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Commissario De Vincenzi #1
螚 未慰位慰蠁慰谓委伪 蟿慰蠀 蟿蟻伪蟺蔚味委蟿畏
螕蟻伪渭渭苇谓畏 伪蟺蠈 蟿慰谓 蟺伪蟿苇蟻伪 蟿慰蠀 渭蔚蟽慰纬蔚喂伪魏慰蠉 谓慰蠀维蟻, 螒慰蠀纬魏慰蠉蟽蟿慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 螚 螖慰位慰蠁慰谓委伪 蟿慰蠀 蟿蟻伪蟺蔚味委蟿畏 未蔚谓 渭伪蟼 蠁苇蟻谓蔚喂 伪谓蟿喂渭苇蟿蠅蟺慰蠀蟼 渭蠈谓慰 渭蔚 苇谓伪 蟺蟿蠋渭伪 魏伪喂 蟿慰蠀蟼 蠉蟺慰蟺蟿慰蠀蟼 胃蠉蟿蔚蟼, 伪位位维 魏伪喂 渭蔚 渭喂伪 魏慰喂谓蠅谓委伪 蟺慰蠀 蟺伪蟻伪未委未蔚蟿伪喂 蟽蟿慰谓 蠁伪蟽喂蟽渭蠈. 韦畏 位蠉蟽畏 蟿慰蠀 渭蠀蟽蟿畏蟻委慰蠀 伪谓伪位伪渭尾维谓蔚喂 苇谓伪 蟺蟻蠈蟽蠅蟺慰 蟺慰蠀, 伪谓蟿委 谓伪 蟺伪蟻伪魏慰位慰蠀胃蔚委 蠁伪蟽喂蟽蟿喂魏苇蟼 蠁伪谓蠁维蟻蔚蟼, 蔚蟺喂位苇纬蔚喂 谓伪 未喂伪尾维味蔚喂 蔚谓 蠋蟻伪 蠀蟺畏蟻蔚蟽委伪蟼 螤蠈蔚 魏伪喂 桅蟻蠈蠀谓蟿: 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 螝维蟻位慰 谓蟿蔚 螔喂谓蟿蟽苇谓蟿味喂, 纬谓蠅蟽蟿蠈蟼 魏伪喂 蠅蟼 芦慰 螜蟿伪位蠈蟼 螠伪喂纬魏蟻苇禄.
芦危蟿畏 蠂蠋蟻伪 渭伪蟼 未蔚谓 纬委谓慰谓蟿伪喂 蟿苇蟿慰喂伪 蟺蟻维纬渭伪蟿伪, 未蔚谓 苇蠂慰蠀渭蔚 谓蟿蔚蟿苇魏蟿喂尾, 未蔚谓 苇蠂慰蠀渭蔚 渭畏蟿蟻慰蟺蠈位蔚喂蟼 魏伪喂 魏蠀蟻委蠅蟼 未蔚谓 苇蠂慰蠀渭蔚 纬魏维谓纬魏蟽蟿蔚蟻禄. 芦螤慰位蠉 蟺喂胃伪谓蠈谓禄, 伪蟺伪谓蟿慰蠉蟽蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 芦蔚渭苇谓伪 蠈渭蠅蟼 渭慰蠀 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 苇蠂慰蠀渭蔚 魏伪喂 蟺伪蟻伪苇蠂慰蠀渭蔚 蔚纬魏位萎渭伪蟿伪禄. 芦螒蠀蟿维 蟿伪 蟺蟻维纬渭伪蟿伪 尾位维蟺蟿慰蠀谓 蟿畏 谓蔚慰位伪委伪禄, 蠀蟺慰蟽蟿萎蟻喂味蔚 蟿慰 蠁伪蟽喂蟽蟿喂魏蠈 违蟺慰蠀蟻纬蔚委慰 螞伪蠆魏慰蠉 螤慰位喂蟿喂蟽渭慰蠉, 芦魏伪喂 蟿畏谓 蠅胃慰蠉谓 谓伪 未喂伪蟺蟻维蟿蟿蔚喂 蔚纬魏位萎渭伪蟿伪 伪蟺蠈 魏伪胃伪蟻萎 渭委渭畏蟽畏 魏伪喂 渭蠈谓慰禄. 芦螌蠂喂禄, 苇位蔚纬蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 芦伪蠀蟿蠈 蟺慰蠀 尾位维蟺蟿蔚喂 蔚委谓伪喂 畏 魏伪魏萎 位慰纬慰蟿蔚蠂谓委伪禄.
螒蟺蠈 蟿慰谓 蟺蟻蠈位慰纬慰 蟿慰蠀 Carlo Lucarelli
O 螒慰蠀纬魏慰蠉蟽蟿慰 螡蟿蔚 螁谓蟿味蔚位喂蟼 (1888-1944) 萎蟿伪谓 未畏渭慰蟽喂慰纬蟻维蠁慰蟼 魏伪喂 蟽蠀纬纬蟻伪蠁苇伪蟼. 韦伪 尾喂尾位委伪 蟿慰蠀 伪纬伪蟺萎胃畏魏伪谓 伪蟺蠈 蟿慰 喂蟿伪位喂魏蠈 魏慰喂谓蠈, 伪位位维 慰 委未喂慰蟼 胃蔚蠅蟻萎胃畏魏蔚 蔚蠂胃蟻蠈蟼 蟿畏蟼 蠁伪蟽喂蟽蟿喂魏萎蟼 魏蠀尾苇蟻谓畏蟽畏蟼. 桅蠀位伪魏委蟽蟿畏魏蔚 蟿慰 1943 魏伪喂 尉蠀位慰魏慰蟺萎胃畏魏蔚 渭苇蠂蟻喂 胃伪谓维蟿慰蠀 伪蟺蠈 渭苇位慰蟼 蟿慰蠀 蠁伪蟽喂蟽蟿喂魏慰蠉 魏蠈渭渭伪蟿慰蟼, 位委纬慰 渭蔚蟿维 蟿畏谓 伪蟺慰蠁蠀位维魏喂蟽萎 蟿慰蠀.
芦危蟿畏 蠂蠋蟻伪 渭伪蟼 未蔚谓 纬委谓慰谓蟿伪喂 蟿苇蟿慰喂伪 蟺蟻维纬渭伪蟿伪, 未蔚谓 苇蠂慰蠀渭蔚 谓蟿蔚蟿苇魏蟿喂尾, 未蔚谓 苇蠂慰蠀渭蔚 渭畏蟿蟻慰蟺蠈位蔚喂蟼 魏伪喂 魏蠀蟻委蠅蟼 未蔚谓 苇蠂慰蠀渭蔚 纬魏维谓纬魏蟽蟿蔚蟻禄. 芦螤慰位蠉 蟺喂胃伪谓蠈谓禄, 伪蟺伪谓蟿慰蠉蟽蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 芦蔚渭苇谓伪 蠈渭蠅蟼 渭慰蠀 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 苇蠂慰蠀渭蔚 魏伪喂 蟺伪蟻伪苇蠂慰蠀渭蔚 蔚纬魏位萎渭伪蟿伪禄. 芦螒蠀蟿维 蟿伪 蟺蟻维纬渭伪蟿伪 尾位维蟺蟿慰蠀谓 蟿畏 谓蔚慰位伪委伪禄, 蠀蟺慰蟽蟿萎蟻喂味蔚 蟿慰 蠁伪蟽喂蟽蟿喂魏蠈 违蟺慰蠀蟻纬蔚委慰 螞伪蠆魏慰蠉 螤慰位喂蟿喂蟽渭慰蠉, 芦魏伪喂 蟿畏谓 蠅胃慰蠉谓 谓伪 未喂伪蟺蟻维蟿蟿蔚喂 蔚纬魏位萎渭伪蟿伪 伪蟺蠈 魏伪胃伪蟻萎 渭委渭畏蟽畏 魏伪喂 渭蠈谓慰禄. 芦螌蠂喂禄, 苇位蔚纬蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 芦伪蠀蟿蠈 蟺慰蠀 尾位维蟺蟿蔚喂 蔚委谓伪喂 畏 魏伪魏萎 位慰纬慰蟿蔚蠂谓委伪禄.
螒蟺蠈 蟿慰谓 蟺蟻蠈位慰纬慰 蟿慰蠀 Carlo Lucarelli
O 螒慰蠀纬魏慰蠉蟽蟿慰 螡蟿蔚 螁谓蟿味蔚位喂蟼 (1888-1944) 萎蟿伪谓 未畏渭慰蟽喂慰纬蟻维蠁慰蟼 魏伪喂 蟽蠀纬纬蟻伪蠁苇伪蟼. 韦伪 尾喂尾位委伪 蟿慰蠀 伪纬伪蟺萎胃畏魏伪谓 伪蟺蠈 蟿慰 喂蟿伪位喂魏蠈 魏慰喂谓蠈, 伪位位维 慰 委未喂慰蟼 胃蔚蠅蟻萎胃畏魏蔚 蔚蠂胃蟻蠈蟼 蟿畏蟼 蠁伪蟽喂蟽蟿喂魏萎蟼 魏蠀尾苇蟻谓畏蟽畏蟼. 桅蠀位伪魏委蟽蟿畏魏蔚 蟿慰 1943 魏伪喂 尉蠀位慰魏慰蟺萎胃畏魏蔚 渭苇蠂蟻喂 胃伪谓维蟿慰蠀 伪蟺蠈 渭苇位慰蟼 蟿慰蠀 蠁伪蟽喂蟽蟿喂魏慰蠉 魏蠈渭渭伪蟿慰蟼, 位委纬慰 渭蔚蟿维 蟿畏谓 伪蟺慰蠁蠀位维魏喂蟽萎 蟿慰蠀.
240 pages, Paperback
First published January 1, 1935
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267 people want to read
About the author
Augusto De Angelis
128听books10听followersAugusto De Angelis (1888-1944) was an Italian novelist and journalist, most famous for his series of detective novels featuring Commissario Carlo De Vincenzi. His cultured protagonist was enormously popular in Italy, but the Fascist government of the time considered him an enemy, and during the Second World War he was imprisoned by the authorities. Shortly after his release he was beaten up by a Fascist activist and died from his injuries.
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May 15, 2016somewhere around 3.6 or 3.7 stars for me.
Any time a mystery novel opens in the fog, I do a little happy dance since I know that what's coming is going to be hazy, murky, and a bit of a challenge in terms of seeing things clearly. This is definitely the case in The Murdered Banker, where a "bituminous lake of fog" has settled on Milan, making it nearly impossible to see anything. The opening scene captures two men "moving across the piazza," as "ghostlike shadows." As it turns out, one of these men is the main character Inspector Carlo de Vincenzi, who is heading into the station just after midnight. After a while de Vincenzi settles in to read his book, and while inwardly musing about why he's a cop and why he'd become the Commissioner for Public Saftety, he is joined some time later, about 1:30 a.m., by his friend and former classmate Gianetto Aurigi, who has just come in after a night at La Scala seeing Verdi's Aida. Aurigi had watched the opera in the box belonging to Count Marchionni and his family; Marchionni is Aurigi's future father-in-law, as he is engaged to his daughter Maria Giovanna. He claims he's been walking around since and that his wandering had brought him to the station to see the inspector. But soon he opens up with his financial troubles, revealing that he needs "half a million" -- it seems that he owes this sum to someone, and that it is due that very day. He can't tell Marchionni without facing the prospect of losing his bride-to-be. While they are talking, the phone rings, calling de Vincenzi to a crime scene. After he hangs up, the inspector instructs Aurigi to remain at the station and leaves an officer to ensure that Aurigi doesn't leave. The reason is not that the inspector wants to continue the conversation when he returns, but that the crime he's been called out to just happens to have occurred in Aurigi's apartment. As he begins his investigation, it all adds up to Aurigi as chief suspect, but through his "intuition and psychological impressions" the Inspector knows that he's the wrong guy. As other suspects are brought into the case, each with his or her own secrets, de Vincenzi realizes that if he doesn't get to the truth of the matter, the innocent may be caught up in the "machine that will grind them up." His mission -- to save the innocent, and to bring the guilty to justice.
De Vincenzi believes that a crime, when "not a crime of passion," is "a work of art! A work perversely and criminally artistic," and it's obvious to me that De Augusto's writing reflects this idea in many ways. At the same time, it's not so artistic that the whodunit element gets lost -- The Murdered Banker is a solid mystery story that is not only enjoyable, but also very well laid out in terms of buried secrets that could easily serve as motive, creating a group of possible suspects whom de Vincenzi must eliminate one by one to solve the crime. He takes his time getting there, but that also is part of the author's craft -- creating the reluctant witness who doesn't want those secrets to come out at any cost. By the time the actual culprit is discovered, it's a rather eye-opening moment, something I look forward to in any mystery novel. Here it's done right, and done well, although sometimes the writing itself can be a bit overdone, but a) it's the first in a series which is often touchy, and b) the crime and the investigation are both so well plotted that it's forgivable.
It is definitely a fine start to a series that so far I am really enjoying. Recommended for fans of vintage crime or of translated crime fiction/mysteries.
Any time a mystery novel opens in the fog, I do a little happy dance since I know that what's coming is going to be hazy, murky, and a bit of a challenge in terms of seeing things clearly. This is definitely the case in The Murdered Banker, where a "bituminous lake of fog" has settled on Milan, making it nearly impossible to see anything. The opening scene captures two men "moving across the piazza," as "ghostlike shadows." As it turns out, one of these men is the main character Inspector Carlo de Vincenzi, who is heading into the station just after midnight. After a while de Vincenzi settles in to read his book, and while inwardly musing about why he's a cop and why he'd become the Commissioner for Public Saftety, he is joined some time later, about 1:30 a.m., by his friend and former classmate Gianetto Aurigi, who has just come in after a night at La Scala seeing Verdi's Aida. Aurigi had watched the opera in the box belonging to Count Marchionni and his family; Marchionni is Aurigi's future father-in-law, as he is engaged to his daughter Maria Giovanna. He claims he's been walking around since and that his wandering had brought him to the station to see the inspector. But soon he opens up with his financial troubles, revealing that he needs "half a million" -- it seems that he owes this sum to someone, and that it is due that very day. He can't tell Marchionni without facing the prospect of losing his bride-to-be. While they are talking, the phone rings, calling de Vincenzi to a crime scene. After he hangs up, the inspector instructs Aurigi to remain at the station and leaves an officer to ensure that Aurigi doesn't leave. The reason is not that the inspector wants to continue the conversation when he returns, but that the crime he's been called out to just happens to have occurred in Aurigi's apartment. As he begins his investigation, it all adds up to Aurigi as chief suspect, but through his "intuition and psychological impressions" the Inspector knows that he's the wrong guy. As other suspects are brought into the case, each with his or her own secrets, de Vincenzi realizes that if he doesn't get to the truth of the matter, the innocent may be caught up in the "machine that will grind them up." His mission -- to save the innocent, and to bring the guilty to justice.
De Vincenzi believes that a crime, when "not a crime of passion," is "a work of art! A work perversely and criminally artistic," and it's obvious to me that De Augusto's writing reflects this idea in many ways. At the same time, it's not so artistic that the whodunit element gets lost -- The Murdered Banker is a solid mystery story that is not only enjoyable, but also very well laid out in terms of buried secrets that could easily serve as motive, creating a group of possible suspects whom de Vincenzi must eliminate one by one to solve the crime. He takes his time getting there, but that also is part of the author's craft -- creating the reluctant witness who doesn't want those secrets to come out at any cost. By the time the actual culprit is discovered, it's a rather eye-opening moment, something I look forward to in any mystery novel. Here it's done right, and done well, although sometimes the writing itself can be a bit overdone, but a) it's the first in a series which is often touchy, and b) the crime and the investigation are both so well plotted that it's forgivable.
It is definitely a fine start to a series that so far I am really enjoying. Recommended for fans of vintage crime or of translated crime fiction/mysteries.
July 21, 2021
芦H 蟺喂维蟿蟽伪 危伪谓 桅蔚谓蟿苇位蔚 萎蟿伪谓 渭喂伪 位委渭谓畏 伪蟺蠈 蟺畏蠂蟿蠈 魏伪蟿蟻维渭喂 蟺慰蠀 蟺维谓蠅 蟿畏蟼 苇蟺位蔚伪谓 蟽伪谓 谓畏蟽喂维 魏慰魏魏喂谓蠅蟺维 蠁蠅蟿慰蟽蟿苇蠁伪谓伪 伪蟺蠈 蟿慰蠀蟼 纬蠉蟻蠅 伪蠄喂未蠅蟿慰蠉蟼 蠁伪谓慰蟽蟿维蟿蔚蟼.禄
螠蔚 蟿慰 螠喂位维谓慰 尾慰蠀蟿畏纬渭苇谓慰 蟽蟿畏谓 慰渭委蠂位畏, 蔚魏蔚委 魏维蟺慰蠀 蟽蟿伪 1935, 蟽蠀蟽蟿萎谓蔚蟿伪喂 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂, 萎蟻蠅伪蟼 渭喂伪蟼 蟽蔚喂蟻维蟼 未蔚魏伪蟺苇谓蟿蔚 伪蟽蟿蠀谓慰渭喂魏蠋谓 渭蠀胃喂蟽蟿慰蟻畏渭维蟿蠅谓 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 魏伪蟿维 蟿喂蟼 未蔚魏伪蔚蟿委蔚蟼 蟿慰蠀 蝿30 魏伪喂 蟿慰蠀 鈥�40. 螣 胃维谓伪蟿慰蟼 蟿慰蠀 蟿蟻伪蟺蔚味委蟿畏 蔚委谓伪喂 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰.
螣 未畏渭喂慰蠀蟻纬蠈蟼 蟿慰蠀, 未畏渭慰蟽喂慰纬蟻维蠁慰蟼 魏伪喂 蟽蠀纬纬蟻伪蠁苇伪蟼 Augusto De Angelis, 魏伪胃喂蔚蟻蠋胃畏魏蔚 蠅蟼 慰 蟺伪蟿苇蟻伪蟼 蟿畏蟼 喂蟿伪位喂魏萎蟼 伪蟽蟿蠀谓慰渭喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼. 螌蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 蟽蟿慰谓 蟺蟻蠈位慰纬慰 蟿慰蠀 尾喂尾位委慰蠀 慰 K维蟻位慰 螞慰蠀魏伪蟻苇位喂, 蟺慰位蠉 蟽畏渭伪谓蟿喂魏蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 伪蟽蟿蠀谓慰渭喂魏蠋谓 渭蠀胃喂蟽蟿慰蟻畏渭维蟿蠅谓 (螚 蟿蟻喂位慰纬委伪 蟿慰蠀 蠁伪蟽喂蟽渭慰蠉, 螜蟿伪位喂魏萎 委谓蟿蟻喂纬魏伪, 螠苇蟻伪 渭蔚 蟿畏 渭苇蟻伪 ) :
芦螤伪蟻蠈位慰 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 蟺蟻喂谓 蟺慰位位维 蠂蟻蠈谓喂伪, 蟺伪蟻蠈位慰 蟺慰蠀 慰 伪蟽蟿蠀谓蠈渭慰蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 渭蔚蟿伪魏喂谓蔚委蟿伪喂 渭蔚 蟿慰 蟿蟻伪渭 魏伪喂 纬喂伪 谓伪 伪谓维蠄蔚喂 蟿慰 蠁蠅蟼 蟽蔚 苇谓伪 未蠅渭维蟿喂慰 蟽蟿蟻委尾蔚喂 蟿慰谓 未喂伪魏蠈蟺蟿畏, 蟿伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿维 蟿慰蠀 蟺伪蟻伪渭苇谓慰蠀谓 蔚蟺委魏伪喂蟻伪. 螕喂伪蟿委 畏 魏伪位萎 纬蟻伪蠁萎 未蔚谓 纬蔚蟻谓维蔚喂 蟺慰蟿苇. 螝伪喂 蟿慰 魏蟻蠀蠁蠈 渭蠀蟽蟿萎蟻喂慰 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠄蠀蠂萎蟼 蟺伪蟻伪渭苇谓蔚喂 蟺维谓蟿伪 蟿慰 委未喂慰. 禄
馃摎
螣 Augusto De Angelis 萎蟿伪谓 维纬谓蠅蟽蟿慰蟼 蟽蔚 蔚渭苇谓伪 伪魏蠈渭畏 魏伪喂 魏伪蟿蝿蠈谓慰渭伪 - 委蟽蠅蟼 魏伪喂 蟽蔚 维位位慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 - 魏喂 苇蟿蟽喂 蟿慰 魏委谓畏蟿蟻慰 谓伪 未喂伪尾维蟽蠅 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰 蟺慰蠀 魏蠀魏位慰蠁慰蟻蔚委 蟽蟿畏谓 蔚位位畏谓喂魏萎 纬位蠋蟽蟽伪 萎蟿伪谓 喂蟽蠂蠀蟻蠈. 螠喂伪 魏伪喂谓慰蠉蟻纬喂伪 蠁蠅谓萎, 苇蟽蟿蠅 魏喂 伪谓 蟽委纬畏蟽蔚 蟺蟻喂谓 蟺慰位位维 蠂蟻蠈谓喂伪.
螤慰位位苇蟼 蠁慰蟻苇蟼 胃苇位蠅 谓伪 芦伪蟺慰蟿慰尉喂谓蠅胃蠋禄 伪蟺蠈 蟿畏 蟽蠉纬蠂蟻慰谓畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟺慰蠀 伪谓蟿喂魏伪蟿慰蟺蟿蟻委味蔚蟿伪喂 蟽蟿畏 蟽蠉纬蠂蟻慰谓畏 伪蟽蟿蠀谓慰渭喂魏萎 位慰纬慰蟿蔚蠂谓委伪 魏伪喂 纬蠀蟻谓蠋 蟽蔚 维位位蔚蟼 纬蟻伪蠁苇蟼 伪位位慰蟿喂谓苇蟼 渭蔚 纬慰畏蟿蔚委伪 蟺慰蠀 委蟽蠅蟼 尉蔚谓委味蔚喂 纬喂伪 位委纬慰, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟽蟿萎蟽喂渭慰 蟺位慰魏萎蟼, 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 萎蟻蠅蔚蟼!
螣 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 蔚委谓伪喂 未喂伪蠁慰蟻蔚蟿喂魏萎 蠁喂纬慰蠉蟻伪 萎蟻蠅伪 伪蟺蠈 蔚魏蔚委谓蔚蟼 蟺慰蠀 蟽蠀谓萎胃蠅蟼 蟽蠀谓伪谓蟿慰蠉渭蔚 蟽蝿 伪蠀蟿蠈 蟿慰 蔚委未慰蟼 蟿畏蟼 渭蠀胃喂蟽蟿慰蟻委伪蟼. 螒谓 苇蟺蟻蔚蟺蔚 慰蟺蠅蟽未萎蟺慰蟿蔚 谓伪 蟿慰谓 蠁苇蟻蠅 魏慰谓蟿维 蟽蔚 维位位慰谓 纬谓蠅蟽蟿蠈 萎蟻蠅伪, 胃伪 蔚蟺苇位蔚纬伪 委蟽蠅蟼 蟿慰谓 螠伪喂纬魏蟻苇.
危蟿畏 尾维蟻未喂伪 蟿慰蠀 未喂伪尾维味蔚喂 螡蟿苇喂尾喂谓蟿 围苇蟻渭蟺蔚谓蟿 螞蠈蟻蔚谓蟼, 蟽蟿慰 蟽蠀蟻蟿维蟻喂 蟿慰蠀 苇蠂蔚喂 蟿慰 危蠀渭蟺蠈蟽喂慰 蟿慰蠀 螤位维蟿蠅谓伪 魏伪喂 蟿喂蟼 螘蟺喂蟽蟿慰位苇蟼 蟿慰蠀 螒蟺慰蟽蟿蠈位慰蠀 螤伪蠉位慰蠀.
螝伪蟿维 尾维蟽畏 蔚委谓伪喂 苇谓伪蟼 蟺慰喂畏蟿萎蟼. 螤蠋蟼 蟽蠀渭尾喂尾维味蔚蟿伪喂 畏 喂未喂蠈蟿畏蟿伪 蟿慰蠀 蟺慰喂畏蟿萎 渭蔚 蔚魏蔚委谓畏 蟿慰蠀 伪蟽蟿蠀谓慰渭喂魏慰蠉; 螤蟻慰蠁伪谓蠋蟼 未喂维位蔚尉蔚 蟿慰 蔚蟺维纬纬蔚位渭伪 纬喂伪 尾喂慰蟺慰蟻喂蟽蟿喂魏慰蠉蟼 位蠈纬慰蠀蟼, 伪位位维 渭苇蟽伪 蟿慰蠀 蟺蟻慰蟽蟺伪胃蔚委 魏伪喂 蔚蟺喂蟿蠀纬蠂维谓蔚喂 谓伪 蟿慰蠀 未蠋蟽蔚喂 渭委伪 维位位畏 渭慰蟻蠁萎.
