare su delle morti che coinvolgeranno anche la sua vita.
Raccontando il passato si racconta anche il presente?
C’è una sorta di storicità nell’onnipresenza del “male.” Il crimine ci ha sempre accompagnati e non facciamo una cosa originale indicando la vicenda di Caino o dicendo che Jack lo Squartatore era un prodotto dell’epoca vittoriana. Le motivazioni che spingono al male e il modo di attuarlo, ci rivelano molto di noi stessi. Molto più del bene. Un po' come diceva Tolstoi delle famiglie infelici che ci raccontano molto di più di quelle felici che sono tutte uguali. Il male “dice” di noi molto più del bene.
Cosa direbbe Kant della contemporaneità?
Andrebbe matto per Internet. Gli permetterebbe ancora meglio di non muoversi mai da Königsberg, cosa che ha fatto solo una volta per pochi chilometri. Essendo curioso, potrebbe esplorare attraverso il pc quello che c’è “là fuori” mentre il fedele servitore Lampe potrebbe tenere in ordine preciso i suoi file. Ma forse si permetterebbe un viaggio. Si metterebbe nella lista dei passeggeri per lo spazio. Di lassù il cielo stellato lo riempirebbe ancora di più di ammirazione.
Il "vostro" Kant è stato criticato?
In alcuni blog sono apparse critiche al nostro modo di rappresentarlo. La cosa che ci ha sorpresi è che lo sconcerto e il disappunto veniva da chi si diceva appassionato di Kant. Anche noi lo siamo. E crediamo proprio di avergli tributato un grande omaggio. Il nostro è un Kant dissacratore di se stesso. Quasi un rockettaro.
Quale è il vostro metodo di lavoro?
Una trama discussa e ridiscussa, scritta e riscritta. In genere in cucina, bevendo tè sotto lo sguardo interrogativo del nostro gatto. Poi ci dividiamo i capitoli. Lo decidiamo sulla base di ciò che pensiamo l’uno o l’altro possa scrivere meglio. Conosciamo i nostri rispettivi punti deboli e forti. Uno scrive in italiano e l’altro in inglese (la versione finale è inglese). Ci scambiamo i capitoli e l’uno fa da editor all’altro. Mike lavora nel suo studio circondato da libri, fogli, qualche volta i panni del bucato stesi e dalla sua collezione di dagherrotipi. Daniela lavora in cucina, su un tavolo, con libri alla rinfusa a una estremità, compiti degli studenti da correggere, il gatto dietro lo schermo del laptop e qualche pacco di spaghetti per la cena.
La “Critica della ragion criminale” è un libro nel libro, come inizierebbe se esistesse?
“C’è una sola esperienza umana che può paragonarsi al libero potere della Natura. La più diabolica di tutte. L’assassinio a sangue freddo…”
Kant, mentore del protagonista, lo aiuta nelle indagini ed è il perno attorno a cui ruota la vicenda. Avete pensato subito alla sua figura o è stata frutto inevitabile dell’ambientazione?
In principio fu Kant. Subito dopo, l’ambientazione. Ogni momento storico culturale ha una sua tipicità nel rappresentare il Male. Quello fra ‘700 e ’800 era il periodo in cui la fede nella ragione faceva credere di poter dominare ogni cosa. L’incontro con l’irrazionale, con l’oscurità dell’uomo, con il suo essere un “legno storto” come dice Kant, diventa per questo più inaspettato. La Prussia che sta per essere invasa dalla “razionale” Francia è il luogo dove il lato oscuro può venir fuori con energia. Dove il contrasto fra senso del dovere e del “bene” e le imprevedibili strade del crimine diventano interessanti. Tutto questo descritto dal punto di vista non tanto di Kant, ma di un giovane magistrato che vive dentro sé queste contraddizioni. Volendo parlare del crimine, del Male in quel periodo non si poteva lasciare fuori Kant. Al di là del suo modo di apparire razionale, rispettoso del dovere, “noioso”, come dicono gli studenti di oggi, ha manifestato più di un lato oscuro, “sinistro”, che lascia sconcertati e che ci ha sorpreso. Kant sapeva bene che la ragione è solo una diga che tiene a bada i flutti del mare tempestoso e misterioso che c’è là fuori. O dentro di noi. Ci siamo chiesti: e se quella diga si incrina?
Hanno Stiffeniis è un personaggio anomalo nel thriller. Non è sicuro di sé, si mette in discussione...
Intendevamo rappresentarlo così. Quando ad Hanno viene dato l’incarico di indagare sulla serie di incomprensibili delitti, la prima cosa che dice è: perché proprio io? Non ha esperienza. Fa il magistrato, ma si “nasconde” in una tranquilla cittadina perché non vuole incontrare il crimine. È il crimine che cerca lui. Si muove con ingenuità, ottusità, sbagliando e producendo ancora più caos e vittime. Per la gioia del “vero” assassino.
State preparando “una saga”, il cui primo capitolo è “Critica della ragion criminale”. Potete anticipare qualcosa?
Il secondo libro, “I giorni dell’espiazione” uscirà in agosto in Inghilterra e a novembre in Italia e poi negli altri paesi. Ancora una volta il crimine “cerca” Stiffeniis che questa volta indaga su un massacro avvenuto in un cottage nel bosco. L’indagine lo porterà ai confini del paese in una sinistra fortezza prussiana in mezzo alla neve dove accadono cose misteriose. Kant è morto, anche se sarà lui (come un’ombra), a guidare i passi di Hanno. Ad affiancare il protagonista ci saranno un eccentrico francese, uno studioso del crimine ed Helena Stiffeniis che non sarà solo una silhouette, ma una presenza decisiva. Attualmente stiamo lavorando alla terza storia ambientata sulla costa del mar Baltico dove si raccoglie uno dei materiali più affascinanti e misteriosi: l’ambra. La Prussia era la più grande produttrice di quello che veniva chiamato “l’oro del Baltico.” Nel momento in cui l’indagine di Stiffeniis ha luogo, il commercio dell’ambra è in mano ai Francesi. Stiffeniis si troverà a indagare su delle morti che coinvolgeranno anche la sua vita.
Raccontando il passato si racconta anche il presente?
C’è una sorta di storicità nell’onnipresenza del “male.” Il crimine ci ha sempre accompagnati e non facciamo una cosa originale indicando la vicenda di Caino o dicendo che Jack lo Squartatore era un prodotto dell’epoca vittoriana. Le motivazioni che spingono al male e il modo di attuarlo, ci rivelano molto di noi stessi. Molto più del bene. Un po' come diceva Tolstoi delle famiglie infelici che ci raccontano molto di più di quelle felici che sono tutte uguali. Il male “dice” di noi molto più del bene.
Cosa direbbe Kant della contemporaneità?
Andrebbe matto per Internet. Gli permetterebbe ancora meglio di non muoversi mai da Königsberg, cosa che ha fatto solo una volta per pochi chilometri. Essendo curioso, potrebbe esplorare attraverso il pc quello che c’è “là fuori” mentre il fedele servitore Lampe potrebbe tenere in ordine preciso i suoi file. Ma forse si permetterebbe un viaggio. Si metterebbe nella lista dei passeggeri per lo spazio. Di lassù il cielo stellato lo riempirebbe ancora di più di ammirazione.
Il "vostro" Kant è stato criticato?
In alcuni blog sono apparse critiche al nostro modo di rappresentarlo. La cosa che ci ha sorpresi è che lo sconcerto e il disappunto veniva da chi si diceva appassionato di Kant. Anche noi lo siamo. E crediamo proprio di avergli tributato un grande omaggio. Il nostro è un Kant dissacratore di se stesso. Quasi un rockettaro.
Quale è il vostro metodo di lavoro?
Una trama discussa e ridiscussa, scritta e riscritta. In genere in cucina, bevendo tè sotto lo sguardo interrogativo del nostro gatto. Poi ci dividiamo i capitoli. Lo decidiamo sulla base di ciò che pensiamo l’uno o l’altro possa scrivere meglio. Conosciamo i nostri rispettivi punti deboli e forti. Uno scrive in italiano e l’altro in inglese (la versione finale è inglese). Ci scambiamo i capitoli e l’uno fa da editor all’altro. Mike lavora nel suo studio circondato da libri, fogli, qualche volta i panni del bucato stesi e dalla sua collezione di dagherrotipi. Daniela lavora in cucina, su un tavolo, con libri alla rinfusa a una estremità, compiti degli studenti da correggere, il gatto dietro lo schermo del laptop e qualche pacco di spaghetti per la cena.
April 5, 2019
Critique of Criminal Reason is certainly what it promised to be- a historical fiction detective novel. Michael Gregorio cleverly utilized a historical background of Napoleonic era Prussia combined with the inspiration of the philosophies of Immanuel Kant to form the backbone of the story. Add in one young investigative magistrate in Hanno Stiffeniis and a serial killer on the loose in Konigsberg, and there's the book.