芦螡喂蠋胃蠅 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蔚蟺伪纬纬苇位渭伪蟿蠈蟼 渭慰蠀鈥ξの肺� 蟺慰委畏蟽畏 伪蠀蟿慰蠉 蟿慰蠀 纬魏蟻委味慰蠀 蟽魏慰谓喂蟽渭苇谓慰蠀 未蠅渭伪蟿委慰蠀, 伪蠀蟿慰蠉 蟿慰蠀 蠁胃伪蟻渭苇谓慰蠀 蟿蟻伪蟺蔚味喂慰蠉, 伪蠀蟿萎蟼 蟿畏蟼 蠁蟿蠅蠂喂魏萎蟼 纬苇蟻喂魏畏蟼 蟽蠈渭蟺伪蟼, 蟺慰蠀 魏维胃蔚 维蟻胃蟻蠅蟽萎 蟿畏蟼 蠀蟺慰蠁苇蟻蔚喂 纬喂伪 谓伪 渭蔚 味蔚蟽蟿维谓蔚喂. 螝伪喂 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蟿畏位蔚蠁蠋谓慰蠀! 韦畏谓 蟺慰委畏蟽畏 蟿喂蟼 谓蠉蠂蟿蔚蟼 蟿畏蟼 伪谓伪渭慰谓萎蟼, 渭蔚 蟿畏谓 慰渭委蠂位畏 蟽蟿畏谓 蟺位伪蟿蔚委伪 谓伪 蠁蟿维谓蔚喂 渭苇蠂蟻喂 蟿慰 蟺蟻慰伪蠉位喂慰 伪蠀蟿慰蠉 蟿慰蠀 蟺伪位喂慰蠉 渭慰谓伪蟽蟿畏蟻喂慰蠉, 蟽畏渭蔚蟻喂谓萎 苇未蟻伪 蟿畏蟼 螒蟽蟿蠀谓慰渭喂魏萎蟼 未喂蔚蠉胃蠀谓蟽畏蟼, 蠈蟺慰蠀 慰喂 未喂蔚蠁胃伪蟻渭苇谓慰喂 苇蠂慰蠀谓 蟺维蟻蔚喂 蟿畏 胃苇蟽畏 蟿蠅谓 伪纬委蠅谓! 禄
螤蔚蟻伪蟽渭苇谓伪 渭蔚蟽维谓蠀蠂蟿伪 渭喂伪蟼 慰渭喂蠂位蠋未慰蠀蟼 谓蠉蠂蟿伪蟼 蟿慰蠀 蠂蔚喂渭蠋谓伪 魏伪喂 蔚渭蠁伪谓委味蔚蟿伪喂 尉伪蠁谓喂魏维 蟽蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 蟿渭萎渭伪 慰 韦味伪谓苇蟿慰 螒慰蠀蟻委蟿味喂, 蟺伪位喂蠈蟼 蟽蠀渭渭伪胃畏蟿萎蟼 蟿慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎. 螘委谓伪喂 蟽蔚 伪蟺蠈纬谓蠅蟽畏, 纬喂伪蟿委 尾蟻委蟽魏蔚蟿伪喂 蟽蟿慰 蠂蔚委位慰蟼 蟿畏蟼 慰喂魏慰谓慰渭喂魏萎蟼 魏伪蟿伪蟽蟿蟻慰蠁萎蟼. 韦畏谓 委未喂伪 蟽蟿喂纬渭萎 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 未苇蠂蔚蟿伪喂 苇谓伪 蟿畏位蔚蠁蠋谓畏渭伪. 危蟿慰 蟽蟺委蟿喂 蟿慰蠀 螒慰蠀蟻委蟿味喂 蠀蟺维蟻蠂蔚喂 苇谓伪 蟺蟿蠋渭伪! 韦慰 蟺蟿蠋渭伪 蔚谓蠈蟼 蟿蟻伪蟺蔚味委蟿畏 蟺慰蠀 魏伪蟿维 蟽蠉渭蟺蟿蠅蟽畏 蔚委蠂蔚 未伪谓蔚委蟽蔚喂 苇谓伪 渭蔚纬维位慰 蟺慰蟽蠈 蟽蟿慰谓 喂未喂慰魏蟿萎蟿畏 蟿慰蠀 蟽蟺喂蟿喂慰蠉.
螤慰蠉 尾蟻喂蟽魏蠈蟿伪谓 慰 螒慰蠀蟻委蟿味喂 蟿畏谓 蠋蟻伪 蔚魏蔚委谓畏; 螕喂伪蟿委, 渭蔚蟿维 伪蟺蠈 蠂蟻蠈谓喂伪, 胃蔚蠋蟻畏蟽蔚 伪谓伪纬魏伪委慰 谓伪 蟺蔚蟻维蟽蔚喂 伪蟺蠈 蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 蟿渭萎渭伪;
螣 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 鈥� 蟺伪蟻蔚渭蟺喂蟺蟿蠈谓蟿蠅蟼, 未蔚谓 伪谓伪蠁苇蟻蔚蟿伪喂 蟿慰 蠈谓慰渭维 蟿慰蠀 魏伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 蟿慰蠀 伪蠁畏纬萎渭伪蟿慰蟼, 渭喂伪 伪尉喂慰蟺蟻蠈蟽蔚魏蟿畏 喂未喂伪喂蟿蔚蟻蠈蟿畏蟿伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 - 蟽蟿畏蟻喂味蠈渭蔚谓慰蟼 蟽蟿畏 未喂伪委蟽胃畏蟽萎 蟿慰蠀 萎 蟽蔚 渭喂伪 蠁喂位蔚蠉蟽蟺位伪蠂谓畏 未喂维胃蔚蟽畏 伪蟺苇谓伪谓蟿喂 蟽蟿慰谓 蟺伪位喂蠈 蟿慰蠀 蠁委位慰 鈥� 伪蟺慰蠁伪蟽委味蔚喂 谓伪 未喂伪位蔚蠀魏维谓蔚喂 蟿慰 渭蠀蟽蟿萎蟻喂慰 蠈蠂喂 渭蠈谓慰 位蠈纬蠅 蟿畏蟼 胃苇蟽蔚蠋蟼 蟿慰蠀 伪位位维 魏伪喂 伪蟺蠈 蟿畏谓 喂蟽蠂蠀蟻萎 胃苇位畏蟽萎 蟿慰蠀 谓伪 蟿慰谓 尾慰畏胃萎蟽蔚喂.
螠喂伪 慰渭维未伪 蠀蟺蠈蟺蟿蠅谓 渭蟺伪委谓蔚喂 魏维蟿蠅 伪蟺蠈 蟿慰 蟺蔚蟻喂蟽魏蠈蟺喂慰 蟿慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎. 螌位慰喂 苇蠂慰蠀谓 苇谓伪 魏委谓畏蟿蟻慰. 螝维蟺慰喂慰喂 伪蟺蠈 伪蠀蟿慰蠉蟼 伪蟻魏蔚蟿维 喂蟽蠂蠀蟻蠈. 螕喂伪 蔚魏蔚委谓慰谓 蠈渭蠅蟼 蟿慰 蟺蟻慰蠁伪谓苇蟼 未蔚谓 蔚委谓伪喂 伪蟻魏蔚蟿蠈. 螣蠉蟿蔚 魏伪喂 蟽蟿伪渭伪蟿维 渭蠈谓慰 蟽蟿畏谓 蔚蟻渭畏谓蔚委伪 蟿蠅谓 蔚蠀蟻畏渭维蟿蠅谓. 螤伪蟻维 渭蔚 蟽蠉渭渭伪蠂慰 蟿慰 未蠀谓伪蟿蠈 苇谓蟽蟿喂魏蟿蠈 蟿慰蠀, 蠀蟺慰尾慰畏胃慰蠉渭蔚谓慰 伪蟺蠈 蟿畏谓 蔚蠀伪喂蟽胃畏蟽委伪 蟺慰蠀 蟿慰谓 未喂苇蟺蔚喂, 蟺蟻慰蠂蠅蟻蔚委 蔚尉伪位蔚委蠁慰谓蟿伪蟼 苇谓伪谓 蟺蟻慰蟼 苇谓伪谓 蟿慰蠀蟼 蠀蟺蠈蟺蟿慰蠀蟼 伪蟺蠈 蟿畏 位委蟽蟿伪 蟿慰蠀, 渭苇蠂蟻喂 谓伪 蠁蟿维蟽蔚喂 蟽蟿慰 蔚蟺喂胃蠀渭畏蟿蠈 伪蟺慰蟿苇位蔚蟽渭伪, 蟿畏 蟽蠉位位畏蠄畏 蟿慰蠀 未慰位慰蠁蠈谓慰蠀.
韦慰 未蠀谓伪蟿蠈 蟿慰蠀 蠈蟺位慰 蔚委谓伪喂 畏 蠂维蟻伪尉畏 蟿慰蠀 蠄蠀蠂慰纬蟻伪蠁萎渭伪蟿慰蟼 蟿蠅谓 蠀蟺蠈蟺蟿蠅谓. 螣 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蔚渭尾伪胃蠉谓蔚喂 蟽蟿畏谓 蠄蠀蠂慰蟽蠉谓胃蔚蟽萎 蟿慰蠀蟼, 伪谓伪蟻蠅蟿喂苇蟿伪喂, 尾纬维味蔚喂 蟿伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿维 蟿慰蠀 魏伪喂 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蠀渭蟺维蟽蠂蔚喂!
螔伪胃喂维 伪谓胃蟻蠋蟺喂谓慰蟼, 魏伪喂 蔚蠀伪委蟽胃畏蟿慰蟼 蟽蔚 苇谓伪 蟽魏畏谓喂魏蠈 蟽蠂蔚未蠈谓 蟽蟿伪蟿喂魏蠈 鈥� 渭委伪 渭苇蟻伪 蔚委谓伪喂 慰 蠂蟻蠈谓慰蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 魏伪喂 蠈位慰喂 慰喂 萎蟻蠅蔚蟼 尾蟻委蟽魏慰谓蟿伪喂 渭伪味蔚渭苇谓慰喂 蟽蔚 苇谓伪 蟽伪位蠈谓喂 - , 蟺伪蟻伪蟿畏蟻蔚委, 蟽畏渭蔚喂蠋谓蔚喂, 魏伪喂 未喂维 蟿畏蟼 蔚喂蟼 维蟿慰蟺慰谓 伪蟺伪纬蠅纬萎蟼 蟺蟻慰蠂蠅蟻维. 螝维蟺慰喂蔚蟼 蠁慰蟻苇蟼 蟺伪蟻伪魏维渭蟺蟿蔚喂 蟿蠀蟺喂魏苇蟼 未喂伪未喂魏伪蟽委蔚蟼 魏伪喂 魏维蟺慰喂蔚蟼 蠁慰蟻苇蟼 蟻喂蟽魏维蟻蔚喂 蟺慰谓蟿维蟻慰谓蟿伪蟼 蟽蟿慰谓 蟺伪蟻维纬慰谓蟿伪 蟿蠉蠂畏.
芦危蠀位位慰纬喂味蠈蟿伪谓 魏伪喂 蟿畏谓 委未喂伪 蟽蟿喂纬渭萎 萎胃蔚位蔚 谓伪 蟽蟿伪渭伪蟿萎蟽蔚喂 谓伪 蟽魏苇蠁蟿蔚蟿伪喂. 螛伪 蟺蟻慰蟿喂渭慰蠉蟽蔚 谓伪 位蔚喂蟿慰蠀蟻纬蔚委 蟽伪谓 蟻伪尾未慰蟽魏蠈蟺慰蟼. 螒谓伪味畏蟿慰蠉蟽蔚 蟿慰谓 未慰位慰蠁蠈谓慰 魏伪喂 苇蟺蟻蔚蟺蔚 谓伪 蟿慰谓 尾蟻蔚喂 渭蔚 蟿慰 渭伪纬喂魏蠈 蟿慰蠀 蟻伪尾未委. 螚 蟽喂蠅蟺萎 蔚尉伪魏慰位慰蠀胃慰蠉蟽蔚 谓伪 伪蟺位蠋谓蔚蟿伪喂 蟺维谓蠅 伪蟺蠈 蔚魏蔚委谓慰蠀蟼 蟿慰蠀蟼 蟿苇蟽蟽蔚蟻喂蟼 伪蟽维位蔚蠀蟿慰蠀蟼 维谓蟿蟻蔚蟼, 渭蠈谓慰 蟺慰蠀 蟿蠋蟻伪 蟺喂伪 未蔚谓 萎蟿伪谓 蟿蔚蟿伪渭苇谓畏 伪位位维 渭维位位慰谓 魏伪蟿伪蟿慰谓喂魏萎. 螠喂伪 魏慰位位蠋未畏蟼 蟽喂蠅蟺萎. 螤蠋蟼 胃伪 苇蟽蟺伪纬蔚 伪蠀蟿萎 蟿畏 尾伪位蟿蠅渭苇谓畏 伪蟿渭蠈蟽蠁伪喂蟻伪; 螤蠋蟼 胃伪 苇尾纬伪喂谓蔚 魏伪喂 蟺维位喂 苇尉蠅 谓伪 蔚喂蟽蟺谓蔚蠉蟽蔚喂 魏伪胃伪蟻蠈 伪苇蟻伪; 韦喂 魏喂谓萎蟽蔚喂蟼 胃伪 苇蟺蟻蔚蟺蔚 谓伪 魏维谓蔚喂;
螒委蠁谓畏蟼, 蟽伪谓 蟺苇蟿蟻伪 蟺慰蠀 蟺苇蠁蟿蔚喂 蟽蟿伪 伪蟿维蟻伪蠂伪 谓蔚蟻维 渭喂伪蟼 位委渭谓畏蟼, 畏 蟿蠉蠂畏 蟺萎蟻蔚 蟿慰谓 蟺蟻蠋蟿慰 位蠈纬慰.禄
螒蠀蟿萎 畏 蠁喂纬慰蠉蟻伪 蟿慰蠀 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 蟺慰蠀 魏蠀蟻喂伪蟻蠂蔚委 蟽蔚 蠈位慰 蟿慰 尾喂尾位委慰, 蟽渭喂位蔚渭苇谓畏 魏伪喂 未慰蟽渭苇谓畏 蔚尉伪喂蟻蔚蟿喂魏维 伪蟺蠈 蟿慰谓 未畏渭喂慰蠀蟻纬蠈 蟿畏蟼, 未蔚谓 渭蟺慰蟻蔚委 蟺伪蟻维 谓伪 伪纬伪蟺畏胃蔚委 伪蟺蠈 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏. 螝蠀蟻喂伪蟻蠂蔚委 渭蔚 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟿慰蠀, 蟿畏 蟽蟿蠅喂魏蠈蟿畏蟿维 蟿慰蠀, 蟿畏谓 蠀蟺慰渭慰谓萎 蟿慰蠀, 蟿畏 未喂维胃蔚蟽萎 蟿慰蠀 谓伪 蠁苇蟻蔚喂 蔚喂蟼 蟺苇蟻伪蟼 蟿畏谓 蠀蟺蠈胃蔚蟽畏 蟺慰蠀 伪谓伪位伪渭尾维谓蔚喂, 伪位位维 魏伪喂 蟿畏谓 蔚蠀伪喂蟽胃畏蟽委伪 蟿慰蠀.
螘谓 魏伪蟿伪魏位蔚委未喂, 伪谓 伪谓伪味畏蟿维蟿蔚 苇谓蟿慰谓畏 未蟻维蟽畏, 蟺慰位蠀未喂维蟽蟿伪蟿慰蠀蟼 萎蟻蠅蔚蟼 魏伪喂 蟺慰位位苇蟼 伪谓伪蟿蟻慰蟺苇蟼 未蔚谓 胃伪 渭蔚委谓蔚蟿蔚 喂魏伪谓慰蟺慰喂畏渭苇谓慰喂.
螒谓 伪谓伪味畏蟿维蟿蔚 蔚魏蔚委谓慰 蟿慰 维蟻蠅渭伪 蟿慰 蟺伪位喂慰渭慰未委蟿喂魏慰 蟺慰蠀 尾纬伪委谓蔚喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 伪蠁萎纬畏蟽畏, 蟿慰 蟿蠈蟽慰 渭伪魏蟻喂谓蠈, 伪位位维 魏伪喂 蟿慰 蟿蠈蟽慰 蠁委谓慰 魏伪喂 未喂伪魏蟻喂蟿喂魏蠈 未慰蟽渭苇谓慰 伪蟺蠈 渭喂伪 蔚尉委蟽慰蠀 蠁委谓伪 位慰纬慰蟿蔚蠂谓喂魏萎 纬蟻伪蠁萎, 胃蔚蠅蟻蔚委蟽蟿蔚 蠈蟿喂 胃伪 蟿慰 尾蟻蔚委蟿蔚 蟽蟿慰 尾喂尾位委慰 螣 胃维谓伪蟿慰蟼 蟿慰蠀 韦蟻伪蟺蔚味委蟿畏!
馃摎
螣 蟺蟻蠈位慰纬慰蟼 纬喂伪 蟿畏谓 蔚位位畏谓喂魏萎 渭蠈谓慰 苇魏未慰蟽畏 蔚委谓伪喂 纬蟻伪渭渭苇谓慰蟼 伪蟺蠈 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 螝维蟻位慰 螞慰蠀魏伪蟻苇位喂, 畏 渭蔚蟿维蠁蟻伪蟽畏 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏萎 魏伪喂 伪谓萎魏蔚喂 蟽蟿畏 螖萎渭畏蟿蟻伪 螖蠈蟿蟽畏
螠蔚 蟿慰 螠喂位维谓慰 尾慰蠀蟿畏纬渭苇谓慰 蟽蟿畏谓 慰渭委蠂位畏, 蔚魏蔚委 魏维蟺慰蠀 蟽蟿伪 1935, 蟽蠀蟽蟿萎谓蔚蟿伪喂 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂, 萎蟻蠅伪蟼 渭喂伪蟼 蟽蔚喂蟻维蟼 未蔚魏伪蟺苇谓蟿蔚 伪蟽蟿蠀谓慰渭喂魏蠋谓 渭蠀胃喂蟽蟿慰蟻畏渭维蟿蠅谓 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 魏伪蟿维 蟿喂蟼 未蔚魏伪蔚蟿委蔚蟼 蟿慰蠀 蝿30 魏伪喂 蟿慰蠀 鈥�40. 螣 胃维谓伪蟿慰蟼 蟿慰蠀 蟿蟻伪蟺蔚味委蟿畏 蔚委谓伪喂 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰.
螣 未畏渭喂慰蠀蟻纬蠈蟼 蟿慰蠀, 未畏渭慰蟽喂慰纬蟻维蠁慰蟼 魏伪喂 蟽蠀纬纬蟻伪蠁苇伪蟼 Augusto De Angelis, 魏伪胃喂蔚蟻蠋胃畏魏蔚 蠅蟼 慰 蟺伪蟿苇蟻伪蟼 蟿畏蟼 喂蟿伪位喂魏萎蟼 伪蟽蟿蠀谓慰渭喂魏萎蟼 位慰纬慰蟿蔚蠂谓委伪蟼. 螌蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 蟽蟿慰谓 蟺蟻蠈位慰纬慰 蟿慰蠀 尾喂尾位委慰蠀 慰 K维蟻位慰 螞慰蠀魏伪蟻苇位喂, 蟺慰位蠉 蟽畏渭伪谓蟿喂魏蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 伪蟽蟿蠀谓慰渭喂魏蠋谓 渭蠀胃喂蟽蟿慰蟻畏渭维蟿蠅谓 (螚 蟿蟻喂位慰纬委伪 蟿慰蠀 蠁伪蟽喂蟽渭慰蠉, 螜蟿伪位喂魏萎 委谓蟿蟻喂纬魏伪, 螠苇蟻伪 渭蔚 蟿畏 渭苇蟻伪 ) :
芦螤伪蟻蠈位慰 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 蟺蟻喂谓 蟺慰位位维 蠂蟻蠈谓喂伪, 蟺伪蟻蠈位慰 蟺慰蠀 慰 伪蟽蟿蠀谓蠈渭慰蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 渭蔚蟿伪魏喂谓蔚委蟿伪喂 渭蔚 蟿慰 蟿蟻伪渭 魏伪喂 纬喂伪 谓伪 伪谓维蠄蔚喂 蟿慰 蠁蠅蟼 蟽蔚 苇谓伪 未蠅渭维蟿喂慰 蟽蟿蟻委尾蔚喂 蟿慰谓 未喂伪魏蠈蟺蟿畏, 蟿伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿维 蟿慰蠀 蟺伪蟻伪渭苇谓慰蠀谓 蔚蟺委魏伪喂蟻伪. 螕喂伪蟿委 畏 魏伪位萎 纬蟻伪蠁萎 未蔚谓 纬蔚蟻谓维蔚喂 蟺慰蟿苇. 螝伪喂 蟿慰 魏蟻蠀蠁蠈 渭蠀蟽蟿萎蟻喂慰 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠄蠀蠂萎蟼 蟺伪蟻伪渭苇谓蔚喂 蟺维谓蟿伪 蟿慰 委未喂慰. 禄
馃摎
螣 Augusto De Angelis 萎蟿伪谓 维纬谓蠅蟽蟿慰蟼 蟽蔚 蔚渭苇谓伪 伪魏蠈渭畏 魏伪喂 魏伪蟿蝿蠈谓慰渭伪 - 委蟽蠅蟼 魏伪喂 蟽蔚 维位位慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 - 魏喂 苇蟿蟽喂 蟿慰 魏委谓畏蟿蟻慰 谓伪 未喂伪尾维蟽蠅 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰 蟺慰蠀 魏蠀魏位慰蠁慰蟻蔚委 蟽蟿畏谓 蔚位位畏谓喂魏萎 纬位蠋蟽蟽伪 萎蟿伪谓 喂蟽蠂蠀蟻蠈. 螠喂伪 魏伪喂谓慰蠉蟻纬喂伪 蠁蠅谓萎, 苇蟽蟿蠅 魏喂 伪谓 蟽委纬畏蟽蔚 蟺蟻喂谓 蟺慰位位维 蠂蟻蠈谓喂伪.
螤慰位位苇蟼 蠁慰蟻苇蟼 胃苇位蠅 谓伪 芦伪蟺慰蟿慰尉喂谓蠅胃蠋禄 伪蟺蠈 蟿畏 蟽蠉纬蠂蟻慰谓畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蟺慰蠀 伪谓蟿喂魏伪蟿慰蟺蟿蟻委味蔚蟿伪喂 蟽蟿畏 蟽蠉纬蠂蟻慰谓畏 伪蟽蟿蠀谓慰渭喂魏萎 位慰纬慰蟿蔚蠂谓委伪 魏伪喂 纬蠀蟻谓蠋 蟽蔚 维位位蔚蟼 纬蟻伪蠁苇蟼 伪位位慰蟿喂谓苇蟼 渭蔚 纬慰畏蟿蔚委伪 蟺慰蠀 委蟽蠅蟼 尉蔚谓委味蔚喂 纬喂伪 位委纬慰, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟽蟿萎蟽喂渭慰 蟺位慰魏萎蟼, 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 萎蟻蠅蔚蟼!
螣 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 蔚委谓伪喂 未喂伪蠁慰蟻蔚蟿喂魏萎 蠁喂纬慰蠉蟻伪 萎蟻蠅伪 伪蟺蠈 蔚魏蔚委谓蔚蟼 蟺慰蠀 蟽蠀谓萎胃蠅蟼 蟽蠀谓伪谓蟿慰蠉渭蔚 蟽蝿 伪蠀蟿蠈 蟿慰 蔚委未慰蟼 蟿畏蟼 渭蠀胃喂蟽蟿慰蟻委伪蟼. 螒谓 苇蟺蟻蔚蟺蔚 慰蟺蠅蟽未萎蟺慰蟿蔚 谓伪 蟿慰谓 蠁苇蟻蠅 魏慰谓蟿维 蟽蔚 维位位慰谓 纬谓蠅蟽蟿蠈 萎蟻蠅伪, 胃伪 蔚蟺苇位蔚纬伪 委蟽蠅蟼 蟿慰谓 螠伪喂纬魏蟻苇.