I enjoyed the novel, though I thought that there was untapped potential in the plot and characters. Stiffeniis did not appear to be fully developed as a character, and came across as rather naive. Particularly given his role in investigating a serial killer, I found the naivete to be a bit off-putting. As such, I found myself enjoying side characters more than our protagonist, but that isn't an uncommon thing for me as a reader.
It is also true that the reader is able to guess the twists well before they come, though the "twists" are executed fairly well despite the lack of originality.
The author(s) writing style was one I enjoyed, and the ability to create the atmosphere of the era was something that definitely contributed to my enjoyment.
Overall, I was entertained throughout the book and found the pacing to be nice. While I would not go out of my way to seek out the sequel to this novel, I would also happily read it if I happened across it or other works by Michael Gregorio.
I enjoyed the novel, though I thought that there was untapped potential in the plot and characters. Stiffeniis did not appear to be fully developed as a character, and came across as rather naive. Particularly given his role in investigating a serial killer, I found the naivete to be a bit off-putting. As such, I found myself enjoying side characters more than our protagonist, but that isn't an uncommon thing for me as a reader.
It is also true that the reader is able to guess the twists well before they come, though the "twists" are executed fairly well despite the lack of originality.
The author(s) writing style was one I enjoyed, and the ability to create the atmosphere of the era was something that definitely contributed to my enjoyment.
Overall, I was entertained throughout the book and found the pacing to be nice. While I would not go out of my way to seek out the sequel to this novel, I would also happily read it if I happened across it or other works by Michael Gregorio.
January 28, 2021
I read this book because I picked up the second book in the series at a Goodwill store. It attracted me because it seemed to involve historical fiction and mystery. When I realized it was the second book, I decided I should read the first in the series. After reading this book, I am planning to put the second one in my "Goodwill" pile, unread.
There was no admirable or endearing quality to the main character, Hanno Stifeniis. Furthermore, there was no character development as the story progressed. He thought of himself as a person of logic and reason, but he rarely used these qualities in trying to solve the crimes because his "horror" of the circumstances took control.
There was a lot of description of macabre situations, but it didn't seem to contribute to advancing the plot, but to titillate the reader. Basically it felt as if the author(s) were randomly taking us from one grisly scene to another to meet the "horror" requirements, sprinkling in a bit of history and historical figures to meet the "historical fiction" requirements, and throw in characters and then kill them to meet the "mystery" requirements with very little planning.
But the real horror is the ending. It makes no sense and how Hanno handles the revelation is criminal in itself.
There was no admirable or endearing quality to the main character, Hanno Stifeniis. Furthermore, there was no character development as the story progressed. He thought of himself as a person of logic and reason, but he rarely used these qualities in trying to solve the crimes because his "horror" of the circumstances took control.
There was a lot of description of macabre situations, but it didn't seem to contribute to advancing the plot, but to titillate the reader. Basically it felt as if the author(s) were randomly taking us from one grisly scene to another to meet the "horror" requirements, sprinkling in a bit of history and historical figures to meet the "historical fiction" requirements, and throw in characters and then kill them to meet the "mystery" requirements with very little planning.
But the real horror is the ending. It makes no sense and how Hanno handles the revelation is criminal in itself.
June 22, 2017
It is a cleverly written and intricately plotted book, as much a study in psychology and human motivation as crime detection. Set in the town of Koeningsburg the capital of East Prussia in 1804, it tells the story of the magistrate Hanno Stiffeniis summoned by Royal command to track a serial killer active in the town. The background research is impeccable, the author capturing the detail of my ancestral city and the life of its inhabitants, the multinational complexity of the old Prussian kingdom, and the world of superstition that lurked in the minds of the otherwise pious population. In some ways a timely story, with fears of terrorism and foreign plots (in this case French) pervading the kingdom. And the book features the great philosopher Immanuel Kant as an early forensic investigator and a manipulator of people in his experiments with understanding human conduct. An intellectually very satisfying novel.
April 6, 2023
Such a disappointing book despite such a promising premise. Set in Königsberg, the descriptive atmosphere is brilliant, but apart from that, all else falls short. The plot itself seems intriguing, but slowly builds itself to fall flat and meaningless, with Kant's contribution feeling somewhat arbitrary and meaningless. Furthermore, as the plot progresses, the whole story spirals into chaos, and the very ideas of cause and effect seem to be turned on its head, just to spite Kant.
A great shame, as there was so much promise, but this felt like a book which knew the main plot points but then randomly assembled them, leaving the final story as perplexing and pointless.
A great shame, as there was so much promise, but this felt like a book which knew the main plot points but then randomly assembled them, leaving the final story as perplexing and pointless.
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