危蟿畏 尾维蟻未喂伪 蟿慰蠀 未喂伪尾维味蔚喂 螡蟿苇喂尾喂谓蟿 围苇蟻渭蟺蔚谓蟿 螞蠈蟻蔚谓蟼, 蟽蟿慰 蟽蠀蟻蟿维蟻喂 蟿慰蠀 苇蠂蔚喂 蟿慰 危蠀渭蟺蠈蟽喂慰 蟿慰蠀 螤位维蟿蠅谓伪 魏伪喂 蟿喂蟼 螘蟺喂蟽蟿慰位苇蟼 蟿慰蠀 螒蟺慰蟽蟿蠈位慰蠀 螤伪蠉位慰蠀.
螝伪蟿维 尾维蟽畏 蔚委谓伪喂 苇谓伪蟼 蟺慰喂畏蟿萎蟼. 螤蠋蟼 蟽蠀渭尾喂尾维味蔚蟿伪喂 畏 喂未喂蠈蟿畏蟿伪 蟿慰蠀 蟺慰喂畏蟿萎 渭蔚 蔚魏蔚委谓畏 蟿慰蠀 伪蟽蟿蠀谓慰渭喂魏慰蠉; 螤蟻慰蠁伪谓蠋蟼 未喂维位蔚尉蔚 蟿慰 蔚蟺维纬纬蔚位渭伪 纬喂伪 尾喂慰蟺慰蟻喂蟽蟿喂魏慰蠉蟼 位蠈纬慰蠀蟼, 伪位位维 渭苇蟽伪 蟿慰蠀 蟺蟻慰蟽蟺伪胃蔚委 魏伪喂 蔚蟺喂蟿蠀纬蠂维谓蔚喂 谓伪 蟿慰蠀 未蠋蟽蔚喂 渭委伪 维位位畏 渭慰蟻蠁萎.
芦螡喂蠋胃蠅 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蔚蟺伪纬纬苇位渭伪蟿蠈蟼 渭慰蠀鈥ξの肺� 蟺慰委畏蟽畏 伪蠀蟿慰蠉 蟿慰蠀 纬魏蟻委味慰蠀 蟽魏慰谓喂蟽渭苇谓慰蠀 未蠅渭伪蟿委慰蠀, 伪蠀蟿慰蠉 蟿慰蠀 蠁胃伪蟻渭苇谓慰蠀 蟿蟻伪蟺蔚味喂慰蠉, 伪蠀蟿萎蟼 蟿畏蟼 蠁蟿蠅蠂喂魏萎蟼 纬苇蟻喂魏畏蟼 蟽蠈渭蟺伪蟼, 蟺慰蠀 魏维胃蔚 维蟻胃蟻蠅蟽萎 蟿畏蟼 蠀蟺慰蠁苇蟻蔚喂 纬喂伪 谓伪 渭蔚 味蔚蟽蟿维谓蔚喂. 螝伪喂 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蟿畏位蔚蠁蠋谓慰蠀! 韦畏谓 蟺慰委畏蟽畏 蟿喂蟼 谓蠉蠂蟿蔚蟼 蟿畏蟼 伪谓伪渭慰谓萎蟼, 渭蔚 蟿畏谓 慰渭委蠂位畏 蟽蟿畏谓 蟺位伪蟿蔚委伪 谓伪 蠁蟿维谓蔚喂 渭苇蠂蟻喂 蟿慰 蟺蟻慰伪蠉位喂慰 伪蠀蟿慰蠉 蟿慰蠀 蟺伪位喂慰蠉 渭慰谓伪蟽蟿畏蟻喂慰蠉, 蟽畏渭蔚蟻喂谓萎 苇未蟻伪 蟿畏蟼 螒蟽蟿蠀谓慰渭喂魏萎蟼 未喂蔚蠉胃蠀谓蟽畏蟼, 蠈蟺慰蠀 慰喂 未喂蔚蠁胃伪蟻渭苇谓慰喂 苇蠂慰蠀谓 蟺维蟻蔚喂 蟿畏 胃苇蟽畏 蟿蠅谓 伪纬委蠅谓! 禄
螤蔚蟻伪蟽渭苇谓伪 渭蔚蟽维谓蠀蠂蟿伪 渭喂伪蟼 慰渭喂蠂位蠋未慰蠀蟼 谓蠉蠂蟿伪蟼 蟿慰蠀 蠂蔚喂渭蠋谓伪 魏伪喂 蔚渭蠁伪谓委味蔚蟿伪喂 尉伪蠁谓喂魏维 蟽蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 蟿渭萎渭伪 慰 韦味伪谓苇蟿慰 螒慰蠀蟻委蟿味喂, 蟺伪位喂蠈蟼 蟽蠀渭渭伪胃畏蟿萎蟼 蟿慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎. 螘委谓伪喂 蟽蔚 伪蟺蠈纬谓蠅蟽畏, 纬喂伪蟿委 尾蟻委蟽魏蔚蟿伪喂 蟽蟿慰 蠂蔚委位慰蟼 蟿畏蟼 慰喂魏慰谓慰渭喂魏萎蟼 魏伪蟿伪蟽蟿蟻慰蠁萎蟼. 韦畏谓 委未喂伪 蟽蟿喂纬渭萎 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 未苇蠂蔚蟿伪喂 苇谓伪 蟿畏位蔚蠁蠋谓畏渭伪. 危蟿慰 蟽蟺委蟿喂 蟿慰蠀 螒慰蠀蟻委蟿味喂 蠀蟺维蟻蠂蔚喂 苇谓伪 蟺蟿蠋渭伪! 韦慰 蟺蟿蠋渭伪 蔚谓蠈蟼 蟿蟻伪蟺蔚味委蟿畏 蟺慰蠀 魏伪蟿维 蟽蠉渭蟺蟿蠅蟽畏 蔚委蠂蔚 未伪谓蔚委蟽蔚喂 苇谓伪 渭蔚纬维位慰 蟺慰蟽蠈 蟽蟿慰谓 喂未喂慰魏蟿萎蟿畏 蟿慰蠀 蟽蟺喂蟿喂慰蠉.
螤慰蠉 尾蟻喂蟽魏蠈蟿伪谓 慰 螒慰蠀蟻委蟿味喂 蟿畏谓 蠋蟻伪 蔚魏蔚委谓畏; 螕喂伪蟿委, 渭蔚蟿维 伪蟺蠈 蠂蟻蠈谓喂伪, 胃蔚蠋蟻畏蟽蔚 伪谓伪纬魏伪委慰 谓伪 蟺蔚蟻维蟽蔚喂 伪蟺蠈 蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 蟿渭萎渭伪;
螣 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 鈥� 蟺伪蟻蔚渭蟺喂蟺蟿蠈谓蟿蠅蟼, 未蔚谓 伪谓伪蠁苇蟻蔚蟿伪喂 蟿慰 蠈谓慰渭维 蟿慰蠀 魏伪蟿维 蟿畏 未喂维蟻魏蔚喂伪 蟿慰蠀 伪蠁畏纬萎渭伪蟿慰蟼, 渭喂伪 伪尉喂慰蟺蟻蠈蟽蔚魏蟿畏 喂未喂伪喂蟿蔚蟻蠈蟿畏蟿伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 - 蟽蟿畏蟻喂味蠈渭蔚谓慰蟼 蟽蟿畏 未喂伪委蟽胃畏蟽萎 蟿慰蠀 萎 蟽蔚 渭喂伪 蠁喂位蔚蠉蟽蟺位伪蠂谓畏 未喂维胃蔚蟽畏 伪蟺苇谓伪谓蟿喂 蟽蟿慰谓 蟺伪位喂蠈 蟿慰蠀 蠁委位慰 鈥� 伪蟺慰蠁伪蟽委味蔚喂 谓伪 未喂伪位蔚蠀魏维谓蔚喂 蟿慰 渭蠀蟽蟿萎蟻喂慰 蠈蠂喂 渭蠈谓慰 位蠈纬蠅 蟿畏蟼 胃苇蟽蔚蠋蟼 蟿慰蠀 伪位位维 魏伪喂 伪蟺蠈 蟿畏谓 喂蟽蠂蠀蟻萎 胃苇位畏蟽萎 蟿慰蠀 谓伪 蟿慰谓 尾慰畏胃萎蟽蔚喂.
螠喂伪 慰渭维未伪 蠀蟺蠈蟺蟿蠅谓 渭蟺伪委谓蔚喂 魏维蟿蠅 伪蟺蠈 蟿慰 蟺蔚蟻喂蟽魏蠈蟺喂慰 蟿慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎. 螌位慰喂 苇蠂慰蠀谓 苇谓伪 魏委谓畏蟿蟻慰. 螝维蟺慰喂慰喂 伪蟺蠈 伪蠀蟿慰蠉蟼 伪蟻魏蔚蟿维 喂蟽蠂蠀蟻蠈. 螕喂伪 蔚魏蔚委谓慰谓 蠈渭蠅蟼 蟿慰 蟺蟻慰蠁伪谓苇蟼 未蔚谓 蔚委谓伪喂 伪蟻魏蔚蟿蠈. 螣蠉蟿蔚 魏伪喂 蟽蟿伪渭伪蟿维 渭蠈谓慰 蟽蟿畏谓 蔚蟻渭畏谓蔚委伪 蟿蠅谓 蔚蠀蟻畏渭维蟿蠅谓. 螤伪蟻维 渭蔚 蟽蠉渭渭伪蠂慰 蟿慰 未蠀谓伪蟿蠈 苇谓蟽蟿喂魏蟿蠈 蟿慰蠀, 蠀蟺慰尾慰畏胃慰蠉渭蔚谓慰 伪蟺蠈 蟿畏谓 蔚蠀伪喂蟽胃畏蟽委伪 蟺慰蠀 蟿慰谓 未喂苇蟺蔚喂, 蟺蟻慰蠂蠅蟻蔚委 蔚尉伪位蔚委蠁慰谓蟿伪蟼 苇谓伪谓 蟺蟻慰蟼 苇谓伪谓 蟿慰蠀蟼 蠀蟺蠈蟺蟿慰蠀蟼 伪蟺蠈 蟿畏 位委蟽蟿伪 蟿慰蠀, 渭苇蠂蟻喂 谓伪 蠁蟿维蟽蔚喂 蟽蟿慰 蔚蟺喂胃蠀渭畏蟿蠈 伪蟺慰蟿苇位蔚蟽渭伪, 蟿畏 蟽蠉位位畏蠄畏 蟿慰蠀 未慰位慰蠁蠈谓慰蠀.
韦慰 未蠀谓伪蟿蠈 蟿慰蠀 蠈蟺位慰 蔚委谓伪喂 畏 蠂维蟻伪尉畏 蟿慰蠀 蠄蠀蠂慰纬蟻伪蠁萎渭伪蟿慰蟼 蟿蠅谓 蠀蟺蠈蟺蟿蠅谓. 螣 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蔚渭尾伪胃蠉谓蔚喂 蟽蟿畏谓 蠄蠀蠂慰蟽蠉谓胃蔚蟽萎 蟿慰蠀蟼, 伪谓伪蟻蠅蟿喂苇蟿伪喂, 尾纬维味蔚喂 蟿伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿维 蟿慰蠀 魏伪喂 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蠀渭蟺维蟽蠂蔚喂!
螔伪胃喂维 伪谓胃蟻蠋蟺喂谓慰蟼, 魏伪喂 蔚蠀伪委蟽胃畏蟿慰蟼 蟽蔚 苇谓伪 蟽魏畏谓喂魏蠈 蟽蠂蔚未蠈谓 蟽蟿伪蟿喂魏蠈 鈥� 渭委伪 渭苇蟻伪 蔚委谓伪喂 慰 蠂蟻蠈谓慰蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 魏伪喂 蠈位慰喂 慰喂 萎蟻蠅蔚蟼 尾蟻委蟽魏慰谓蟿伪喂 渭伪味蔚渭苇谓慰喂 蟽蔚 苇谓伪 蟽伪位蠈谓喂 - , 蟺伪蟻伪蟿畏蟻蔚委, 蟽畏渭蔚喂蠋谓蔚喂, 魏伪喂 未喂维 蟿畏蟼 蔚喂蟼 维蟿慰蟺慰谓 伪蟺伪纬蠅纬萎蟼 蟺蟻慰蠂蠅蟻维. 螝维蟺慰喂蔚蟼 蠁慰蟻苇蟼 蟺伪蟻伪魏维渭蟺蟿蔚喂 蟿蠀蟺喂魏苇蟼 未喂伪未喂魏伪蟽委蔚蟼 魏伪喂 魏维蟺慰喂蔚蟼 蠁慰蟻苇蟼 蟻喂蟽魏维蟻蔚喂 蟺慰谓蟿维蟻慰谓蟿伪蟼 蟽蟿慰谓 蟺伪蟻维纬慰谓蟿伪 蟿蠉蠂畏.
芦危蠀位位慰纬喂味蠈蟿伪谓 魏伪喂 蟿畏谓 委未喂伪 蟽蟿喂纬渭萎 萎胃蔚位蔚 谓伪 蟽蟿伪渭伪蟿萎蟽蔚喂 谓伪 蟽魏苇蠁蟿蔚蟿伪喂. 螛伪 蟺蟻慰蟿喂渭慰蠉蟽蔚 谓伪 位蔚喂蟿慰蠀蟻纬蔚委 蟽伪谓 蟻伪尾未慰蟽魏蠈蟺慰蟼. 螒谓伪味畏蟿慰蠉蟽蔚 蟿慰谓 未慰位慰蠁蠈谓慰 魏伪喂 苇蟺蟻蔚蟺蔚 谓伪 蟿慰谓 尾蟻蔚喂 渭蔚 蟿慰 渭伪纬喂魏蠈 蟿慰蠀 蟻伪尾未委. 螚 蟽喂蠅蟺萎 蔚尉伪魏慰位慰蠀胃慰蠉蟽蔚 谓伪 伪蟺位蠋谓蔚蟿伪喂 蟺维谓蠅 伪蟺蠈 蔚魏蔚委谓慰蠀蟼 蟿慰蠀蟼 蟿苇蟽蟽蔚蟻喂蟼 伪蟽维位蔚蠀蟿慰蠀蟼 维谓蟿蟻蔚蟼, 渭蠈谓慰 蟺慰蠀 蟿蠋蟻伪 蟺喂伪 未蔚谓 萎蟿伪谓 蟿蔚蟿伪渭苇谓畏 伪位位维 渭维位位慰谓 魏伪蟿伪蟿慰谓喂魏萎. 螠喂伪 魏慰位位蠋未畏蟼 蟽喂蠅蟺萎. 螤蠋蟼 胃伪 苇蟽蟺伪纬蔚 伪蠀蟿萎 蟿畏 尾伪位蟿蠅渭苇谓畏 伪蟿渭蠈蟽蠁伪喂蟻伪; 螤蠋蟼 胃伪 苇尾纬伪喂谓蔚 魏伪喂 蟺维位喂 苇尉蠅 谓伪 蔚喂蟽蟺谓蔚蠉蟽蔚喂 魏伪胃伪蟻蠈 伪苇蟻伪; 韦喂 魏喂谓萎蟽蔚喂蟼 胃伪 苇蟺蟻蔚蟺蔚 谓伪 魏维谓蔚喂;
螒委蠁谓畏蟼, 蟽伪谓 蟺苇蟿蟻伪 蟺慰蠀 蟺苇蠁蟿蔚喂 蟽蟿伪 伪蟿维蟻伪蠂伪 谓蔚蟻维 渭喂伪蟼 位委渭谓畏蟼, 畏 蟿蠉蠂畏 蟺萎蟻蔚 蟿慰谓 蟺蟻蠋蟿慰 位蠈纬慰.禄
螒蠀蟿萎 畏 蠁喂纬慰蠉蟻伪 蟿慰蠀 螡蟿蔚 螔喂谓蟿蟽苇谓蟿味喂 蟺慰蠀 魏蠀蟻喂伪蟻蠂蔚委 蟽蔚 蠈位慰 蟿慰 尾喂尾位委慰, 蟽渭喂位蔚渭苇谓畏 魏伪喂 未慰蟽渭苇谓畏 蔚尉伪喂蟻蔚蟿喂魏维 伪蟺蠈 蟿慰谓 未畏渭喂慰蠀蟻纬蠈 蟿畏蟼, 未蔚谓 渭蟺慰蟻蔚委 蟺伪蟻维 谓伪 伪纬伪蟺畏胃蔚委 伪蟺蠈 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏. 螝蠀蟻喂伪蟻蠂蔚委 渭蔚 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟿慰蠀, 蟿畏 蟽蟿蠅喂魏蠈蟿畏蟿维 蟿慰蠀, 蟿畏谓 蠀蟺慰渭慰谓萎 蟿慰蠀, 蟿畏 未喂维胃蔚蟽萎 蟿慰蠀 谓伪 蠁苇蟻蔚喂 蔚喂蟼 蟺苇蟻伪蟼 蟿畏谓 蠀蟺蠈胃蔚蟽畏 蟺慰蠀 伪谓伪位伪渭尾维谓蔚喂, 伪位位维 魏伪喂 蟿畏谓 蔚蠀伪喂蟽胃畏蟽委伪 蟿慰蠀.
螘谓 魏伪蟿伪魏位蔚委未喂, 伪谓 伪谓伪味畏蟿维蟿蔚 苇谓蟿慰谓畏 未蟻维蟽畏, 蟺慰位蠀未喂维蟽蟿伪蟿慰蠀蟼 萎蟻蠅蔚蟼 魏伪喂 蟺慰位位苇蟼 伪谓伪蟿蟻慰蟺苇蟼 未蔚谓 胃伪 渭蔚委谓蔚蟿蔚 喂魏伪谓慰蟺慰喂畏渭苇谓慰喂.
螒谓 伪谓伪味畏蟿维蟿蔚 蔚魏蔚委谓慰 蟿慰 维蟻蠅渭伪 蟿慰 蟺伪位喂慰渭慰未委蟿喂魏慰 蟺慰蠀 尾纬伪委谓蔚喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 伪蠁萎纬畏蟽畏, 蟿慰 蟿蠈蟽慰 渭伪魏蟻喂谓蠈, 伪位位维 魏伪喂 蟿慰 蟿蠈蟽慰 蠁委谓慰 魏伪喂 未喂伪魏蟻喂蟿喂魏蠈 未慰蟽渭苇谓慰 伪蟺蠈 渭喂伪 蔚尉委蟽慰蠀 蠁委谓伪 位慰纬慰蟿蔚蠂谓喂魏萎 纬蟻伪蠁萎, 胃蔚蠅蟻蔚委蟽蟿蔚 蠈蟿喂 胃伪 蟿慰 尾蟻蔚委蟿蔚 蟽蟿慰 尾喂尾位委慰 螣 胃维谓伪蟿慰蟼 蟿慰蠀 韦蟻伪蟺蔚味委蟿畏!
馃摎
螣 蟺蟻蠈位慰纬慰蟼 纬喂伪 蟿畏谓 蔚位位畏谓喂魏萎 渭蠈谓慰 苇魏未慰蟽畏 蔚委谓伪喂 纬蟻伪渭渭苇谓慰蟼 伪蟺蠈 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 螝维蟻位慰 螞慰蠀魏伪蟻苇位喂, 畏 渭蔚蟿维蠁蟻伪蟽畏 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏萎 魏伪喂 伪谓萎魏蔚喂 蟽蟿畏 螖萎渭畏蟿蟻伪 螖蠈蟿蟽畏
February 21, 2016
As a staunch devotee of Simenon鈥檚 Maigret books, I was delighted to discover this previously unknown to me Italian author, who exhibits a wonderfully similar style and pace to his French counterpart. This is the first of de Augusto鈥檚 books to feature Milanese detective de Vincenzi, originally published in 1935, and now re-issued under the mantle of the Pushkin Vertigo series. The detective we encounter here is thoughtful, pragmatic. and like the venerable Maigret possesses a wonderful appreciation of the grey areas of crime detection, and the inevitable pulls on professional honour, and personal loyalty that this presents. In this relatively slim tale, de Vincenzi insinuates a greater level of psychological exploration than in books three times its length, and there is a strong sense of the socio-political feel of Italy in this period too. It鈥檚 bijou, but perfectly constructed and I can鈥檛 wait to discover the rest of the series鈥�
August 12, 2021
韦慰 蟺蟻蠋蟿慰 尾喂尾位委慰 蟿慰蠀 螒慰蠀纬魏慰蠉蟽蟿慰 谓蟿蔚 螁谓蟿味蔚位喂蟼 蟺慰蠀 渭蔚蟿伪蠁蟻维味蔚蟿伪喂 蟽蟿伪 蔚位位畏谓喂魏维 渭伪蟼 蟺伪蟻慰蠀蟽喂维味蔚喂 渭苇蟽伪 伪蟺蠈 渭喂伪 魏位伪蟽喂魏萎 喂蟽蟿慰蟻委伪 whodunnit 伪蟽蟿蠀谓慰渭喂魏慰蠉 蟿慰谓 螝维蟻位慰 谓蟿蔚 螔喂蟿味苇谓蟿味喂, 苇谓伪谓 魏伪位位喂蔚蟻纬畏渭蔚谓慰 魏伪喂 蔚蠀伪委蟽胃畏蟿慰 蔚蟺喂胃蔚蠅蟻畏蟿萎 蟺慰蠀 伪谓伪味畏蟿维 蟽蟿蠅喂魏维 蟿畏 位蠉蟽畏 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼 渭苇蟽伪 伪蟺蠈 蟺蟻慰蟽蔚魏蟿喂魏苇蟼 伪谓伪位蠉蟽蔚喂蟼 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓, 苇蟻蔚蠀谓伪 蟽蟿慰喂蠂蔚委蠅谓, 伪位位维 魏伪喂 蟿蠅谓 魏喂谓萎蟿蟻蠅谓 蟿蠅谓 蠀蟺蠈蟺蟿蠅谓.
螣 谓蟿蔚 螔喂蟿蟽苇谓蟿味喂 蔚委谓伪喂 蟿伪蟺蔚喂谓蠈蟼, 蠀蟺慰渭慰谓蔚蟿喂魏蠈蟼, 伪谓胃蟻蠋蟺喂谓慰蟼 魏伪喂 畏胃喂魏蠈蟼, 渭蔚 魏伪蟿伪谓蠈畏蟽畏 蠈渭蠅蟼 纬喂伪 蟿伪 伪谓胃蟻蠋蟺喂谓伪 蟺维胃畏, 苇谓伪蟼 蠀蟺苇蟻慰蠂慰蟼 维谓胃蟻蠅蟺慰蟼. 螣 蟿蟻蠈蟺慰蟼 蟿慰蠀 蟺蔚蟻喂位伪渭尾维谓蔚喂 维蠁胃慰谓畏 伪谓维魏蟻喂蟽畏 蟿蠅谓 蠀蟺蠈蟺蟿蠅谓, 慰未畏纬蠋谓蟿伪蟼 蟿慰蠀蟼 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蔚 慰渭慰位慰纬委伪 蟿蠅谓 蟺蟻维尉蔚蠅谓 蟿慰蠀蟼.
螚 纬蟻伪蠁萎 蟿慰蠀 谓蟿蔚 螁谓蟿味蔚位喂蟼 蔚委谓伪喂 蟺伪位喂伪魏萎, 渭蔚 维蠁胃慰谓慰蠀蟼 蠁蠀蟽喂魏维 未喂伪位蠈纬慰蠀蟼, 伪蟻魏蔚蟿蠈 渭蔚位蠈未蟻伪渭伪, 伪蟺慰蠀蟽委伪 蠁蠀蟽喂魏萎蟼 未蟻维蟽畏蟼 魏伪喂 蟽蔚 伪蠀蟿萎谓 伪谓蟿伪谓伪魏位维蟿伪喂 畏 魏慰喂谓蠅谓委伪 蟿畏蟼 螜蟿伪位委伪蟼 蟿慰蠀 30 魏伪喂 蟿慰蠀 40, 渭蔚 蟿伪 胃苇伪蟿蟻伪 魏伪喂 蟿伪 蟺伪位维蟿蟽慰.
危蟿慰 尾喂尾位委慰 蠈位畏 畏 未蟻维蟽畏 蔚尉蔚位委蟽蟽蔚蟿伪喂 蔚谓蟿蠈蟼 24蠅蟻慰蠀 魏伪喂 蟽蠂蔚未蠈谓 伪蟺慰魏位蔚喂蟽蟿喂魏维 蔚蟺维谓蠅 伪蟺蠈 蟿畏 蟽魏畏谓萎 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼.
螒谓蠀蟺慰渭慰谓蠋 纬喂伪 蟿伪 蔚蟺蠈渭蔚谓伪 尾喂尾位委伪 蟿慰蠀 蟽蟿伪 蔚位位畏谓喂魏维!
螣 谓蟿蔚 螔喂蟿蟽苇谓蟿味喂 蔚委谓伪喂 蟿伪蟺蔚喂谓蠈蟼, 蠀蟺慰渭慰谓蔚蟿喂魏蠈蟼, 伪谓胃蟻蠋蟺喂谓慰蟼 魏伪喂 畏胃喂魏蠈蟼, 渭蔚 魏伪蟿伪谓蠈畏蟽畏 蠈渭蠅蟼 纬喂伪 蟿伪 伪谓胃蟻蠋蟺喂谓伪 蟺维胃畏, 苇谓伪蟼 蠀蟺苇蟻慰蠂慰蟼 维谓胃蟻蠅蟺慰蟼. 螣 蟿蟻蠈蟺慰蟼 蟿慰蠀 蟺蔚蟻喂位伪渭尾维谓蔚喂 维蠁胃慰谓畏 伪谓维魏蟻喂蟽畏 蟿蠅谓 蠀蟺蠈蟺蟿蠅谓, 慰未畏纬蠋谓蟿伪蟼 蟿慰蠀蟼 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蔚 慰渭慰位慰纬委伪 蟿蠅谓 蟺蟻维尉蔚蠅谓 蟿慰蠀蟼.
螚 纬蟻伪蠁萎 蟿慰蠀 谓蟿蔚 螁谓蟿味蔚位喂蟼 蔚委谓伪喂 蟺伪位喂伪魏萎, 渭蔚 维蠁胃慰谓慰蠀蟼 蠁蠀蟽喂魏维 未喂伪位蠈纬慰蠀蟼, 伪蟻魏蔚蟿蠈 渭蔚位蠈未蟻伪渭伪, 伪蟺慰蠀蟽委伪 蠁蠀蟽喂魏萎蟼 未蟻维蟽畏蟼 魏伪喂 蟽蔚 伪蠀蟿萎谓 伪谓蟿伪谓伪魏位维蟿伪喂 畏 魏慰喂谓蠅谓委伪 蟿畏蟼 螜蟿伪位委伪蟼 蟿慰蠀 30 魏伪喂 蟿慰蠀 40, 渭蔚 蟿伪 胃苇伪蟿蟻伪 魏伪喂 蟿伪 蟺伪位维蟿蟽慰.
危蟿慰 尾喂尾位委慰 蠈位畏 畏 未蟻维蟽畏 蔚尉蔚位委蟽蟽蔚蟿伪喂 蔚谓蟿蠈蟼 24蠅蟻慰蠀 魏伪喂 蟽蠂蔚未蠈谓 伪蟺慰魏位蔚喂蟽蟿喂魏维 蔚蟺维谓蠅 伪蟺蠈 蟿畏 蟽魏畏谓萎 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼.
螒谓蠀蟺慰渭慰谓蠋 纬喂伪 蟿伪 蔚蟺蠈渭蔚谓伪 尾喂尾位委伪 蟿慰蠀 蟽蟿伪 蔚位位畏谓喂魏维!
November 7, 2016
Reading a vintage crime novel such as this is really like opening a time capsule. Written in 1935, it is the first of a series of 20 novels by Augusto De Angelis, hailed as Italy's first crime writer. The story itself is good, but I enjoyed more the atmosphere and character development as well as a first hand experience of Milan between the world wars.
September 8, 2021
螕蔚谓谓萎胃畏魏蔚 蟽蟿畏 巍蠋渭畏, 蔚委谓伪喂 伪蟺蠈 蟿慰蠀蟼 蟺蟻蠋蟿慰蠀蟼 蟺慰蠀 苇纬蟻伪蠄伪谓 渭蔚蟽慰纬蔚喂伪魏蠈 谓慰蠀维蟻 魏伪喂 渭伪蟼 蟽蠀蟽蟿萎谓蔚蟿伪喂 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟽蟿畏谓 螘位位维未伪, 渭苇蟽伪 伪蟺蠈 蟿喂蟼 螘魏未蠈蟽蔚喂蟼 螣螝韦螒螡螒. 螘委谓伪喂 慰 螒慰蠀纬魏慰蠉蟽蟿慰 螡蟿蔚 螁谓蟿味蔚位喂蟼 渭蔚 蟿慰 尾喂尾位委慰 蟿慰蠀 蟺慰蠀 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟿慰 1935 魏伪喂 蠁苇蟻蔚喂 蟿慰谓 蟿委蟿位慰 芦螚 未慰位慰蠁慰谓委伪 蟿慰蠀 蟿蟻伪蟺蔚味委蟿畏禄 (Il banchiere assassinato). 危蟿伪 胃蔚蟿喂魏维 蟿慰蠀 尾喂尾位委慰蠀, 畏 蔚尉伪喂蟻蔚蟿喂魏萎 渭蔚蟿维蠁蟻伪蟽畏 蟽蟿伪 蔚位位畏谓喂魏维 伪蟺蠈 蟿畏 螖萎渭畏蟿蟻伪 螖蠈蟿蟽畏, 魏伪胃蠋蟼 魏伪喂 慰 蟺蟻蠈位慰纬慰蟼 纬喂伪 蟿畏谓 蔚位位畏谓喂魏萎 苇魏未慰蟽畏 蟺慰蠀 苇蠂蔚喂 纬蟻伪蠁蔚委 伪蟺蠈 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 螝维蟻位慰 螞慰蠀魏伪蟻苇位喂.
螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 蟺蟻蠋蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭喂伪蟼 蟽蔚喂蟻维蟼 渭蔚 蟿慰谓 委未喂慰 萎蟻蠅伪, 未蔚魏伪蟺苇谓蟿蔚 蟿慰谓 伪蟻喂胃渭蠈, 畏 蟺蟻蠋蟿畏 蔚渭蠁维谓喂蟽畏 蟿慰蠀 未伪喂渭蠈谓喂慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎 蟿畏蟼 螒蟽蟿蠀谓慰渭喂魏萎蟼 螖喂蔚蠉胃蠀谓蟽畏蟼 螠喂位维谓慰蠀, 螝维蟻位慰 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂, 蔚谓蠈蟼 喂未喂伪委蟿蔚蟻慰蠀 蠂伪蟻伪魏蟿萎蟻伪. 螠伪蟼 胃蠀渭委味蔚喂 蔚位伪蠁蟻蠋蟼 蟿慰谓 螠伪喂纬魏蟻苇 蟿慰蠀 危喂渭蔚谓蠈谓, 蠈渭蠅蟼 苇蠂蔚喂 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏维 蟺慰蠀 蟿慰谓 未喂伪蠁慰蟻慰蟺慰喂慰蠉谓. 危蔚 魏维蟺慰喂伪 蟽畏渭蔚委伪 蟽蟿维胃畏魏伪 蟽蟿慰 魏伪位位喂蔚蟻纬畏渭苇谓慰 蟿慰蠀 蠉蠁慰蟼, 蟺慰蠀 蠈渭蠅蟼 伪位位慰蠉 伪谓伪纬魏伪味蠈蟿伪谓 谓伪 蟿慰 伪蟺慰蟿喂谓维尉蔚喂, 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蟽蟿伪胃蔚委 蔚蟺维尉喂伪 蟽蟿慰 蟻蠈位慰 蔚谓蠈蟼 魏伪位慰蠉 伪蟽蟿蠀谓蠈渭慰蠀 魏伪喂 谓伪 纬委谓蔚喂 蟺喂慰 伪蠀蟽蟿畏蟻蠈蟼 魏伪喂 渭蟺蟻慰蠀蟿维位, 伪蟺苇谓伪谓蟿喂 蟽蔚 蠈蟽慰蠀蟼 蟿慰蠀 伪谓蟿喂蟽蟿苇魏慰谓蟿伪谓 蟽蟿畏谓 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 伪位萎胃蔚喂伪蟼.
螠蔚 渭喂伪 伪蟻纬萎 蟽蟿畏谓 伪蟻蠂萎 胃蔚蠋蟻畏蟽畏 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓, 苇蟿蟽喂 蠋蟽蟿蔚 谓伪 尉蔚蟿蠀位喂蠂蟿蔚委 蟿慰 魏慰蠀尾维蟻喂 蟿畏蟼 喂蟽蟿慰蟻委伪蟼, 慰 伪蟽蟿蠀谓蠈渭慰蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 蟽蠀谓慰渭喂位蔚委 渭蔚 蟿慰谓 蟺伪喂未喂魏蠈 蟿慰蠀 蠁委位慰, 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪 韦味伪谓苇蟿慰 螒慰蠀蟻委蟿味喂. 螝维蟿喂 蠁伪委谓蔚蟿伪喂 蠈蟿喂 蠀蟺慰尾蠈蟽魏蔚喂 蟽蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪, 蟽伪谓 苇谓伪 渭蠀蟽蟿喂魏蠈 蟺慰蠀 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟺伪蟻伪渭蔚委谓蔚喂 蟽蟿慰 畏渭委蠁蠅蟼 伪蟺蠈 蟿慰谓 蠁委位慰 蟿慰蠀. 螒蟺慰未蔚喂魏谓蠉蔚蟿伪喂 蟿蔚位喂魏维 蟺蠅蟼 蠀蟺维蟻蠂蔚喂 渭喂伪 蟽蠂苇蟽畏 渭蔚蟿伪尉蠉 伪蠀蟿慰蠉 魏伪喂 蟿慰蠀 未慰位慰蠁慰谓畏渭苇谓慰蠀 蟿蟻伪蟺蔚味委蟿畏 螠维蟻喂慰 螕魏伪蟻位委谓喂 蟺慰蠀 尾蟻苇胃畏魏蔚 蟽蟿慰 未喂伪渭苇蟻喂蟽渭伪 蟿慰蠀 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪, 蠂蠅蟻委蟼 蠈渭蠅蟼 蠈蟺蠅蟼 喂蟽蠂蠀蟻委味蔚蟿伪喂 慰 委未喂慰蟼 谓伪 苇蠂蔚喂 喂未苇伪.
螣喂 蠀蟺慰蠄委蔚蟼 未喂伪蠂苇慰谓蟿伪喂 蟽蔚 蠈位蔚蟼 蟿喂蟼 蟽蔚位委未蔚蟼 蟺蟻慰蟼 魏维胃蔚 魏伪蟿蔚蠉胃蠀谓蟽畏. 螣 慰蟺慰喂慰蟽未萎蟺慰蟿蔚 萎蟻胃蔚 蟽蔚 蟽蠀谓维谓蟿畏蟽畏 渭蔚 蟿慰 胃蠉渭伪 胃蔚蠅蟻蔚委蟿伪喂 蟺喂胃伪谓蠈蟼 苇谓慰蠂慰蟼 魏伪喂 慰 伪蟽蟿蠀谓蠈渭慰蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 胃伪 蠂蟻畏蟽喂渭慰蟺慰喂萎蟽蔚喂 蠈位畏 蟿畏谓 蟺蔚喂胃蠋 蟿慰蠀 魏伪喂 蟿畏 位慰纬喂魏萎 蟿慰蠀 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 伪谓慰委尉蔚喂 蠈位伪 蟿伪 蟽魏慰蟿蔚喂谓维 蟽畏渭蔚委伪 蟿畏蟼 蠀蟺蠈胃蔚蟽畏蟼. 螤慰喂慰蟼 蔚委谓伪喂 慰 未慰位蠈蠁慰谓慰蟼; 螣 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪蟼, 畏 渭谓畏蟽蟿萎 蟿慰蠀, 慰 蟺蔚胃蔚蟻蠈蟼 蟿慰蠀, 慰 慰喂魏慰谓蠈渭慰蟼, 慰 蠁慰喂蟿畏蟿萎蟼 蟿慰蠀 蟺维谓蠅 慰蟻蠈蠁慰蠀, 萎 伪魏蠈渭伪 魏维蟺慰喂慰蟼 蟺慰蠀 未蔚谓 苇蠂蔚喂 渭蟺蔚喂 蟽蟿慰 蟽蟿蠈蠂伪蟽蟿蟻慰 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀;
螝位伪蟽喂魏蠈 whodunit, 渭蔚 蠈位伪 蟿伪 魏位喂蟽苇 蟺慰蠀 位伪蟿蟻苇蠄伪渭蔚 蟽蟿畏谓 蟺伪位喂维 魏伪位萎 伪蟽蟿蠀谓慰渭喂魏萎 位慰纬慰蟿蔚蠂谓委伪, 魏伪喂 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟿伪 尾伪蟻蔚胃慰蠉渭蔚 蟺慰蟿苇, 蠀未蟻慰魏蠀维谓喂伪 魏伪喂 魏位蔚喂蟽蟿维 未蠅渭维蟿喂伪, 魏蟻伪蠀纬苇蟼 魏伪喂 渭蟺维蟿位蔚蟻. 螣喂 伪谓伪蟿蟻慰蟺苇蟼 伪魏慰位慰蠀胃慰蠉谓 畏 渭委伪 蟿畏谓 维位位畏 魏伪喂 慰喂 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻蔚蟼 蟽魏畏谓苇蟼 未喂伪未蟻伪渭伪蟿委味慰谓蟿伪喂 蟽蟿慰 蠂蠋蟻慰 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼, 蟽蔚 苇谓伪 魏位蔚喂蟽蟿蠈 未喂伪渭苇蟻喂蟽渭伪, 蠈蟺慰蠀 尾蟻委蟽魏慰谓蟿伪喂 蠈位慰喂 慰喂 蠉蟺慰蟺蟿慰喂 苇蟿慰喂渭慰喂 谓伪 蠀蟺慰蟽蟿慰蠉谓 蟿畏谓 蔚尉慰谓蠀蠂喂蟽蟿喂魏萎 蔚尉苇蟿伪蟽畏 渭苇蟽伪 伪蟺蠈 蟿畏谓 蟿蔚蟿蟻维纬蠅谓畏 位慰纬喂魏萎 蟿慰蠀 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂. 螣 慰蟺慰委慰蟼 尾苇尾伪喂伪, 蔚魏蟿蠈蟼 伪蟺蠈 位慰纬喂魏萎, 未喂伪胃苇蟿蔚喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅: 渭喂伪 魏伪蟻未喂维 蟺慰蠀 蠂蟿蠀蟺维 蟽蟿慰蠀蟼 蟻蠀胃渭慰蠉蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 魏伪喂 渭蟺慰蟻蔚委 谓伪 蟿慰蠀蟼 魏伪蟿伪位伪尾伪委谓蔚喂, 纬喂伪 渭喂魏蟻维 萎 渭蔚纬维位伪 蟺伪蟻伪蟺蟿蠋渭伪蟿伪, 伪蠀蟿蠈 蟺慰蠀 蟿慰蠀 蟺蟻慰蟽胃苇蟿蔚喂 蟽蟿慰谓 喂未喂伪委蟿蔚蟻慰 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 魏伪喂 蟿慰谓 魏维谓蔚喂 伪纬伪蟺畏蟿蠈 蟽蟿慰谓 伪谓伪纬谓蠋蟽蟿畏.
螆谓伪 魏位蔚委蟽喂渭慰 蟿慰蠀 渭伪蟿喂慰蠉 魏伪喂 蟽蟿喂蟼 detective stories 伪蟺蠈 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪, 渭苇蟽伪 伪蟺蠈 蟿慰谓 蠂伪蟻伪魏蟿萎蟻伪 蟿畏蟼 渭慰喂蟻伪委伪蟼 螠伪蟻委伪 韦味慰尾维谓伪, 蟿慰蠀 蠁蟿蠅蠂慰蠉 伪位位维 蟿委渭喂慰蠀 谓蔚伪蟻慰蠉 蟽蟿畏 蟽慰蠁委蟿伪 巍蔚渭委蟿味慰 螒位蟿喂苇蟻喂, 魏伪喂 蟿慰蠀 蔚蟺委 蟺位畏蟻蠅渭萎 螁纬纬位慰蠀 谓蟿蔚蟿苇魏蟿喂尾 围维蟻喂纬魏蟿慰谓, 伪蟺慰味畏渭喂蠋谓慰蠀谓 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟽蔚 苇谓伪 慰位喂纬慰蟽苇位喂未慰 伪位位维 蟺位萎蟻蔚蟼 尾喂尾位委慰, 魏位伪蟽喂魏蠈 魏伪喂 未喂伪蠂蟻慰谓喂魏蠈.
芦惟蟻伪委慰 蟺蟻维纬渭伪 谓伪 苇蠂蔚喂 魏伪谓蔚委蟼 蟿喂蟼 胃蔚蠅蟻委蔚蟼 蟿慰蠀! 螘纬蠋 蟺维位喂 慰蠁蔚委位蠅 谓伪 蟽伪蟼 蟺蠅 蠈蟿喂 未蔚谓 苇蠂蠅 魏伪渭委伪 伪蟺慰位蠉蟿蠅蟼 胃蔚蠅蟻委伪禄. 螣 围维蟻喂纬魏蟿慰谓 未蔚谓 伪谓蟿喂位萎蠁胃畏魏蔚 蟿畏谓 蔚喂蟻蠅谓蔚委伪 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀. 芦惟, 蟿慰 渭蠈谓慰 蟺慰蠀 蠂蟻蔚喂维味蔚蟿伪喂 蔚委谓伪喂 谓伪 蔚谓蔚蟻纬慰蟺慰喂萎蟽蔚蟿蔚 蟿伪 纬魏蟻委味伪 魏蠉蟿蟿伪蟻伪 蟿慰蠀 蔚纬魏蔚蠁维位慰蠀 蟽伪蟼禄. 芦螒蟽蠁伪位蠋蟼!禄 伪蟺慰魏蟻委胃畏魏蔚 慰 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 魏伪喂 苇魏慰蠄蔚 蟿畏谓 魏慰蠀尾苇谓蟿伪 渭蔚 蠉蠁慰蟼 蟺伪纬蔚蟻蠈: 芦惟蟻伪委伪 位慰喂蟺蠈谓, 尾维位蟿蔚 蟿伪 谓伪 未慰蠀位苇蠄慰蠀谓, 围维蟻喂谓纬魏蟿慰谓. 螇蟻胃蔚 畏 魏伪蟿维位位畏位畏 蟽蟿喂纬渭萎禄.
螚 蠀蟺蠈胃蔚蟽畏 蠁伪委谓蔚蟿伪喂 维位蠀蟿畏, 蟺伪蟻鈥� 蠈位慰 蟺慰蠀 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 苇蠂蔚喂 魏慰蠁蟿蔚蟻蠈 渭蠀伪位蠈 魏伪喂 蔚蟻纬维味蔚蟿伪喂 伪蟽蟿伪渭维蟿畏蟿伪, 蟽蟿萎谓慰谓蟿伪蟼 伪魏蠈渭伪 魏伪喂 委谓蟿蟻喂纬魏蔚蟼 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 伪谓伪纬魏伪蟽蟿慰蠉谓 慰喂 蠉蟺慰蟺蟿慰喂 谓伪 伪蟺慰魏伪位蠉蠄慰蠀谓 蟿畏谓 伪位萎胃蔚喂伪. 韦喂蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蠈渭蠅蟼 蠁慰蟻苇蟼 未喂伪蟺喂蟽蟿蠋谓蔚喂 蟺蠅蟼 蠈位伪 纬委谓慰谓蟿伪喂 魏维蟿蠅 伪蟺蠈 蟿畏 渭蠉蟿畏 蟿慰蠀, 魏伪喂 未蔚谓 蠂蟻蔚喂维味蔚蟿伪喂 蟺伪蟻维 谓伪 蟿伪 未蔚喂 蠀蟺蠈 维位位慰 蟺蟻委蟽渭伪 萎 慰蟺蟿喂魏萎 纬蠅谓委伪. 螣 尾慰畏胃蠈蟼 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀, 慰 螠维魏伪蟻喂, 蠁蟻慰谓蟿委味蔚喂 谓伪 蟿慰蠀 蟿慰 蠀蟺蔚谓胃蠀渭委味蔚喂.
芦螚 伪尉委伪 蔚谓蠈蟼 纬蔚纬慰谓蠈蟿慰蟼 未蔚谓 苇纬魏蔚喂蟿伪喂 蟽蟿畏 蟽蟺伪谓喂蠈蟿畏蟿维 蟿慰蠀, 伪位位维 魏伪蟿维 魏蠉蟻喂慰 位蠈纬慰 蟽蟿慰 蟺蠈蟽慰 蟽蠀谓畏胃喂蟽渭苇谓慰 蔚委谓伪喂, 魏伪喂, 蟺蟻慰蟿慰蠉 伪尉喂蠋蟽慰蠀渭蔚 伪蟺蠈 蟿畏谓 慰尉蠀未苇蟻魏蔚喂维 渭伪蟼 谓伪 渭伪蟼 蠀蟺慰未蔚委尉蔚喂 伪蠀蟿蠈 蟺慰蠀 蔚委谓伪喂 伪蠈蟻伪蟿慰 蟽蟿伪 渭维蟿喂伪 渭伪蟼, 蔚委谓伪喂 蟺蟻慰蟿喂渭蠈蟿蔚蟻慰 谓伪 蔚魏蟺伪喂未蔚蠉蟽慰蠀渭蔚 伪蠀蟿萎 蟿畏谓 慰尉蠀未苇蟻魏蔚喂伪 蟽蔚 蠈,蟿喂 蔚委谓伪喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 魏喂 伪蟺蠈 慰蟻伪蟿蠈 魏伪喂 纬喂鈥� 伪蠀蟿蠈谓 伪魏蟻喂尾蠋蟼 蟿慰谓 位蠈纬慰 未蔚谓 魏蔚谓蟿蟻委味蔚喂 蟿畏谓 蟺蟻慰蟽慰蠂萎 渭伪蟼禄.
螠喂伪 蟺蟻慰蟽苇纬纬喂蟽畏 蟽蟿慰 苇纬魏位畏渭伪 伪蟺蠈 苇谓伪谓 渭蔚纬维位慰 蟿慰蠀 蔚委未慰蠀蟼, 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 螒慰蠀纬魏慰蠉蟽蟿慰 螡蟿蔚 螁谓蟿味蔚位喂蟼 (1888-1955) 蟺慰蠀 未蠀蟽蟿蠀蠂蠋蟼 未蔚谓 魏伪蟿维蠁蔚蟻蔚 谓伪 蟺蟻慰蟽胃苇蟽蔚喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 苇蟻纬伪 蟽蟿慰 蔚谓蔚蟻纬畏蟿喂魏蠈 蟿慰蠀, 伪蠁慰蠉 未蔚谓 蟿慰蠀 蔚蟺喂蟿蟻维蟺畏魏蔚 伪蟺蠈 蟿慰 魏伪胃蔚蟽蟿蠋蟼 螠慰蠀蟽慰位委谓喂 (芦蟽蟿畏 蠂蠋蟻伪 渭伪蟼 未蔚谓 纬委谓慰谓蟿伪喂 蟿苇蟿慰喂伪 蟺蟻维纬渭伪蟿伪, 未蔚谓 苇蠂慰蠀渭蔚 谓蟿蔚蟿苇魏蟿喂尾, 未蔚谓 苇蠂慰蠀渭蔚 渭畏蟿蟻慰蟺蠈位蔚喂蟼 魏伪喂 魏蠀蟻委蠅蟼 未蔚谓 苇蠂慰蠀渭蔚 纬魏维谓纬魏蟽蟿蔚蟻禄, 芦苇蠂慰蠀渭蔚 魏伪喂 蟺伪蟻伪苇蠂慰蠀渭蔚 蔚纬魏位萎渭伪蟿伪禄 伪蟺伪谓蟿慰蠉蟽蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼.
芦韦喂蟼 谓蠉蠂蟿蔚蟼 蔚魏蔚委谓蔚蟼 蠈蟺慰蠀 未蔚谓 蟽蠀渭尾伪委谓蔚喂 蟿委蟺慰蟿伪 魏伪喂 蟽蠀渭尾伪委谓慰蠀谓 蟿伪 蟺维谓蟿伪, 纬喂伪蟿委 蟽蟿畏 渭蔚纬维位畏 魏慰喂渭喂蟽渭苇谓畏 蟺蠈位畏, 伪魏蠈渭伪 魏伪喂 蟿慰蠉蟿畏 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 渭喂位维渭蔚, 蟿伪 未蟻维渭伪蟿伪 蔚委谓伪喂 伪蟿蔚位蔚委蠅蟿伪 魏喂 伪蟼 渭畏谓 蔚委谓伪喂 蠈位伪 蟿慰蠀蟼 伪喂渭伪蟿畏蟻维. 螒蟺蔚谓伪谓蟿委伪蟼, 蟿伪 蟺喂慰 蟿蟻慰渭蔚蟻维 蔚委谓伪喂 伪魏蟻喂尾蠋蟼 伪蠀蟿维 蟺慰蠀 未蔚谓 魏伪蟿伪位萎纬慰蠀谓 蟽蔚 苇谓伪谓 蟺蠀蟻慰尾慰位喂蟽渭蠈 萎 渭喂伪 渭伪蠂伪喂蟻喂维禄.
螤慰位蠉 蟽蠅蟽蟿维, 蠀蟺维蟻蠂蔚喂 蔚魏蟿蔚谓萎蟼 伪谓伪蠁慰蟻维 蟽蟿慰谓 蟺蟻蠈位慰纬慰 蟿慰蠀 尾喂尾位委慰蠀 纬喂伪 蟿慰谓 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀, 蟺慰蠀 蠁伪委谓蔚蟿伪喂 蠈蟿喂 伪谓蟿喂蟺蟻慰蟽蠅蟺蔚蠉蔚喂 魏伪喂 蟿慰谓 委未喂慰 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪: 芦螣 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蔚蟺喂未苇尉喂慰蟼 蟽蟿慰 谓伪 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪 蔚谓蠈蟼 蔚纬魏位萎渭伪蟿慰蟼, 谓伪 未喂伪魏蟻委谓蔚喂 蔚魏蔚委谓畏 蟿畏谓 蠀蟺蠈 未喂伪渭蠈蟻蠁蠅蟽畏 魏慰喂谓蠅谓委伪 魏伪喂 魏蠀蟻委蠅蟼 蟿畏谓 蠄蠀蠂萎 蟿蠅谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿蠋谓 蟿慰蠀. 螝喂 伪蠀蟿蠈 蔚委谓伪喂 魏维蟿喂 蟺慰蠀 蟿慰谓 蟺伪胃喂维味蔚喂, 渭伪 魏伪喂 蟺慰蠀 蟿畏谓 委未喂伪 蟽蟿喂纬渭萎 蟿慰谓 魏维谓蔚喂 谓伪 蠀蟺慰蠁苇蟻蔚喂禄.
螘位蟺委味慰蠀渭蔚 谓伪 苇蟻胃慰蠀谓 蟽蠉谓蟿慰渭伪 魏伪喂 慰喂 蠀蟺蠈位慰喂蟺蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 蔚蠀蠁蠀慰蠉蟼 蔚蟺喂胃蔚蠅蟻畏蟿萎. 螘委谓伪喂 渭喂伪 伪蟺慰蟿慰尉委谓蠅蟽畏 谓伪 蔚蟺喂蟽蟿蟻苇蠁蔚喂蟼 蟺委蟽蠅 蟽蔚 蟺伪位喂苇蟼 魏伪位苇蟼 渭蠀胃慰蟺位伪蟽委蔚蟼, 蠈蟿伪谓 伪魏蠈渭伪 魏伪喂 蟿慰 伪谓伪渭蔚谓蠈渭蔚谓慰 纬委谓蔚蟿伪喂 伪蟺蟻蠈蟽渭蔚谓慰, 渭蠀蟽蟿喂魏蠈 蟽蠀谓蟿伪纬萎蟼 苇渭蟺蔚喂蟻蠅谓 蟽蠀纬纬蟻伪蠁苇蠅谓.
(伪谓伪未畏渭慰蟽委蔚蠀蟽畏 蟿畏蟼 魏蟻喂蟿喂魏萎蟼 渭慰蠀 伪蟺蠈 蟿慰 位慰纬慰蟿蔚蠂谓喂魏蠈 蟺蔚蟻喂慰未喂魏蠈 螛蔚渭伪蟿慰蠁蠉位伪魏蔚蟼 位蠈纬蠅 韦蔚蠂谓蠋谓)
螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 蟺蟻蠋蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭喂伪蟼 蟽蔚喂蟻维蟼 渭蔚 蟿慰谓 委未喂慰 萎蟻蠅伪, 未蔚魏伪蟺苇谓蟿蔚 蟿慰谓 伪蟻喂胃渭蠈, 畏 蟺蟻蠋蟿畏 蔚渭蠁维谓喂蟽畏 蟿慰蠀 未伪喂渭蠈谓喂慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎 蟿畏蟼 螒蟽蟿蠀谓慰渭喂魏萎蟼 螖喂蔚蠉胃蠀谓蟽畏蟼 螠喂位维谓慰蠀, 螝维蟻位慰 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂, 蔚谓蠈蟼 喂未喂伪委蟿蔚蟻慰蠀 蠂伪蟻伪魏蟿萎蟻伪. 螠伪蟼 胃蠀渭委味蔚喂 蔚位伪蠁蟻蠋蟼 蟿慰谓 螠伪喂纬魏蟻苇 蟿慰蠀 危喂渭蔚谓蠈谓, 蠈渭蠅蟼 苇蠂蔚喂 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏维 蟺慰蠀 蟿慰谓 未喂伪蠁慰蟻慰蟺慰喂慰蠉谓. 危蔚 魏维蟺慰喂伪 蟽畏渭蔚委伪 蟽蟿维胃畏魏伪 蟽蟿慰 魏伪位位喂蔚蟻纬畏渭苇谓慰 蟿慰蠀 蠉蠁慰蟼, 蟺慰蠀 蠈渭蠅蟼 伪位位慰蠉 伪谓伪纬魏伪味蠈蟿伪谓 谓伪 蟿慰 伪蟺慰蟿喂谓维尉蔚喂, 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蟽蟿伪胃蔚委 蔚蟺维尉喂伪 蟽蟿慰 蟻蠈位慰 蔚谓蠈蟼 魏伪位慰蠉 伪蟽蟿蠀谓蠈渭慰蠀 魏伪喂 谓伪 纬委谓蔚喂 蟺喂慰 伪蠀蟽蟿畏蟻蠈蟼 魏伪喂 渭蟺蟻慰蠀蟿维位, 伪蟺苇谓伪谓蟿喂 蟽蔚 蠈蟽慰蠀蟼 蟿慰蠀 伪谓蟿喂蟽蟿苇魏慰谓蟿伪谓 蟽蟿畏谓 伪谓伪味萎蟿畏蟽畏 蟿畏蟼 伪位萎胃蔚喂伪蟼.
螠蔚 渭喂伪 伪蟻纬萎 蟽蟿畏谓 伪蟻蠂萎 胃蔚蠋蟻畏蟽畏 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓, 苇蟿蟽喂 蠋蟽蟿蔚 谓伪 尉蔚蟿蠀位喂蠂蟿蔚委 蟿慰 魏慰蠀尾维蟻喂 蟿畏蟼 喂蟽蟿慰蟻委伪蟼, 慰 伪蟽蟿蠀谓蠈渭慰蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 蟽蠀谓慰渭喂位蔚委 渭蔚 蟿慰谓 蟺伪喂未喂魏蠈 蟿慰蠀 蠁委位慰, 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪 韦味伪谓苇蟿慰 螒慰蠀蟻委蟿味喂. 螝维蟿喂 蠁伪委谓蔚蟿伪喂 蠈蟿喂 蠀蟺慰尾蠈蟽魏蔚喂 蟽蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪, 蟽伪谓 苇谓伪 渭蠀蟽蟿喂魏蠈 蟺慰蠀 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟺伪蟻伪渭蔚委谓蔚喂 蟽蟿慰 畏渭委蠁蠅蟼 伪蟺蠈 蟿慰谓 蠁委位慰 蟿慰蠀. 螒蟺慰未蔚喂魏谓蠉蔚蟿伪喂 蟿蔚位喂魏维 蟺蠅蟼 蠀蟺维蟻蠂蔚喂 渭喂伪 蟽蠂苇蟽畏 渭蔚蟿伪尉蠉 伪蠀蟿慰蠉 魏伪喂 蟿慰蠀 未慰位慰蠁慰谓畏渭苇谓慰蠀 蟿蟻伪蟺蔚味委蟿畏 螠维蟻喂慰 螕魏伪蟻位委谓喂 蟺慰蠀 尾蟻苇胃畏魏蔚 蟽蟿慰 未喂伪渭苇蟻喂蟽渭伪 蟿慰蠀 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪, 蠂蠅蟻委蟼 蠈渭蠅蟼 蠈蟺蠅蟼 喂蟽蠂蠀蟻委味蔚蟿伪喂 慰 委未喂慰蟼 谓伪 苇蠂蔚喂 喂未苇伪.
螣喂 蠀蟺慰蠄委蔚蟼 未喂伪蠂苇慰谓蟿伪喂 蟽蔚 蠈位蔚蟼 蟿喂蟼 蟽蔚位委未蔚蟼 蟺蟻慰蟼 魏维胃蔚 魏伪蟿蔚蠉胃蠀谓蟽畏. 螣 慰蟺慰喂慰蟽未萎蟺慰蟿蔚 萎蟻胃蔚 蟽蔚 蟽蠀谓维谓蟿畏蟽畏 渭蔚 蟿慰 胃蠉渭伪 胃蔚蠅蟻蔚委蟿伪喂 蟺喂胃伪谓蠈蟼 苇谓慰蠂慰蟼 魏伪喂 慰 伪蟽蟿蠀谓蠈渭慰蟼 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 胃伪 蠂蟻畏蟽喂渭慰蟺慰喂萎蟽蔚喂 蠈位畏 蟿畏谓 蟺蔚喂胃蠋 蟿慰蠀 魏伪喂 蟿畏 位慰纬喂魏萎 蟿慰蠀 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 伪谓慰委尉蔚喂 蠈位伪 蟿伪 蟽魏慰蟿蔚喂谓维 蟽畏渭蔚委伪 蟿畏蟼 蠀蟺蠈胃蔚蟽畏蟼. 螤慰喂慰蟼 蔚委谓伪喂 慰 未慰位蠈蠁慰谓慰蟼; 螣 蔚蟺喂蠂蔚喂蟻畏渭伪蟿委伪蟼, 畏 渭谓畏蟽蟿萎 蟿慰蠀, 慰 蟺蔚胃蔚蟻蠈蟼 蟿慰蠀, 慰 慰喂魏慰谓蠈渭慰蟼, 慰 蠁慰喂蟿畏蟿萎蟼 蟿慰蠀 蟺维谓蠅 慰蟻蠈蠁慰蠀, 萎 伪魏蠈渭伪 魏维蟺慰喂慰蟼 蟺慰蠀 未蔚谓 苇蠂蔚喂 渭蟺蔚喂 蟽蟿慰 蟽蟿蠈蠂伪蟽蟿蟻慰 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀;
螝位伪蟽喂魏蠈 whodunit, 渭蔚 蠈位伪 蟿伪 魏位喂蟽苇 蟺慰蠀 位伪蟿蟻苇蠄伪渭蔚 蟽蟿畏谓 蟺伪位喂维 魏伪位萎 伪蟽蟿蠀谓慰渭喂魏萎 位慰纬慰蟿蔚蠂谓委伪, 魏伪喂 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟿伪 尾伪蟻蔚胃慰蠉渭蔚 蟺慰蟿苇, 蠀未蟻慰魏蠀维谓喂伪 魏伪喂 魏位蔚喂蟽蟿维 未蠅渭维蟿喂伪, 魏蟻伪蠀纬苇蟼 魏伪喂 渭蟺维蟿位蔚蟻. 螣喂 伪谓伪蟿蟻慰蟺苇蟼 伪魏慰位慰蠀胃慰蠉谓 畏 渭委伪 蟿畏谓 维位位畏 魏伪喂 慰喂 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻蔚蟼 蟽魏畏谓苇蟼 未喂伪未蟻伪渭伪蟿委味慰谓蟿伪喂 蟽蟿慰 蠂蠋蟻慰 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼, 蟽蔚 苇谓伪 魏位蔚喂蟽蟿蠈 未喂伪渭苇蟻喂蟽渭伪, 蠈蟺慰蠀 尾蟻委蟽魏慰谓蟿伪喂 蠈位慰喂 慰喂 蠉蟺慰蟺蟿慰喂 苇蟿慰喂渭慰喂 谓伪 蠀蟺慰蟽蟿慰蠉谓 蟿畏谓 蔚尉慰谓蠀蠂喂蟽蟿喂魏萎 蔚尉苇蟿伪蟽畏 渭苇蟽伪 伪蟺蠈 蟿畏谓 蟿蔚蟿蟻维纬蠅谓畏 位慰纬喂魏萎 蟿慰蠀 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂. 螣 慰蟺慰委慰蟼 尾苇尾伪喂伪, 蔚魏蟿蠈蟼 伪蟺蠈 位慰纬喂魏萎, 未喂伪胃苇蟿蔚喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅: 渭喂伪 魏伪蟻未喂维 蟺慰蠀 蠂蟿蠀蟺维 蟽蟿慰蠀蟼 蟻蠀胃渭慰蠉蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 魏伪喂 渭蟺慰蟻蔚委 谓伪 蟿慰蠀蟼 魏伪蟿伪位伪尾伪委谓蔚喂, 纬喂伪 渭喂魏蟻维 萎 渭蔚纬维位伪 蟺伪蟻伪蟺蟿蠋渭伪蟿伪, 伪蠀蟿蠈 蟺慰蠀 蟿慰蠀 蟺蟻慰蟽胃苇蟿蔚喂 蟽蟿慰谓 喂未喂伪委蟿蔚蟻慰 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 魏伪喂 蟿慰谓 魏维谓蔚喂 伪纬伪蟺畏蟿蠈 蟽蟿慰谓 伪谓伪纬谓蠋蟽蟿畏.
螆谓伪 魏位蔚委蟽喂渭慰 蟿慰蠀 渭伪蟿喂慰蠉 魏伪喂 蟽蟿喂蟼 detective stories 伪蟺蠈 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪, 渭苇蟽伪 伪蟺蠈 蟿慰谓 蠂伪蟻伪魏蟿萎蟻伪 蟿畏蟼 渭慰喂蟻伪委伪蟼 螠伪蟻委伪 韦味慰尾维谓伪, 蟿慰蠀 蠁蟿蠅蠂慰蠉 伪位位维 蟿委渭喂慰蠀 谓蔚伪蟻慰蠉 蟽蟿畏 蟽慰蠁委蟿伪 巍蔚渭委蟿味慰 螒位蟿喂苇蟻喂, 魏伪喂 蟿慰蠀 蔚蟺委 蟺位畏蟻蠅渭萎 螁纬纬位慰蠀 谓蟿蔚蟿苇魏蟿喂尾 围维蟻喂纬魏蟿慰谓, 伪蟺慰味畏渭喂蠋谓慰蠀谓 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟽蔚 苇谓伪 慰位喂纬慰蟽苇位喂未慰 伪位位维 蟺位萎蟻蔚蟼 尾喂尾位委慰, 魏位伪蟽喂魏蠈 魏伪喂 未喂伪蠂蟻慰谓喂魏蠈.
芦惟蟻伪委慰 蟺蟻维纬渭伪 谓伪 苇蠂蔚喂 魏伪谓蔚委蟼 蟿喂蟼 胃蔚蠅蟻委蔚蟼 蟿慰蠀! 螘纬蠋 蟺维位喂 慰蠁蔚委位蠅 谓伪 蟽伪蟼 蟺蠅 蠈蟿喂 未蔚谓 苇蠂蠅 魏伪渭委伪 伪蟺慰位蠉蟿蠅蟼 胃蔚蠅蟻委伪禄. 螣 围维蟻喂纬魏蟿慰谓 未蔚谓 伪谓蟿喂位萎蠁胃畏魏蔚 蟿畏谓 蔚喂蟻蠅谓蔚委伪 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀. 芦惟, 蟿慰 渭蠈谓慰 蟺慰蠀 蠂蟻蔚喂维味蔚蟿伪喂 蔚委谓伪喂 谓伪 蔚谓蔚蟻纬慰蟺慰喂萎蟽蔚蟿蔚 蟿伪 纬魏蟻委味伪 魏蠉蟿蟿伪蟻伪 蟿慰蠀 蔚纬魏蔚蠁维位慰蠀 蟽伪蟼禄. 芦螒蟽蠁伪位蠋蟼!禄 伪蟺慰魏蟻委胃畏魏蔚 慰 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 魏伪喂 苇魏慰蠄蔚 蟿畏谓 魏慰蠀尾苇谓蟿伪 渭蔚 蠉蠁慰蟼 蟺伪纬蔚蟻蠈: 芦惟蟻伪委伪 位慰喂蟺蠈谓, 尾维位蟿蔚 蟿伪 谓伪 未慰蠀位苇蠄慰蠀谓, 围维蟻喂谓纬魏蟿慰谓. 螇蟻胃蔚 畏 魏伪蟿维位位畏位畏 蟽蟿喂纬渭萎禄.
螚 蠀蟺蠈胃蔚蟽畏 蠁伪委谓蔚蟿伪喂 维位蠀蟿畏, 蟺伪蟻鈥� 蠈位慰 蟺慰蠀 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 苇蠂蔚喂 魏慰蠁蟿蔚蟻蠈 渭蠀伪位蠈 魏伪喂 蔚蟻纬维味蔚蟿伪喂 伪蟽蟿伪渭维蟿畏蟿伪, 蟽蟿萎谓慰谓蟿伪蟼 伪魏蠈渭伪 魏伪喂 委谓蟿蟻喂纬魏蔚蟼 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 伪谓伪纬魏伪蟽蟿慰蠉谓 慰喂 蠉蟺慰蟺蟿慰喂 谓伪 伪蟺慰魏伪位蠉蠄慰蠀谓 蟿畏谓 伪位萎胃蔚喂伪. 韦喂蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蠈渭蠅蟼 蠁慰蟻苇蟼 未喂伪蟺喂蟽蟿蠋谓蔚喂 蟺蠅蟼 蠈位伪 纬委谓慰谓蟿伪喂 魏维蟿蠅 伪蟺蠈 蟿畏 渭蠉蟿畏 蟿慰蠀, 魏伪喂 未蔚谓 蠂蟻蔚喂维味蔚蟿伪喂 蟺伪蟻维 谓伪 蟿伪 未蔚喂 蠀蟺蠈 维位位慰 蟺蟻委蟽渭伪 萎 慰蟺蟿喂魏萎 纬蠅谓委伪. 螣 尾慰畏胃蠈蟼 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀, 慰 螠维魏伪蟻喂, 蠁蟻慰谓蟿委味蔚喂 谓伪 蟿慰蠀 蟿慰 蠀蟺蔚谓胃蠀渭委味蔚喂.
芦螚 伪尉委伪 蔚谓蠈蟼 纬蔚纬慰谓蠈蟿慰蟼 未蔚谓 苇纬魏蔚喂蟿伪喂 蟽蟿畏 蟽蟺伪谓喂蠈蟿畏蟿维 蟿慰蠀, 伪位位维 魏伪蟿维 魏蠉蟻喂慰 位蠈纬慰 蟽蟿慰 蟺蠈蟽慰 蟽蠀谓畏胃喂蟽渭苇谓慰 蔚委谓伪喂, 魏伪喂, 蟺蟻慰蟿慰蠉 伪尉喂蠋蟽慰蠀渭蔚 伪蟺蠈 蟿畏谓 慰尉蠀未苇蟻魏蔚喂维 渭伪蟼 谓伪 渭伪蟼 蠀蟺慰未蔚委尉蔚喂 伪蠀蟿蠈 蟺慰蠀 蔚委谓伪喂 伪蠈蟻伪蟿慰 蟽蟿伪 渭维蟿喂伪 渭伪蟼, 蔚委谓伪喂 蟺蟻慰蟿喂渭蠈蟿蔚蟻慰 谓伪 蔚魏蟺伪喂未蔚蠉蟽慰蠀渭蔚 伪蠀蟿萎 蟿畏谓 慰尉蠀未苇蟻魏蔚喂伪 蟽蔚 蠈,蟿喂 蔚委谓伪喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 魏喂 伪蟺蠈 慰蟻伪蟿蠈 魏伪喂 纬喂鈥� 伪蠀蟿蠈谓 伪魏蟻喂尾蠋蟼 蟿慰谓 位蠈纬慰 未蔚谓 魏蔚谓蟿蟻委味蔚喂 蟿畏谓 蟺蟻慰蟽慰蠂萎 渭伪蟼禄.
螠喂伪 蟺蟻慰蟽苇纬纬喂蟽畏 蟽蟿慰 苇纬魏位畏渭伪 伪蟺蠈 苇谓伪谓 渭蔚纬维位慰 蟿慰蠀 蔚委未慰蠀蟼, 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 螒慰蠀纬魏慰蠉蟽蟿慰 螡蟿蔚 螁谓蟿味蔚位喂蟼 (1888-1955) 蟺慰蠀 未蠀蟽蟿蠀蠂蠋蟼 未蔚谓 魏伪蟿维蠁蔚蟻蔚 谓伪 蟺蟻慰蟽胃苇蟽蔚喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 苇蟻纬伪 蟽蟿慰 蔚谓蔚蟻纬畏蟿喂魏蠈 蟿慰蠀, 伪蠁慰蠉 未蔚谓 蟿慰蠀 蔚蟺喂蟿蟻维蟺畏魏蔚 伪蟺蠈 蟿慰 魏伪胃蔚蟽蟿蠋蟼 螠慰蠀蟽慰位委谓喂 (芦蟽蟿畏 蠂蠋蟻伪 渭伪蟼 未蔚谓 纬委谓慰谓蟿伪喂 蟿苇蟿慰喂伪 蟺蟻维纬渭伪蟿伪, 未蔚谓 苇蠂慰蠀渭蔚 谓蟿蔚蟿苇魏蟿喂尾, 未蔚谓 苇蠂慰蠀渭蔚 渭畏蟿蟻慰蟺蠈位蔚喂蟼 魏伪喂 魏蠀蟻委蠅蟼 未蔚谓 苇蠂慰蠀渭蔚 纬魏维谓纬魏蟽蟿蔚蟻禄, 芦苇蠂慰蠀渭蔚 魏伪喂 蟺伪蟻伪苇蠂慰蠀渭蔚 蔚纬魏位萎渭伪蟿伪禄 伪蟺伪谓蟿慰蠉蟽蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼.
芦韦喂蟼 谓蠉蠂蟿蔚蟼 蔚魏蔚委谓蔚蟼 蠈蟺慰蠀 未蔚谓 蟽蠀渭尾伪委谓蔚喂 蟿委蟺慰蟿伪 魏伪喂 蟽蠀渭尾伪委谓慰蠀谓 蟿伪 蟺维谓蟿伪, 纬喂伪蟿委 蟽蟿畏 渭蔚纬维位畏 魏慰喂渭喂蟽渭苇谓畏 蟺蠈位畏, 伪魏蠈渭伪 魏伪喂 蟿慰蠉蟿畏 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 渭喂位维渭蔚, 蟿伪 未蟻维渭伪蟿伪 蔚委谓伪喂 伪蟿蔚位蔚委蠅蟿伪 魏喂 伪蟼 渭畏谓 蔚委谓伪喂 蠈位伪 蟿慰蠀蟼 伪喂渭伪蟿畏蟻维. 螒蟺蔚谓伪谓蟿委伪蟼, 蟿伪 蟺喂慰 蟿蟻慰渭蔚蟻维 蔚委谓伪喂 伪魏蟻喂尾蠋蟼 伪蠀蟿维 蟺慰蠀 未蔚谓 魏伪蟿伪位萎纬慰蠀谓 蟽蔚 苇谓伪谓 蟺蠀蟻慰尾慰位喂蟽渭蠈 萎 渭喂伪 渭伪蠂伪喂蟻喂维禄.
螤慰位蠉 蟽蠅蟽蟿维, 蠀蟺维蟻蠂蔚喂 蔚魏蟿蔚谓萎蟼 伪谓伪蠁慰蟻维 蟽蟿慰谓 蟺蟻蠈位慰纬慰 蟿慰蠀 尾喂尾位委慰蠀 纬喂伪 蟿慰谓 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 伪蟽蟿蠀谓蠈渭慰蠀, 蟺慰蠀 蠁伪委谓蔚蟿伪喂 蠈蟿喂 伪谓蟿喂蟺蟻慰蟽蠅蟺蔚蠉蔚喂 魏伪喂 蟿慰谓 委未喂慰 蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪: 芦螣 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蔚蟺喂未苇尉喂慰蟼 蟽蟿慰 谓伪 伪谓蟿喂位伪渭尾维谓蔚蟿伪喂 蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪 蔚谓蠈蟼 蔚纬魏位萎渭伪蟿慰蟼, 谓伪 未喂伪魏蟻委谓蔚喂 蔚魏蔚委谓畏 蟿畏谓 蠀蟺蠈 未喂伪渭蠈蟻蠁蠅蟽畏 魏慰喂谓蠅谓委伪 魏伪喂 魏蠀蟻委蠅蟼 蟿畏谓 蠄蠀蠂萎 蟿蠅谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿蠋谓 蟿慰蠀. 螝喂 伪蠀蟿蠈 蔚委谓伪喂 魏维蟿喂 蟺慰蠀 蟿慰谓 蟺伪胃喂维味蔚喂, 渭伪 魏伪喂 蟺慰蠀 蟿畏谓 委未喂伪 蟽蟿喂纬渭萎 蟿慰谓 魏维谓蔚喂 谓伪 蠀蟺慰蠁苇蟻蔚喂禄.
螘位蟺委味慰蠀渭蔚 谓伪 苇蟻胃慰蠀谓 蟽蠉谓蟿慰渭伪 魏伪喂 慰喂 蠀蟺蠈位慰喂蟺蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 蔚蠀蠁蠀慰蠉蟼 蔚蟺喂胃蔚蠅蟻畏蟿萎. 螘委谓伪喂 渭喂伪 伪蟺慰蟿慰尉委谓蠅蟽畏 谓伪 蔚蟺喂蟽蟿蟻苇蠁蔚喂蟼 蟺委蟽蠅 蟽蔚 蟺伪位喂苇蟼 魏伪位苇蟼 渭蠀胃慰蟺位伪蟽委蔚蟼, 蠈蟿伪谓 伪魏蠈渭伪 魏伪喂 蟿慰 伪谓伪渭蔚谓蠈渭蔚谓慰 纬委谓蔚蟿伪喂 伪蟺蟻蠈蟽渭蔚谓慰, 渭蠀蟽蟿喂魏蠈 蟽蠀谓蟿伪纬萎蟼 苇渭蟺蔚喂蟻蠅谓 蟽蠀纬纬蟻伪蠁苇蠅谓.
(伪谓伪未畏渭慰蟽委蔚蠀蟽畏 蟿畏蟼 魏蟻喂蟿喂魏萎蟼 渭慰蠀 伪蟺蠈 蟿慰 位慰纬慰蟿蔚蠂谓喂魏蠈 蟺蔚蟻喂慰未喂魏蠈 螛蔚渭伪蟿慰蠁蠉位伪魏蔚蟼 位蠈纬蠅 韦蔚蠂谓蠋谓)
August 20, 2020
Il secondo, a ruota, che leggo di De Angelis
...e in contemporanea con un giallo storico (?) scandinavo, cosa che gioca decisamente a favore del detective milanese facendogli guadagnare almeno una stelletta.
Claustrofobico quanto basta: ci貌 che interessa a De Angelis 猫 il processo mentale che porta il commissario a risolvere il rebus del delitto piuttosto che le la sua inevitabilit脿 e soprattutto credibilit脿.
Ma, come ho detto, ce ne 猫 di peggiori...
...e in contemporanea con un giallo storico (?) scandinavo, cosa che gioca decisamente a favore del detective milanese facendogli guadagnare almeno una stelletta.
Claustrofobico quanto basta: ci貌 che interessa a De Angelis 猫 il processo mentale che porta il commissario a risolvere il rebus del delitto piuttosto che le la sua inevitabilit脿 e soprattutto credibilit脿.
Ma, come ho detto, ce ne 猫 di peggiori...
November 17, 2024
I bought this book thinking it was from a young author unknown to me and instead I discovered that it is by a writer, Augusto de Angelis, who is considered the creator of one of the cult characters of the Italian noir: Commissioner De Vincenzi, perhaps the first true Italian commissioner, the first of all those who came after him in this type of literature. In fact, this book is from 1934 and the various Bordelli, Ricciardi, Schiavone, Soneri, Zarotti (just to mention the ones I like) are all his grandchildren. The Assassinated Banker is set in Milan in the 1930s, on a foggy evening, like the ones that were there when I was a child and that unfortunately are no longer there. Our commissioner, who is preparing for the night shift with two good books in this winter evening, receives a visit from an old friend, Giannetto Aurigi, at the police station, passing, apparently without reason, after seeing Aida at the Teatro alla Scala. It seems like a trifle, but De Vincenzi becomes suspicious: a little for the friend's ways of doing and a little for the late hour. The chatter with which Giannetto reveals to the Commissioner that he was ruined is interrupted by a phone call: it鈥檚 been found a dead man in an apartment. The address is the one where Giannetto lives, and De Vincenzi, at this point, immediately puts Giannetto among the suspected and convinces him, without giving explanations, to wait at the police station instead of returning home. The dead man is right in Aurigi's apartment, and he is the banker with whom Giannetto had a large debt ...
This is the beginning of the first investigation by Commissioner De Vincenzi. A man passionate about books, poetry, Freudian psychoanalysis, kind, cultured. So cultured, sensitive and refined that it is not clear why he is a policeman. But then we remember that those were other times鈥�. Vincenzi is not a man of action, on the contrary, he moves little. But it makes his brain move a lot, he thinks a lot, tends traps to the suspected, forces them to confessions to save or blame each other, twists that confuse a bit everything and make the reader's suspicion now towards one suspected then towards another. It is a classic noir, with a dead man and a few possible culprits, all with a plausible motive, written almost in the style of a news reporter.
A pleasant noir even if a little weighed down by a dated, refined and educated language to which we are no longer accustomed, now addicted to profanity of all kinds and to disembowelments created artfully just to attract the reader's attention. This is a refined noir, for lovers of brain power, not physical power. And every now and then, a book like this, it is a breath of oxygen.
This is the beginning of the first investigation by Commissioner De Vincenzi. A man passionate about books, poetry, Freudian psychoanalysis, kind, cultured. So cultured, sensitive and refined that it is not clear why he is a policeman. But then we remember that those were other times鈥�. Vincenzi is not a man of action, on the contrary, he moves little. But it makes his brain move a lot, he thinks a lot, tends traps to the suspected, forces them to confessions to save or blame each other, twists that confuse a bit everything and make the reader's suspicion now towards one suspected then towards another. It is a classic noir, with a dead man and a few possible culprits, all with a plausible motive, written almost in the style of a news reporter.
A pleasant noir even if a little weighed down by a dated, refined and educated language to which we are no longer accustomed, now addicted to profanity of all kinds and to disembowelments created artfully just to attract the reader's attention. This is a refined noir, for lovers of brain power, not physical power. And every now and then, a book like this, it is a breath of oxygen.
October 24, 2017
Un "whodunnit" italiano degli anni trenta, apparentemente De Angelis e' il padre di tutti i commissari odierni: peccato che ancora del commissario De Vincenzi non sappiamo quasi nulla.
Un giallo abbastanza veloce, leggero, garbato e non troppo profondo, un piacevole intermezzo fra un libro piu' impegnativo e l'altro.
Un giallo abbastanza veloce, leggero, garbato e non troppo profondo, un piacevole intermezzo fra un libro piu' impegnativo e l'altro.
August 1, 2023
Recensione originale:
Probabilmente pochi di voi conoscono il nome di Augusto De Angelis, eppure 猫 stato tra i padri del giallo all'italiana. Il suo commissario De Vincenzi (rigorosamente senza nome di battesimo) 猫 forse il primo fra i tanti ispettori/commissari di polizia che si susseguiranno in anni pi霉 recenti.
脠 una notte di nebbia a Milano e sembra quasi di essere immersi in quell'atmosfera pesante e ovattata, nel freddo della grande citt脿. Il commissario De Vincenzi 猫 in ufficio, intento a leggere uno dei suoi amati libri, quando riceve l'inaspettata visita del suo amico d'infanzia Giannetto Aurigi. Subito dopo al commissario verr脿 comunicata la scoperta di un uomo assassinato... proprio in casa di Aurigi.
Segue il tentativo di scoprire il colpevole e di scagionare l'amico, verso cui puntano ovviamente tutti gli indizi e i sospetti, ma che De Vincenzi sa dentro di s茅 essere innocente.
脠 un poliziesco classico, che oggi ci pu貌 sembrare poco incisivo, ma bisogna ricordare che 猫 stato scritto nel 1935. E allora la prospettiva cambia, perch茅 come dicevo De Vincenzi 猫 l'antesignano di tutta la letteratura poliziesca italiana degli anni a seguire.
Bello da leggere quasi come "documento storico", per capire la nascita di un genere.
Al commissario De Vincenzi 猫 stata anche dedicata una andata in onda sulla RAI nel 1974 e 1977.
Probabilmente pochi di voi conoscono il nome di Augusto De Angelis, eppure 猫 stato tra i padri del giallo all'italiana. Il suo commissario De Vincenzi (rigorosamente senza nome di battesimo) 猫 forse il primo fra i tanti ispettori/commissari di polizia che si susseguiranno in anni pi霉 recenti.
脠 una notte di nebbia a Milano e sembra quasi di essere immersi in quell'atmosfera pesante e ovattata, nel freddo della grande citt脿. Il commissario De Vincenzi 猫 in ufficio, intento a leggere uno dei suoi amati libri, quando riceve l'inaspettata visita del suo amico d'infanzia Giannetto Aurigi. Subito dopo al commissario verr脿 comunicata la scoperta di un uomo assassinato... proprio in casa di Aurigi.
Segue il tentativo di scoprire il colpevole e di scagionare l'amico, verso cui puntano ovviamente tutti gli indizi e i sospetti, ma che De Vincenzi sa dentro di s茅 essere innocente.
脠 un poliziesco classico, che oggi ci pu貌 sembrare poco incisivo, ma bisogna ricordare che 猫 stato scritto nel 1935. E allora la prospettiva cambia, perch茅 come dicevo De Vincenzi 猫 l'antesignano di tutta la letteratura poliziesca italiana degli anni a seguire.
Bello da leggere quasi come "documento storico", per capire la nascita di un genere.
Al commissario De Vincenzi 猫 stata anche dedicata una andata in onda sulla RAI nel 1974 e 1977.
June 10, 2024
The murder happens in the second chapter of this short book. As from the title, a banker has been murdered and he is found in the home of a man who owed that banker a great deal of money, money which was not to be repaid. Or was it?
Commissario De Vincenzi is a different sort of policeman than usually found in fiction. My experience finds the police in fiction sort of hard-nosed without any sympathy nor feeling for those who could be the perpetrators of the murder being investigated. From three sections of this novel:I'm sorry to learn that most of this series has not been translated as I might be interested in more. Pushkin Vertigo has published two other of Augusto de Angelis' novels and I'll go looking to put them on my already over-burdened wish list. I don't know that this actually deserves a 4th start, but I'm coloring it in anyway.
Edit: I think more have been translated! Yay!
Commissario De Vincenzi is a different sort of policeman than usually found in fiction. My experience finds the police in fiction sort of hard-nosed without any sympathy nor feeling for those who could be the perpetrators of the murder being investigated. From three sections of this novel:
Time was of the essence. This wasn鈥檛 the usual sort of investigation, to be conducted with bureaucratic plodding.Of course, the crime is solved, and perhaps before the reveal I did know who did it. I didn't care. I liked this policeman.
Wasn鈥檛 he groping around again without having uncovered anything essential or concrete? Running here and there after ephemeral lights appearing in the shadows like the mythical, wind-blown will o鈥� the wisp?
But he understood things well enough to listen from a distance, his soul in his eyes.
Edit: I think more have been translated! Yay!
May 3, 2016
Make way for the soprano...
It's a foggy night in Milan when Inspector De Vincenzi is called out to a murder scene. A banker has been found shot dead in the flat of Gianetto Aurigi, who by coincidence is an old friend of the Inspector. Aurigi has been dabbling unsuccessfully on the stock market and becomes the obvious suspect. But De Vincenzi isn't convinced 鈥� partly he feels there's more to the whole thing than meets the eye, and partly his loyalty to his friend makes him determined to investigate every other avenue before condemning him...
Written in 1935, this novella length story is the first appearance of Inspector De Vincenzi in a series that was apparently hugely popular in Italy and gained De Angelis a reputation as father of the Italian mystery novel. De Vincenzi (who apparently has no first name) is a thoughtful detective with the soul of a poet, who is as interested in the motivations of the suspects as in the physical evidence. His style is to get at the truth by a combination of interviewing and of playing weirdly cruel tricks on people, such as sending them into the room where the corpse is lying without warning them. This has the effect of creating a good deal of melodramatic reactions, from screaming fits to people sinking into coma-like states of shock. It's not Miss Marple, that's for sure.
Melodrama is something of a feature throughout. In fact, I kept expecting a heftily bosomed soprano to burst in singing an aria from Tosca. The stiff upper lip approach doesn't seem to have figured heavily in Italian society at this time, if De Angelis' portrayal is authentic. However in other ways the society is very similar to that in British crime fiction of the same period, full of class divisions and with an emphasis on money being, as usual, at the root of at least some of the evil. But we also have love 鈥� not reserved, quiet, British love, oh, no! Soaring, dramatic love 鈥� the kind where ecstasy is only ever an inch away from suicide! It must all have been quite exhausting...
I'll be honest 鈥� I didn't enjoy the writing style much, or perhaps it was the translation. It feels clunky and sometimes sentences need to be read more than once to glean the meaning. (I did have a lot of fun trying to see if I could get my 鈥渓ips trembling with indignity鈥� though.) Often dialogue isn't clearly attributed to the speaker so that it isn't immediately obvious who is expressing a particular opinion, which really breaks the reading flow. I also found the dialogue unconvincing 鈥� again it has a tendency to sound a bit like an opera script. And every time a climax is approaching, De Vincenzi stops the action and sends everyone away for a few hours, so he can think calmly.
Being a murder detective seems a strange choice of profession for someone who can't take a bit of excitement, really.
But overall, it's an enjoyable look at the mystery writing from another country to compare with our own Golden Age writers from the same period. I would be interested in reading more from later in the series to see if De Angelis maintains the high melodramatic style or if this is simply a feature of what is after all a debut novel. 3陆 stars for me, so rounded up.
There is also a short but interesting afterword, setting the book into the context of its time, in an Italy under the control of Mussolini's fascists. De Angelis eventually ran foul of the regime by writing a number of anti-Fascist articles; and, after having been arrested and then released, died as a result of being beaten up by a Fascist thug in 1944. So perhaps melodramatic tragedy was never far from real life in the Italy of that period after all.
NB This book was provided for review by the publisher, Pushkin Vertigo.
It's a foggy night in Milan when Inspector De Vincenzi is called out to a murder scene. A banker has been found shot dead in the flat of Gianetto Aurigi, who by coincidence is an old friend of the Inspector. Aurigi has been dabbling unsuccessfully on the stock market and becomes the obvious suspect. But De Vincenzi isn't convinced 鈥� partly he feels there's more to the whole thing than meets the eye, and partly his loyalty to his friend makes him determined to investigate every other avenue before condemning him...
Written in 1935, this novella length story is the first appearance of Inspector De Vincenzi in a series that was apparently hugely popular in Italy and gained De Angelis a reputation as father of the Italian mystery novel. De Vincenzi (who apparently has no first name) is a thoughtful detective with the soul of a poet, who is as interested in the motivations of the suspects as in the physical evidence. His style is to get at the truth by a combination of interviewing and of playing weirdly cruel tricks on people, such as sending them into the room where the corpse is lying without warning them. This has the effect of creating a good deal of melodramatic reactions, from screaming fits to people sinking into coma-like states of shock. It's not Miss Marple, that's for sure.
鈥淭ell me, commendatore, what's in there? What's happened?鈥�
鈥淭here's a dead body. What's happened is that a man's been killed.鈥�
A tremor convulsed the little man. He clutched at Maccari's arm, his terror rendering him pitiful.
鈥淥h my God! This house is cursed! Do they know that this house is cursed?鈥�
Melodrama is something of a feature throughout. In fact, I kept expecting a heftily bosomed soprano to burst in singing an aria from Tosca. The stiff upper lip approach doesn't seem to have figured heavily in Italian society at this time, if De Angelis' portrayal is authentic. However in other ways the society is very similar to that in British crime fiction of the same period, full of class divisions and with an emphasis on money being, as usual, at the root of at least some of the evil. But we also have love 鈥� not reserved, quiet, British love, oh, no! Soaring, dramatic love 鈥� the kind where ecstasy is only ever an inch away from suicide! It must all have been quite exhausting...
I'll be honest 鈥� I didn't enjoy the writing style much, or perhaps it was the translation. It feels clunky and sometimes sentences need to be read more than once to glean the meaning. (I did have a lot of fun trying to see if I could get my 鈥渓ips trembling with indignity鈥� though.) Often dialogue isn't clearly attributed to the speaker so that it isn't immediately obvious who is expressing a particular opinion, which really breaks the reading flow. I also found the dialogue unconvincing 鈥� again it has a tendency to sound a bit like an opera script. And every time a climax is approaching, De Vincenzi stops the action and sends everyone away for a few hours, so he can think calmly.
鈥淭he atmosphere in this room has reached white heat 鈥� a bad temperature for keeping one's brain working and a clear head. I myself fear that the very rhythm of your pulses is influencing my judgement. You'll understand, therefore, if I ask you to leave me alone with my thoughts. I must organise them and master them. All right?鈥�
Being a murder detective seems a strange choice of profession for someone who can't take a bit of excitement, really.
But overall, it's an enjoyable look at the mystery writing from another country to compare with our own Golden Age writers from the same period. I would be interested in reading more from later in the series to see if De Angelis maintains the high melodramatic style or if this is simply a feature of what is after all a debut novel. 3陆 stars for me, so rounded up.
There is also a short but interesting afterword, setting the book into the context of its time, in an Italy under the control of Mussolini's fascists. De Angelis eventually ran foul of the regime by writing a number of anti-Fascist articles; and, after having been arrested and then released, died as a result of being beaten up by a Fascist thug in 1944. So perhaps melodramatic tragedy was never far from real life in the Italy of that period after all.
NB This book was provided for review by the publisher, Pushkin Vertigo.
August 19, 2016
This review previously appeared at where you'll find more reviews, author interviews, and competitions.
Crime is international, and so are the authors that write it. Pushkin Vertigo have reissued the works of Italian crime writer Augusto De Angelis, most notably the mysteries involving the Milanese Inspector De Vincenzi. But how does a crime thriller written 90 years ago sit among the 鈥榳ham bam鈥� of today鈥檚 modern crime lit?
Inspector De Vincenzi is called to a case on a cold, foggy night in the centre of Milan, and unfortunately, all clues point to his friend of many years, Aurigi. Absolutely certain he is not responsible for the victim, who also happens to be his friend鈥檚 banker, De Vincenzi sets out to prove his innocence, but only if Aurigi cooperates. What is his old friend hiding, and can De Vincenzi save him from almost certain arrest?
Straight away you sense that 鈥楾he Murdered Banker鈥� is going to be something special, and it鈥檚 not just due to the era it was written in. Although a contemporary of Agatha Christie, Raymond Chandler, and Margery Allingham among others, De Angelis style couldn鈥檛 be further removed form that 鈥楪olden Age鈥� of crime fiction. Not only is his language and tone far more literary than 鈥榗osy鈥� or 鈥榩ulp鈥�, but structurally, 鈥楾he Murdered Banker鈥� approaches the procedural element of crime fiction from a totally different angle. While the focus of the plotting within normal crime novels is designed to keep you guessing (it鈥檚 WhoDunnit鈥� after all) there is a small element of 鈥榟and-holding鈥� within the narrative. De Angelis does away with this in quite a presumptive manner; events are spoken about in the past tense as if already witnessed by the reader, references are made to people and conversations that we鈥檙e expected to be knowledgeable about 鈥� there鈥檚 an overall tone of 鈥榗atch up dear reader鈥� from almost the first page. But, this isn鈥檛 a bad thing 鈥� in fact it鈥檚 a joy. I read a lot of crime, and can often spot the signposted plot points a mile off, making the rest of the novel a chore almost, and that鈥檚 a shame. It鈥檚 the same with tv crime and movies, so when a novel comes along that throws a curve ball like this, it鈥檚 a refreshing change.
De Angelis鈥� tone, sentence structure, and language is a wonder 鈥� there鈥檚 whole sections where you just sink into the passages:
鈥淲hy I became a policeman? You鈥檙e the second one to ask that tonight. But it鈥檚 for that very reason that I became a policeman: because I am perhaps a poet, as you say. I feel the poetry of this profession of mine, the poetry of this dusty grey room, of this shabby old table, of the poor old stove, whose every joint suffers in order to keep me warm. And the poetry of the telephone! The poetry of the nights of waiting, with the fog in the piazza coming right up into the courtyard of this old convent鈥� now home to the police station, housing criminals in place of saints! Of nights in which nothing and everything happens , because in this huge, sleeping city, even as we speak, there are infinite dramas, even if they鈥檙e not all bloody. Actually, the worst ones don鈥檛 end in shooting or with a knife.鈥�
But, for all the wonderfully rich language, 鈥楾he Murdered Banker鈥� is still your average crime novel, with all the aspects you expect from the genre: there鈥檚 the captivating woman, a rich Count, a rogue detective, bumbling servant, and a mysterious stranger, all involved in a plot that revolves around money, gambling and the lies told to cover up. As crime stories go, it鈥檚 a well-worn one (of course, it wasn鈥檛 at the time of writing) but it鈥檚 effectively pieced together, with a conclusion that鈥檚 unpredictable. The atmosphere is strong, mainly on the city streets, and it鈥檚 here that De Angelis鈥� is at his best. Characterisation is strong, especially with De Vincenzi, a clever, manipulative, and crafty investigator, who鈥檚 more likely to set up his intended target and let them make the mistake, than bombastically wading in and scaring a confession out of the accused.
鈥楾he Murdered Banker鈥� is a novel that demands concentration, and it鈥檚 not an easy, quick read despite being only 160 pages. If you鈥檙e new to the genre, then I wouldn鈥檛 start here, but if, like me, you鈥檙e already a die-hard fan, then these translations (by Jill Foulston) are the perfect remedy to modern 鈥榠n your face鈥� crime.
Crime is international, and so are the authors that write it. Pushkin Vertigo have reissued the works of Italian crime writer Augusto De Angelis, most notably the mysteries involving the Milanese Inspector De Vincenzi. But how does a crime thriller written 90 years ago sit among the 鈥榳ham bam鈥� of today鈥檚 modern crime lit?
Inspector De Vincenzi is called to a case on a cold, foggy night in the centre of Milan, and unfortunately, all clues point to his friend of many years, Aurigi. Absolutely certain he is not responsible for the victim, who also happens to be his friend鈥檚 banker, De Vincenzi sets out to prove his innocence, but only if Aurigi cooperates. What is his old friend hiding, and can De Vincenzi save him from almost certain arrest?
Straight away you sense that 鈥楾he Murdered Banker鈥� is going to be something special, and it鈥檚 not just due to the era it was written in. Although a contemporary of Agatha Christie, Raymond Chandler, and Margery Allingham among others, De Angelis style couldn鈥檛 be further removed form that 鈥楪olden Age鈥� of crime fiction. Not only is his language and tone far more literary than 鈥榗osy鈥� or 鈥榩ulp鈥�, but structurally, 鈥楾he Murdered Banker鈥� approaches the procedural element of crime fiction from a totally different angle. While the focus of the plotting within normal crime novels is designed to keep you guessing (it鈥檚 WhoDunnit鈥� after all) there is a small element of 鈥榟and-holding鈥� within the narrative. De Angelis does away with this in quite a presumptive manner; events are spoken about in the past tense as if already witnessed by the reader, references are made to people and conversations that we鈥檙e expected to be knowledgeable about 鈥� there鈥檚 an overall tone of 鈥榗atch up dear reader鈥� from almost the first page. But, this isn鈥檛 a bad thing 鈥� in fact it鈥檚 a joy. I read a lot of crime, and can often spot the signposted plot points a mile off, making the rest of the novel a chore almost, and that鈥檚 a shame. It鈥檚 the same with tv crime and movies, so when a novel comes along that throws a curve ball like this, it鈥檚 a refreshing change.
De Angelis鈥� tone, sentence structure, and language is a wonder 鈥� there鈥檚 whole sections where you just sink into the passages:
鈥淲hy I became a policeman? You鈥檙e the second one to ask that tonight. But it鈥檚 for that very reason that I became a policeman: because I am perhaps a poet, as you say. I feel the poetry of this profession of mine, the poetry of this dusty grey room, of this shabby old table, of the poor old stove, whose every joint suffers in order to keep me warm. And the poetry of the telephone! The poetry of the nights of waiting, with the fog in the piazza coming right up into the courtyard of this old convent鈥� now home to the police station, housing criminals in place of saints! Of nights in which nothing and everything happens , because in this huge, sleeping city, even as we speak, there are infinite dramas, even if they鈥檙e not all bloody. Actually, the worst ones don鈥檛 end in shooting or with a knife.鈥�
But, for all the wonderfully rich language, 鈥楾he Murdered Banker鈥� is still your average crime novel, with all the aspects you expect from the genre: there鈥檚 the captivating woman, a rich Count, a rogue detective, bumbling servant, and a mysterious stranger, all involved in a plot that revolves around money, gambling and the lies told to cover up. As crime stories go, it鈥檚 a well-worn one (of course, it wasn鈥檛 at the time of writing) but it鈥檚 effectively pieced together, with a conclusion that鈥檚 unpredictable. The atmosphere is strong, mainly on the city streets, and it鈥檚 here that De Angelis鈥� is at his best. Characterisation is strong, especially with De Vincenzi, a clever, manipulative, and crafty investigator, who鈥檚 more likely to set up his intended target and let them make the mistake, than bombastically wading in and scaring a confession out of the accused.
鈥楾he Murdered Banker鈥� is a novel that demands concentration, and it鈥檚 not an easy, quick read despite being only 160 pages. If you鈥檙e new to the genre, then I wouldn鈥檛 start here, but if, like me, you鈥檙e already a die-hard fan, then these translations (by Jill Foulston) are the perfect remedy to modern 鈥榠n your face鈥� crime.
April 8, 2018
Carlo Lucarelli in uno dei suoi "Misteri italiani" scrive: "C'era il protagonista di una serie di romanzi gialli di Augusto De Angelis che si chiamava De Vincenzi, il commissario De Vincenzi. Un giorno, in uno di quei romanzi, il commissario De Vincenzi dice che tutto sommato quello che lo porta a fare il suo mestiere, a impegnarsi con passione in indagini difficili, complicate e a volte anche pericolose, non 猫 la curiosit脿 di sapere chi 猫 stato, ma un mistero molto pi霉 grande, che da sempre ci appassiona. 芦Il mistero del cuore umano禄, dice il commissario. "
Augusto De Angelis mira proprio a questo nei suoi romanzi, capire non chi 猫 stato l'assassino ma il perch茅 del suo gesto e sin dal romanzo d'esordio della serie De Vincenzi mostra sintonia con il metodo investigativo del grande Maigret, capace di una grande empatia nei confronti sia delle vittime che dei colpevoli.
Ne "Il banchiere assassinato" per esempio, De Angelis scrive: "E De Vincenzi era rimasto a fissarlo lungamente, dicendosi che quella immobilit脿 certamente non poteva significare nulla di buono. Immobilit脿, che produce smarrimento, quando arriva al culmine delle possibilit脿 umane. Perch茅 anche il cervello ha limiti precisi ai quali pu貌 giungere e quando le idee sorpassano quei limiti, entrano in una atmosfera nebbiosa, quasi lutulenta. Che 猫 l'atmosfera della pazzia."
In questo romanzo De Angelis rifiuta la soluzione pi霉 logica del caso perch茅 non crede colpevole il suo amico Giannetto Aurigi malgrado tutte gli indizi lo accusino.
Ambientato in una Milano nebbiosa a met脿 degli anni Trenta, il romanzo risente di una certa tendenza al melodramma ma fa intuire i pregi che faranno di De Angelis uno dei migliori esponenti del giallo italiano tra le due guerre mondiali.
Pur ostacolato da numerosi divieti imposti dal regime fascista il romano De Angelis ha firmato alcuni gialli di non comune livello come "Il candeliere a sette fiamme", "L'albergo delle tre rose" e "Il mistero delle tre orchidee".
Augusto De Angelis mira proprio a questo nei suoi romanzi, capire non chi 猫 stato l'assassino ma il perch茅 del suo gesto e sin dal romanzo d'esordio della serie De Vincenzi mostra sintonia con il metodo investigativo del grande Maigret, capace di una grande empatia nei confronti sia delle vittime che dei colpevoli.
Ne "Il banchiere assassinato" per esempio, De Angelis scrive: "E De Vincenzi era rimasto a fissarlo lungamente, dicendosi che quella immobilit脿 certamente non poteva significare nulla di buono. Immobilit脿, che produce smarrimento, quando arriva al culmine delle possibilit脿 umane. Perch茅 anche il cervello ha limiti precisi ai quali pu貌 giungere e quando le idee sorpassano quei limiti, entrano in una atmosfera nebbiosa, quasi lutulenta. Che 猫 l'atmosfera della pazzia."
In questo romanzo De Angelis rifiuta la soluzione pi霉 logica del caso perch茅 non crede colpevole il suo amico Giannetto Aurigi malgrado tutte gli indizi lo accusino.
Ambientato in una Milano nebbiosa a met脿 degli anni Trenta, il romanzo risente di una certa tendenza al melodramma ma fa intuire i pregi che faranno di De Angelis uno dei migliori esponenti del giallo italiano tra le due guerre mondiali.
Pur ostacolato da numerosi divieti imposti dal regime fascista il romano De Angelis ha firmato alcuni gialli di non comune livello come "Il candeliere a sette fiamme", "L'albergo delle tre rose" e "Il mistero delle tre orchidee".
May 16, 2016
Una Milano nebbiosa, negli anni 鈥�30, e una manciata di passioni che potrebbero essere, tutte quante, motivo per giungere all鈥檃ssassinio. Un鈥檌ndagine quieta, che si chiude in modo un po鈥� scontato, ma che 猫 tutto sommato abbastanza gradevole nel suo svolgersi.
March 31, 2024
螆蠂蠅 蟺维蟻伪 蟺慰位位慰蠉蟼 蟽蠀纬纬蟻伪蠁蔚委蟼 蟺慰蠀 未蔚谓 蟿慰蠀蟼 纬谓蠅蟻委味蠅 魏伪喂 未蔚谓 苇蠂蠅 未喂伪尾维蟽蔚喂 蟿委蟺慰蟿伪 未喂魏蠈 蟿慰蠀蟼 魏伪喂 苇蠂蠅 渭喂伪 蟿维蟽畏 蠈蟺慰蠀 尾位苇蟺蠅 维纬谓蠅蟽蟿慰 蟽蠀纬纬蟻伪蠁苇伪 谓伪 蟺伪委蟻谓蠅 尾喂尾位委慰 蟿慰蠀 ,苇蟿蟽喂 蠋蟽蟿蔚 谓伪 苇蠂蠅 渭喂伪 喂未苇伪 纬喂伪 蟿慰谓 蟿蟻蠈蟺慰 纬蟻伪蠁萎蟼 蟿慰蠀 魏伪喂 谓伪 伪谓蟿喂位伪渭尾维谓慰渭伪喂 伪谓 渭慰蠀 蟿伪喂蟻喂维味蔚喂, 蠈蟺蠅蟼 魏伪蟿伪位维尾伪蟿蔚,蠄维蠂谓蠅 渭慰谓委渭蠅蟼 位慰纬慰蟿蔚蠂谓喂魏慰蠉蟼 胃畏蟽伪蠀蟻慰蠉蟼 .螝维蟺蠅蟼 苇蟿蟽喂 蟿蠀蠂伪委伪 苇蟺蔚蟽伪 蟺维谓蠅 蟽蟿慰谓 Augusto De Angelis. 螣 螒慰蠀纬魏慰蠉蟽蟿慰 谓蟿蔚 螁谓蟿味蔚位喂蟼 (1888-1944) 萎蟿伪谓 喂蟿伪位蠈蟼 未畏渭慰蟽喂慰纬蟻维蠁慰蟼 魏伪喂 蟽蠀纬纬蟻伪蠁苇伪蟼 ,蔚蠂胃蟻蠈蟼 蟿畏蟼 蠁伪蟽喂蟽蟿喂魏萎蟼 魏蠀尾苇蟻谓畏蟽畏蟼 蟿慰蠀 螠慰蠀蟽慰位委谓喂 魏伪喂 伪蠀蟿蠈 蔚委谓伪喂 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰 蟿慰蠀 蟺慰蠀 渭蔚蟿伪蠁蟻维蟽蟿畏魏蔚 蟽蟿伪 蔚位位畏谓喂魏维 蟿慰 2021 伪蟺蠈 蟿畏谓 谓蔚慰蠆未蟻蠀胃蔚委蟽伪 胃蔚蟽蟽伪位慰谓喂魏喂蠋蟿喂魏畏 蔚魏未慰蟿喂魏萎 蔚蟿伪喂蟻委伪 螣魏蟿维谓伪. 危蟿畏谓 伪蟻蠂萎 蟿慰蠀 尾喂尾位委慰蠀 蠀蟺维蟻蠂蔚喂 蟺蟻蠈位慰纬慰蟼 蟿慰蠀 Carlo Lucarelli 蟽蟿慰谓 慰蟺慰委慰 蠁伪委谓蔚蟿伪喂 蟿慰 魏位委渭伪 蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 蟽蟿畏谓 螜蟿伪位委伪 蟿慰蠀 42,慰蟺慰蠀 蟿慰 蠁伪蟽喂蟽蟿喂魏蠈 魏蠈渭渭伪 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蟿伪 蟺伪蟻慰蠀蟽喂维味蔚喂 蠈位伪 蟻蠈未喂谓伪 魏伪喂 蠈蟿喂 未蔚谓 蠀蟺维蟻蠂慰蠀谓 蟺蟻慰尾位萎渭伪蟿伪 ,伪蟺蠈 蟿慰谓 蟺蟻蠈位慰纬慰 伪蠀蟿蠈 蔚委谓伪喂 蟿慰 蟺伪蟻伪魏维蟿蠅 魏蔚委渭蔚谓慰 : 芦危蟿畏 蠂蠋蟻伪 渭伪蟼 未蔚谓 纬委谓慰谓蟿伪喂 蟿苇蟿慰喂伪 蟺蟻维纬渭伪蟿伪, 未蔚谓 苇蠂慰蠀渭蔚 谓蟿蔚蟿苇魏蟿喂尾, 未蔚谓 苇蠂慰蠀渭蔚 渭畏蟿蟻慰蟺蠈位蔚喂蟼 魏伪喂 魏蠀蟻委蠅蟼 未蔚谓 苇蠂慰蠀渭蔚 纬魏维谓纬魏蟽蟿蔚蟻禄. 芦螤慰位蠉 蟺喂胃伪谓蠈谓禄, 伪蟺伪谓蟿慰蠉蟽蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 芦蔚渭苇谓伪 蠈渭蠅蟼 渭慰蠀 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 苇蠂慰蠀渭蔚 魏伪喂 蟺伪蟻伪苇蠂慰蠀渭蔚 蔚纬魏位萎渭伪蟿伪禄. 芦螒蠀蟿维 蟿伪 蟺蟻维纬渭伪蟿伪 尾位维蟺蟿慰蠀谓 蟿畏 谓蔚慰位伪委伪禄, 蠀蟺慰蟽蟿萎蟻喂味蔚 蟿慰 蠁伪蟽喂蟽蟿喂魏蠈 违蟺慰蠀蟻纬蔚委慰 螞伪蠆魏慰蠉 螤慰位喂蟿喂蟽渭慰蠉, 芦魏伪喂 蟿畏谓 蠅胃慰蠉谓 谓伪 未喂伪蟺蟻维蟿蟿蔚喂 蔚纬魏位萎渭伪蟿伪 伪蟺蠈 魏伪胃伪蟻萎 渭委渭畏蟽畏 魏伪喂 渭蠈谓慰禄. 芦螌蠂喂禄, 苇位蔚纬蔚 慰 螡蟿蔚 螁谓蟿味蔚位喂蟼, 芦伪蠀蟿蠈 蟺慰蠀 尾位维蟺蟿蔚喂 蔚委谓伪喂 畏 魏伪魏萎 位慰纬慰蟿蔚蠂谓委伪禄. 螣 螝维蟻位慰 螞慰蠀魏伪蟻苇位喂, 蟽蟿慰谓 蟺蟻蠈位慰纬慰 蟽畏渭蔚喂蠋谓蔚喂 蔚蟺委蟽畏蟼 蟺慰位蠉 蔚蠉蟽蟿慰蠂伪: 鈥溛樜� 萎蟿伪谓 伪蟻魏蔚蟿蠈 谓伪 伪位位维尉蔚喂 蔚委未慰蟼, 谓伪 纬蟻维蠁蔚喂 纬喂伪 伪纬维蟺蔚蟼 魏伪喂 位慰蠀位慰蠉未喂伪, 纬喂伪 蟿慰谓 蟺蠈位蔚渭慰, 纬喂伪 维位位伪 蟺蟻维纬渭伪蟿伪 蟺慰蠀 维蟻蔚蟽伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽蟿慰 魏伪胃蔚蟽蟿蠋蟼. 螘魏蔚委谓慰蟼 蠈渭蠅蟼 萎蟿伪谓 伪谓苇谓未慰蟿慰蟼: 苇纬蟻伪蠁蔚 伪蟽蟿蠀谓慰渭喂魏维 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 未喂伪未蟻伪渭伪蟿委味慰谓蟿伪谓 蟽蟿畏谓 螜蟿伪位委伪, 蟽蟿慰 螠喂位维谓慰, 蟿畏谓 蟺喂慰 味蠅谓蟿伪谓萎 魏伪喂 渭慰谓蟿苇蟻谓伪 蟺蠈位畏 蟺慰蠀 蔚委蠂伪渭蔚 蟿蠈蟿蔚, 纬喂伪蟿委 胃蔚蠅蟻慰蠉蟽蔚 蟺蠅蟼 渭蠈谓慰 蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 萎蟿伪谓 蟽蔚 胃苇蟽畏 谓伪 伪蟺慰蟿蠀蟺蠋蟽蔚喂 渭蔚 蟻蔚伪位喂蟽蟿喂魏蠈 蟿蟻蠈蟺慰 蟿畏谓 魏慰喂谓蠅谓委伪 渭蔚 蟿慰蠀蟼 渭蔚蟿伪蟽蠂畏渭伪蟿喂蟽渭慰蠉蟼 蟿畏蟼, 蟿慰蠀蟼 渭畏蠂伪谓喂蟽渭慰蠉蟼 蟿畏蟼, 蟿伪 渭蠀蟽蟿喂魏维 蟿畏蟼鈥�. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 蟺蟻蠋蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 渭喂伪蟼 蟽蔚喂蟻维蟼 渭蔚 蟿慰谓 委未喂慰 萎蟻蠅伪, 未蔚魏伪蟺苇谓蟿蔚 蟿慰谓 伪蟻喂胃渭蠈, 畏 蟺蟻蠋蟿畏 蔚渭蠁维谓喂蟽畏 蟿慰蠀 未伪喂渭蠈谓喂慰蠀 蔚蟺喂胃蔚蠅蟻畏蟿萎 蟿畏蟼 螒蟽蟿蠀谓慰渭喂魏萎蟼 螖喂蔚蠉胃蠀谓蟽畏蟼 螠喂位维谓慰蠀, 螝维蟻位慰 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 蟿慰谓 慰蟺慰委慰 蟿慰谓 尾位苇蟺慰蠀渭蔚 谓伪 蟺蔚蟻喂渭苇谓蔚喂 蟽蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 渭苇纬伪蟻慰 谓伪 蠂蟿蠀蟺萎蟽蔚喂 蟿慰 蟿畏位苇蠁蠅谓慰 蟺慰蠀 胃伪 蟿慰蠀 伪谓伪纬纬蔚委位蔚喂 苇谓伪 蟺喂胃伪谓蠈 苇纬魏位畏渭伪 未喂伪尾维味慰谓蟿伪蟼 螡蟿苇喂尾喂谓蟿 螞蠈蟻蔚谓蟼 , 魏伪喂 苇蠂慰谓蟿伪蟼 魏蟻蠀渭渭苇谓伪 魏维蟿蠅 伪蟺蠈 蟽蟿慰委尾蔚蟼 蠂伪蟻蟿喂维 蟿慰 危蠀渭蟺蠈蟽喂慰 蟿慰蠀 螤位维蟿蠅谓伪 魏伪喂 蟿喂蟼 螘蟺喂蟽蟿慰位苇蟼 蟿慰蠀 螒蟺慰蟽蟿蠈位慰蠀 螤伪蠉位慰蠀. 螘魏蔚委 蟽蟿慰 蟿渭萎渭伪 蔚渭蠁伪谓委味蔚蟿伪喂 尉伪蠁谓喂魏维 苇谓伪 尾蟻维未蠀 苇谓伪蟼 蟺伪位喂蠈蟼 蟽蠀渭渭伪胃畏蟿萎蟼 蟿慰蠀 慰 韦味伪谓苇蟿慰 螒慰蠀蟻委蟿味喂, 蟿慰蠀 渭喂位维蔚喂 纬喂伪 蟿伪 蟺伪位喂维 魏伪喂 伪谓伪蟻蠅蟿喂苇蟿伪喂 蟺蠅蟼 苇谓伪蟼 蟺慰喂畏蟿萎蟼 蟽伪谓 蟿慰谓 螡蟿蔚 螔喂谓蟿蟽苇谓蟿蟽喂 苇纬喂谓蔚 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 . 芦螡喂蠋胃蠅 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蔚蟺伪纬纬苇位渭伪蟿蠈蟼 渭慰蠀鈥ξの肺� 蟺慰委畏蟽畏 伪蠀蟿慰蠉 蟿慰蠀 纬魏蟻委味慰蠀 蟽魏慰谓喂蟽渭苇谓慰蠀 未蠅渭伪蟿委慰蠀, 伪蠀蟿慰蠉 蟿慰蠀 蠁胃伪蟻渭苇谓慰蠀 蟿蟻伪蟺蔚味喂慰蠉, 伪蠀蟿萎蟼 蟿畏蟼 蠁蟿蠅蠂喂魏萎蟼 纬苇蟻喂魏畏蟼 蟽蠈渭蟺伪蟼, 蟺慰蠀 魏维胃蔚 维蟻胃蟻蠅蟽萎 蟿畏蟼 蠀蟺慰蠁苇蟻蔚喂 纬喂伪 谓伪 渭蔚 味蔚蟽蟿维谓蔚喂. 螝伪喂 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蟿畏位蔚蠁蠋谓慰蠀! 韦畏谓 蟺慰委畏蟽畏 蟿喂蟼 谓蠉蠂蟿蔚蟼 蟿畏蟼 伪谓伪渭慰谓萎蟼, 渭蔚 蟿畏谓 慰渭委蠂位畏 蟽蟿畏谓 蟺位伪蟿蔚委伪 谓伪 蠁蟿维谓蔚喂 渭苇蠂蟻喂 蟿慰 蟺蟻慰伪蠉位喂慰 伪蠀蟿慰蠉 蟿慰蠀 蟺伪位喂慰蠉 渭慰谓伪蟽蟿畏蟻喂慰蠉, 蟽畏渭蔚蟻喂谓萎 苇未蟻伪 蟿畏蟼 螒蟽蟿蠀谓慰渭喂魏萎蟼 未喂蔚蠉胃蠀谓蟽畏蟼, 蠈蟺慰蠀 慰喂 未喂蔚蠁胃伪蟻渭苇谓慰喂 苇蠂慰蠀谓 蟺维蟻蔚喂 蟿畏 胃苇蟽畏 蟿蠅谓 伪纬委蠅谓! 禄 螣 韦味伪谓苇蟿慰 螒慰蠀蟻委蟿味喂 蔚委谓伪喂 蟽蔚 伪蟺蠈纬谓蠅蟽畏, 纬喂伪蟿委 尾蟻委蟽魏蔚蟿伪喂 蟽蟿慰 蠂蔚委位慰蟼 蟿畏蟼 慰喂魏慰谓慰渭喂魏萎蟼 魏伪蟿伪蟽蟿蟻慰蠁萎蟼. 韦畏谓 委未喂伪 蟽蟿喂纬渭萎 慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 未苇蠂蔚蟿伪喂 苇谓伪 蟿畏位蔚蠁蠋谓畏渭伪. 危蟿慰 蟽蟺委蟿喂 蟿慰蠀 螒慰蠀蟻委蟿味喂 蠀蟺维蟻蠂蔚喂 苇谓伪 蟺蟿蠋渭伪! 韦慰 蟺蟿蠋渭伪 蔚谓蠈蟼 蟿蟻伪蟺蔚味委蟿畏 蟺慰蠀 魏伪蟿维 蟽蠉渭蟺蟿蠅蟽畏 蟿慰蠀 蔚委蠂蔚 未伪谓蔚委蟽蔚喂 苇谓伪 渭蔚纬维位慰 蟺慰蟽蠈 .
螤慰蠉 尾蟻喂蟽魏蠈蟿伪谓 慰 螒慰蠀蟻委蟿味喂 蟿畏谓 蠋蟻伪 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼; 螕喂伪蟿委, 渭蔚蟿维 伪蟺蠈 蠂蟻蠈谓喂伪, 蟺苇蟻伪蟽蔚 伪蟺蠈 蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 蟿渭萎渭伪; 螤慰位蠉 蠅蟻伪委伪 位慰纬慰蟿蔚蠂谓喂魏萎 纬蟻伪蠁萎 蟺慰蠀 蟻苇蔚喂 蔚蠉魏慰位伪 蠂蠅蟻委蟼 谓伪 魏慰蠀蟻维味蔚喂 ,魏蟿委味蔚喂 苇谓伪 蟺慰位蠉 伪蟿渭慰蟽蠁伪喂蟻喂魏蠈 魏位委渭伪 渭蠀蟽蟿萎蟻喂慰蠀 魏伪喂 蟺慰位蠉 未蠀谓伪蟿慰蠉蟼 魏伪喂 蔚谓未喂伪蠁苇蟻慰谓蟿蔚蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 .违蟺维蟻蠂慰蠀谓 蟺慰位位慰委 未喂维位慰纬慰喂 魏伪喂 慰 苇谓慰蠂慰蟼 胃伪 尾蟻蔚胃蔚委 渭苇蟽伪 伪蟺蠈 蟽蠀谓蔚蠂蔚委蟼 伪谓伪魏蟻委蟽蔚喂蟼 ,慰喂 蠀蟺慰蠄委蔚蟼 蟺苇蠁蟿慰蠀谓 蟽蔚 蠈蟽慰蠀蟼 萎蟻胃伪谓 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰 胃蠉渭伪 . 螤蔚蟻喂苇蠂蔚喂 蠈位伪 蟿伪 魏位伪蟽喂魏维 魏位喂蟽苇 ,慰喂魏慰谓蠈渭慰喂 ,魏位蔚喂蟽蟿维 未蠅渭维蟿喂伪 ,蠀未蟻慰魏蠀维谓喂伪 渭蠀蟻蠅未喂维 渭蟺伪蟻慰蠀蟿喂慰蠉 ,魏蟻伪蠀纬苇蟼 魏蟿位 .慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蔚尉蔚蟿维蟽蔚喂 蟿慰 苇纬魏位畏渭伪 伪蟺蠈 渭喂伪 维位位畏 慰蟺蟿喂魏萎 渭蟺伪蟼 魏伪喂 尾蟻蔚喂 蟿畏谓 位蠉蟽畏 蟺慰蠀 蟿慰蠀 未喂伪蠁蔚蠉纬蔚喂. 芦螚 伪尉委伪 蔚谓蠈蟼 纬蔚纬慰谓蠈蟿慰蟼 未蔚谓 苇纬魏蔚喂蟿伪喂 蟽蟿畏 蟽蟺伪谓喂蠈蟿畏蟿维 蟿慰蠀, 伪位位维 魏伪蟿维 魏蠉蟻喂慰 位蠈纬慰 蟽蟿慰 蟺蠈蟽慰 蟽蠀谓畏胃喂蟽渭苇谓慰 蔚委谓伪喂, 魏伪喂, 蟺蟻慰蟿慰蠉 伪尉喂蠋蟽慰蠀渭蔚 伪蟺蠈 蟿畏谓 慰尉蠀未苇蟻魏蔚喂维 渭伪蟼 谓伪 渭伪蟼 蠀蟺慰未蔚委尉蔚喂 伪蠀蟿蠈 蟺慰蠀 蔚委谓伪喂 伪蠈蟻伪蟿慰 蟽蟿伪 渭维蟿喂伪 渭伪蟼, 蔚委谓伪喂 蟺蟻慰蟿喂渭蠈蟿蔚蟻慰 谓伪 蔚魏蟺伪喂未蔚蠉蟽慰蠀渭蔚 伪蠀蟿萎 蟿畏谓 慰尉蠀未苇蟻魏蔚喂伪 蟽蔚 蠈,蟿喂 蔚委谓伪喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 魏喂 伪蟺蠈 慰蟻伪蟿蠈 魏伪喂 纬喂鈥� 伪蠀蟿蠈谓 伪魏蟻喂尾蠋蟼 蟿慰谓 位蠈纬慰 未蔚谓 魏蔚谓蟿蟻委味蔚喂 蟿畏谓 蟺蟻慰蟽慰蠂萎 渭伪蟼禄. 螤慰喂畏蟿喂魏蠈 ,伪蟿渭慰蟽蠁伪喂蟻喂魏蠈, 伪蟺位蠈 魏伪喂 蟽蔚 蟺慰位位维 蟽畏渭蔚委伪 蟺蟻慰尾位苇蠄喂渭慰 伪位位维 蟺慰位蠉 蔚蠀蠂维蟻喂蟽蟿慰 ,未喂伪尾维蟽蟿蔚 蟿慰 !
螤慰蠉 尾蟻喂蟽魏蠈蟿伪谓 慰 螒慰蠀蟻委蟿味喂 蟿畏谓 蠋蟻伪 蟿慰蠀 蔚纬魏位萎渭伪蟿慰蟼; 螕喂伪蟿委, 渭蔚蟿维 伪蟺蠈 蠂蟻蠈谓喂伪, 蟺苇蟻伪蟽蔚 伪蟺蠈 蟿慰 伪蟽蟿蠀谓慰渭喂魏蠈 蟿渭萎渭伪; 螤慰位蠉 蠅蟻伪委伪 位慰纬慰蟿蔚蠂谓喂魏萎 纬蟻伪蠁萎 蟺慰蠀 蟻苇蔚喂 蔚蠉魏慰位伪 蠂蠅蟻委蟼 谓伪 魏慰蠀蟻维味蔚喂 ,魏蟿委味蔚喂 苇谓伪 蟺慰位蠉 伪蟿渭慰蟽蠁伪喂蟻喂魏蠈 魏位委渭伪 渭蠀蟽蟿萎蟻喂慰蠀 魏伪喂 蟺慰位蠉 未蠀谓伪蟿慰蠉蟼 魏伪喂 蔚谓未喂伪蠁苇蟻慰谓蟿蔚蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 .违蟺维蟻蠂慰蠀谓 蟺慰位位慰委 未喂维位慰纬慰喂 魏伪喂 慰 苇谓慰蠂慰蟼 胃伪 尾蟻蔚胃蔚委 渭苇蟽伪 伪蟺蠈 蟽蠀谓蔚蠂蔚委蟼 伪谓伪魏蟻委蟽蔚喂蟼 ,慰喂 蠀蟺慰蠄委蔚蟼 蟺苇蠁蟿慰蠀谓 蟽蔚 蠈蟽慰蠀蟼 萎蟻胃伪谓 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰 胃蠉渭伪 . 螤蔚蟻喂苇蠂蔚喂 蠈位伪 蟿伪 魏位伪蟽喂魏维 魏位喂蟽苇 ,慰喂魏慰谓蠈渭慰喂 ,魏位蔚喂蟽蟿维 未蠅渭维蟿喂伪 ,蠀未蟻慰魏蠀维谓喂伪 渭蠀蟻蠅未喂维 渭蟺伪蟻慰蠀蟿喂慰蠉 ,魏蟻伪蠀纬苇蟼 魏蟿位 .慰 蔚蟺喂胃蔚蠅蟻畏蟿萎蟼 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蔚尉蔚蟿维蟽蔚喂 蟿慰 苇纬魏位畏渭伪 伪蟺蠈 渭喂伪 维位位畏 慰蟺蟿喂魏萎 渭蟺伪蟼 魏伪喂 尾蟻蔚喂 蟿畏谓 位蠉蟽畏 蟺慰蠀 蟿慰蠀 未喂伪蠁蔚蠉纬蔚喂. 芦螚 伪尉委伪 蔚谓蠈蟼 纬蔚纬慰谓蠈蟿慰蟼 未蔚谓 苇纬魏蔚喂蟿伪喂 蟽蟿畏 蟽蟺伪谓喂蠈蟿畏蟿维 蟿慰蠀, 伪位位维 魏伪蟿维 魏蠉蟻喂慰 位蠈纬慰 蟽蟿慰 蟺蠈蟽慰 蟽蠀谓畏胃喂蟽渭苇谓慰 蔚委谓伪喂, 魏伪喂, 蟺蟻慰蟿慰蠉 伪尉喂蠋蟽慰蠀渭蔚 伪蟺蠈 蟿畏谓 慰尉蠀未苇蟻魏蔚喂维 渭伪蟼 谓伪 渭伪蟼 蠀蟺慰未蔚委尉蔚喂 伪蠀蟿蠈 蟺慰蠀 蔚委谓伪喂 伪蠈蟻伪蟿慰 蟽蟿伪 渭维蟿喂伪 渭伪蟼, 蔚委谓伪喂 蟺蟻慰蟿喂渭蠈蟿蔚蟻慰 谓伪 蔚魏蟺伪喂未蔚蠉蟽慰蠀渭蔚 伪蠀蟿萎 蟿畏谓 慰尉蠀未苇蟻魏蔚喂伪 蟽蔚 蠈,蟿喂 蔚委谓伪喂 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 魏喂 伪蟺蠈 慰蟻伪蟿蠈 魏伪喂 纬喂鈥� 伪蠀蟿蠈谓 伪魏蟻喂尾蠋蟼 蟿慰谓 位蠈纬慰 未蔚谓 魏蔚谓蟿蟻委味蔚喂 蟿畏谓 蟺蟻慰蟽慰蠂萎 渭伪蟼禄. 螤慰喂畏蟿喂魏蠈 ,伪蟿渭慰蟽蠁伪喂蟻喂魏蠈, 伪蟺位蠈 魏伪喂 蟽蔚 蟺慰位位维 蟽畏渭蔚委伪 蟺蟻慰尾位苇蠄喂渭慰 伪位位维 蟺慰位蠉 蔚蠀蠂维蟻喂蟽蟿慰 ,未喂伪尾维蟽蟿蔚 蟿慰 !
June 8, 2022
Ratingku antara 3 - 4, ada plus minusnya cerita detektif ini. Plus-nya novel ini ditulis oleh pengarang Italia yang agak jarang ditranslasikan ke bahasa indonesia. Jadi sekalian mencicipi karya crime fic klasik daratan eropa yang eranya hampir sama dengan sherlock holmes. Minusnya, agak aneh membaca karya klasik tapi penterjemahannya memakai bahasa kontemporer, misal "tajir melintir" atau istilah "Kapolda", apalagi kalau sudah terbiasa membaca terjemahan karya- karya Agatha Christie dari gpu misalnya, yang lebih memakai gaya bahasa lama dengan kosa kata yang agak kuno juga.
Untuk ceritanya sendiri, yah seperti biasa crimefic, whodunnit, agak-agak aristrokratik, dan mengolok-olok detektif partikelir (macam holmes). Tokoh detektifnya seorang inspektur polisi yang cerdas dan teliti. Setting ceritanya di kota Milan dan seluruh cerita berlangsung dalam dua hari saja, detektif De Vincenzi dapat memecahkan misteri pembunuhan seorang bankir yang terjadi di rumah kawan baiknya. Tokoh tersangkanya ada beberapa, lumayan belit membelit, dan *tentu saja* pelakunya bukan mereka 馃檮
Detektif De Vincenzi ini ternyata ada beberapa buku dalam serinya. Semoga Laksana berminat menerbitkan buku-buku lainnya, karena jika hanya satu buku kok kayaknya karakterisasinya belum terbentuk dan sulit untuk membandingkan kalibernya dengan holmes atau poirot atau kaga.
Untuk ceritanya sendiri, yah seperti biasa crimefic, whodunnit, agak-agak aristrokratik, dan mengolok-olok detektif partikelir (macam holmes). Tokoh detektifnya seorang inspektur polisi yang cerdas dan teliti. Setting ceritanya di kota Milan dan seluruh cerita berlangsung dalam dua hari saja, detektif De Vincenzi dapat memecahkan misteri pembunuhan seorang bankir yang terjadi di rumah kawan baiknya. Tokoh tersangkanya ada beberapa, lumayan belit membelit, dan *tentu saja* pelakunya bukan mereka 馃檮
Detektif De Vincenzi ini ternyata ada beberapa buku dalam serinya. Semoga Laksana berminat menerbitkan buku-buku lainnya, karena jika hanya satu buku kok kayaknya karakterisasinya belum terbentuk dan sulit untuk membandingkan kalibernya dengan holmes atau poirot atau kaga.
July 13, 2023
Malam berkabut di Milan saat Inspektur De Vincenzi dipanggil ke lokasi pembunuhan karena seorang bankir ditemukan tewas tertembak di apartemen milik Gianetto Aurigi, yang kebetulan adalah teman lama De Vincenzi. Semua bukti mengarah ke Aurigi bahwa ia adalah pembunuhnya, tapi De Vincenzi tidak yakin bahwa temannya adalah sang pelaku. Ia bertekad untuk membersihkan nama Aurigi. Tapi apakah benar bukan Aurigi pelakunya?
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Novel ini ditulis pada tahun 1935, sebuah seri klasik Carlo De Vincenzo yang pertama, yang populer di Italia & membuat penulisnya, De Angelis mendapatkan reputasi yang baik.
De Vincenzi digambarkan sebagai seorang detektif yang bijaksana dan penuh empati, mampu menganalisis karakter dengan cermat, tak jarang juga ia sering memakai 'trik licik' untuk mendapatkan kebenaran, seperti mengirim mereka ketempat mayat berada tanpa memberi tau mereka supaya De Vincenzi bisa melihat reaksi-reaksi mereka yang sebenarnya & mendapatkan pengakuan dari mereka.
Sosok De Vincenzi mendominasi seluruh buku ini, ditulis dengan indah & aku gak bisa untuk gak suka sama karakter detektif ini馃グ sosoknya tuh rendah hati, sabar, peka dengan sekitar, penuh empati dan pandai mencari celah & 'kebenaran' dari kasusnya.
Aku enjoy banget selama baca buku ini & gak sabar buat baca seri kedua dari buku ini鉁�
Kalau kalian sedang mencari buku misteri yang 'santai' dan tidak banyak aksinya, serta ada percikan melodrama, kemungkinan besar kalian bakal suka dengan buku ini! 馃
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Novel ini ditulis pada tahun 1935, sebuah seri klasik Carlo De Vincenzo yang pertama, yang populer di Italia & membuat penulisnya, De Angelis mendapatkan reputasi yang baik.
De Vincenzi digambarkan sebagai seorang detektif yang bijaksana dan penuh empati, mampu menganalisis karakter dengan cermat, tak jarang juga ia sering memakai 'trik licik' untuk mendapatkan kebenaran, seperti mengirim mereka ketempat mayat berada tanpa memberi tau mereka supaya De Vincenzi bisa melihat reaksi-reaksi mereka yang sebenarnya & mendapatkan pengakuan dari mereka.
Sosok De Vincenzi mendominasi seluruh buku ini, ditulis dengan indah & aku gak bisa untuk gak suka sama karakter detektif ini馃グ sosoknya tuh rendah hati, sabar, peka dengan sekitar, penuh empati dan pandai mencari celah & 'kebenaran' dari kasusnya.
Aku enjoy banget selama baca buku ini & gak sabar buat baca seri kedua dari buku ini鉁�
Kalau kalian sedang mencari buku misteri yang 'santai' dan tidak banyak aksinya, serta ada percikan melodrama, kemungkinan besar kalian bakal suka dengan buku ini! 馃
November 19, 2024
Appena finite Le verit脿 spezzate mi sono incuriosita in merito ad Augusto De Angelis (come 猫 profonda la mia ignoranza e quanto 猫 piacevole diminuirla di un pochino :P). Piaciuto, si sente una Milano antica, lontana dalla citt脿 moderna. Interessante la psicologia dei personaggi e il modo di vivere/pensare, una sorta di archeologia del giallo all'italiana.
January 24, 2018
Un giallo classico senza tante pretese. Dal finale scontato ma di piacevole lettura.
February 1, 2022
螣 蟺伪蟿苇蟻伪蟼 蟿蠅谓 蟽畏渭蔚蟻喂谓蠋谓 螜蟿伪位蠋谓 魏伪喂 纬蔚谓喂魏蠋蟼 谓慰蟿委蠅谓 蟽蠀纬纬蟻伪蠁苇蠅谓 noir. 螠喂伪 伪位畏胃喂谓萎 魏慰喂谓蠅谓喂魏萎 蟺蔚蟻喂纬蟻伪蠁萎 伪谓胃蟻蠋蟺蠅谓 渭蔚 伪未喂苇尉慰未伪 , 渭喂伪蟼 蟺蔚蟻喂蠈未慰蠀 蟺慰蠀 蟿慰 魏伪胃蔚蟽蟿蠋蟼 蟺蟻慰蟿喂渭慰蠉蟽蔚 谓伪 蟺蟻慰蠅胃蔚委蟿伪喂 苇谓伪 喂未伪谓喂魏维 蔚蠀蟿蠀蠂喂蟽渭苇谓慰 喂蟿伪位喂魏蠈 蟺蟻蠈蟿蠀蟺慰.
July 2, 2023
I'm always looking for new mystery writers, especially Italian authors. While looking for books set in Milan, I found a list of mysteries, classic and contemporary. At the top of the list were two books by Augusto De Angelis (1880-1944), considered by many to be the father of Italian mystery writing. Although he wrote more than 20 mystery novels in his lifetime, there are very few of his books available in English. The Murdered Banker is one of only four that I have found. It's the first book in De Angelis's most famous series, featuring Police Inspector Carlo De Vincenzi. Set in 1920s Milan and first published in 1935, this book is not the best of the three De Angelis novels that I have now read, but it's a great introduction to the series. I love reading about Milan of the 1920s and the world of the the ever-fascinating De Vincenzi. From the beginning he is revealed to be a kind and compassionate police detective, but also highly analytical and methodical. He is also a romantic, a little sad and lonely, often missing his rural hometown and thinking about his mom.
This first book centers on the murder of a banker (surprise!), Mario Garlini, who has been found, shot in the head, in the apartment of one of his clients, Giannetto Aurigi. Aurigi is a former classmate of De Vincenzi, who quickly concludes that although he is the prime suspect, Aurigi is innocent. But what happened? The case is confusing and a little complicated. Let's say there are many secrets in addition to the mystery. In classic mystery style, we learn the identity of the murderer and De Vincenzi neatly ties up all loose ends. But I found the book's characters and De Angelis's writing style more interesting than the resolution of the mystery. Despite De Angelis's considerable skill as a mystery writer, this series rightly hinges on Inspector De Vincenzi. Early in the book De Vincenzi's old school friend Aurigi remembers him as a poet and starts to ask... "I was wondering...why I became a policeman. It's for this very reason that I became a policeman: because I am perhaps a poet, as you say. I feel the poetry of this profession of mine..." (p.13). I think I have a little crush on De Vincenzi and I couldn't wait to read the next book in the series, Death in a Bookstore.
This first book centers on the murder of a banker (surprise!), Mario Garlini, who has been found, shot in the head, in the apartment of one of his clients, Giannetto Aurigi. Aurigi is a former classmate of De Vincenzi, who quickly concludes that although he is the prime suspect, Aurigi is innocent. But what happened? The case is confusing and a little complicated. Let's say there are many secrets in addition to the mystery. In classic mystery style, we learn the identity of the murderer and De Vincenzi neatly ties up all loose ends. But I found the book's characters and De Angelis's writing style more interesting than the resolution of the mystery. Despite De Angelis's considerable skill as a mystery writer, this series rightly hinges on Inspector De Vincenzi. Early in the book De Vincenzi's old school friend Aurigi remembers him as a poet and starts to ask... "I was wondering...why I became a policeman. It's for this very reason that I became a policeman: because I am perhaps a poet, as you say. I feel the poetry of this profession of mine..." (p.13). I think I have a little crush on De Vincenzi and I couldn't wait to read the next book in the series, Death in a Bookstore.
March 27, 2016
Rating 3.5/5*
Yet again I'm learning about another police organisation and investigation method. In my last read I was in modern day Japan. This time, I'm in early 20th Century Italy so no mobile phones and no portable radios; just the basic telephone but this still wasn't as common as it was in the latter part of the century.
The story is a classic whodunnit. A banker shot dead in another man's apartment who at the time of the murder, was in the police station.
There are nods to Agatha Christie's writing and particularly Poirot with the phrase "little grey cells". For me, it wasn't as cleverly written as Christie's mysteries but it had an air about it, similar to the Poirot adaptations on the small screen. Having read the "Did You Know" section that follows the story, it was written at a similar time to Christie, making the author her Italian contemporary which could explain the likeness.
The translation from Italian is good. At the start there were a couple of words I had to look up like Prussic Acid aka cyanide but this could be down to the evolution of language in the past 80 years. The author did switch between using characters' surnames and forenames in the narrative which was a little confusing to begin with.
The story wasn't outstanding but it's done enough to peak my interest - a few red herrings through the story to keep me guessing. I do want to read both more from the author and more Italian crime from the era and possibly more modern examples.
Thank you to Mollie at Pushkin Vertigo and Crimebookjunkie Book Blog for this ebook in return for my unbiased review.
Yet again I'm learning about another police organisation and investigation method. In my last read I was in modern day Japan. This time, I'm in early 20th Century Italy so no mobile phones and no portable radios; just the basic telephone but this still wasn't as common as it was in the latter part of the century.
The story is a classic whodunnit. A banker shot dead in another man's apartment who at the time of the murder, was in the police station.
There are nods to Agatha Christie's writing and particularly Poirot with the phrase "little grey cells". For me, it wasn't as cleverly written as Christie's mysteries but it had an air about it, similar to the Poirot adaptations on the small screen. Having read the "Did You Know" section that follows the story, it was written at a similar time to Christie, making the author her Italian contemporary which could explain the likeness.
The translation from Italian is good. At the start there were a couple of words I had to look up like Prussic Acid aka cyanide but this could be down to the evolution of language in the past 80 years. The author did switch between using characters' surnames and forenames in the narrative which was a little confusing to begin with.
The story wasn't outstanding but it's done enough to peak my interest - a few red herrings through the story to keep me guessing. I do want to read both more from the author and more Italian crime from the era and possibly more modern examples.
Thank you to Mollie at Pushkin Vertigo and Crimebookjunkie Book Blog for this ebook in return for my unbiased review.
December 7, 2015
I received a free copy from NetGalley in exchange for an honest review. Thank you, Pushkin Vertigo!
Augusto De Angelis and the Italian classic whodunits were a big black void in my crime reading list. Written in 1935, it is the first of Inspector De Vincenzi novels. Set in Milan, De Vincenzi has to solve the murder of a banker, while everything points at his childhood friend being the culprit. There are not a lot of suspects and the personal information that we glean from the Inspector is not plentiful (other than he likes to read - which makes me like him!). It's the ambiance and descriptions that make this such a thrilling read. The resolution was also unexpected. De Angelis was murdered himself when Mussolini's fascist followers gave him a beating. Too sad. But there are more volumes in this series and I will be adding them all to my TBR list. I highly recommend this for fans of the classic whodunit.
Augusto De Angelis and the Italian classic whodunits were a big black void in my crime reading list. Written in 1935, it is the first of Inspector De Vincenzi novels. Set in Milan, De Vincenzi has to solve the murder of a banker, while everything points at his childhood friend being the culprit. There are not a lot of suspects and the personal information that we glean from the Inspector is not plentiful (other than he likes to read - which makes me like him!). It's the ambiance and descriptions that make this such a thrilling read. The resolution was also unexpected. De Angelis was murdered himself when Mussolini's fascist followers gave him a beating. Too sad. But there are more volumes in this series and I will be adding them all to my TBR list. I highly recommend this for fans of the classic whodunit.
September 12, 2016
What fun that Pushkin Vertigo is republishing foreign classics new to the US market! I got a big kick out of this one.
Inspector De Vincenzi is surprised one night when a slightly incoherent school friend called Aurigi shows up at the station in opera clothes. While the two are chatting casually, De Vincenzi receives a call to the effect that there has been a murder in his friend's apartment. He hurries to the scene, telling Aurigi to wait.
Although all signs point to Aurigi having means and motivation to kill the man (a banker to whom Aurigi owes a lot of money), De Vincenzi smells a fiendish setup. How he unravels the mystery in spite of numerous other equally motivated suspects showing up has a lot to do with Aurigi's parlor clock having been set an hour ahead.
The author was writing in the 1930s and is said to have established the style for the Italian crime novel. He ran afoul of Mussolini and died from injuries inflicted by a Fascist thug.
Inspector De Vincenzi is surprised one night when a slightly incoherent school friend called Aurigi shows up at the station in opera clothes. While the two are chatting casually, De Vincenzi receives a call to the effect that there has been a murder in his friend's apartment. He hurries to the scene, telling Aurigi to wait.
Although all signs point to Aurigi having means and motivation to kill the man (a banker to whom Aurigi owes a lot of money), De Vincenzi smells a fiendish setup. How he unravels the mystery in spite of numerous other equally motivated suspects showing up has a lot to do with Aurigi's parlor clock having been set an hour ahead.
The author was writing in the 1930s and is said to have established the style for the Italian crime novel. He ran afoul of Mussolini and died from injuries inflicted by a Fascist thug.
January 5, 2016
This was a difficult book to review, as I found it had a good story but the writing was very dated, and maybe the translation didn't help, either. This books reads like a play, very formal.
When a murdered man is discovered in the apartment of the man who owed him a great deal of money, Inspector de Vincenzi sets out to find the killer and clear the name of his friend, who is the principal suspect in this case.
It seemed to me only the characters in the book know what's going on. There's a lot of whispering between them, but the reader just doesn't know what is going on.
I received an ARC of this book in exchange for an honest review.
When a murdered man is discovered in the apartment of the man who owed him a great deal of money, Inspector de Vincenzi sets out to find the killer and clear the name of his friend, who is the principal suspect in this case.
It seemed to me only the characters in the book know what's going on. There's a lot of whispering between them, but the reader just doesn't know what is going on.
I received an ARC of this book in exchange for an honest review.
November 24, 2016
"Tutti i drammi umani, per terribili che siano, si chiudono sempre con un segno di vita rinnovata."
Fare qualche passo indietro e non solo da un punto di vista letterario, per il linguaggio usato, molto signorile peraltro, ma materialmente; ricordi di adolescente, quanto in TV passavano le puntate del Commissario De Vincenzi interpretato dal grande Paolo Stoppa.
Giallo all'italiana, un classico quindi, con il misfatto (in questo caso un delitto), l'indagine, tanto lavoro di cervello e fantasia, il colpo di scena, il lampo finale con la scoperta del colpevole...
In fondo 猫 leggero, semplice, essenziale, ma proprio per questo l'ho apprezzato.
Fare qualche passo indietro e non solo da un punto di vista letterario, per il linguaggio usato, molto signorile peraltro, ma materialmente; ricordi di adolescente, quanto in TV passavano le puntate del Commissario De Vincenzi interpretato dal grande Paolo Stoppa.
Giallo all'italiana, un classico quindi, con il misfatto (in questo caso un delitto), l'indagine, tanto lavoro di cervello e fantasia, il colpo di scena, il lampo finale con la scoperta del colpevole...
In fondo 猫 leggero, semplice, essenziale, ma proprio per questo l'ho apprezzato.
August 22, 2017
Diciamo che il giallo lascia il tempo che trova.
E' pi霉 un dramma da camera.
Il tono generale 猫 parecchio cupo, i poliziotti sembrano protagonisti di un dramma di Ibsen, i discorsi sempre sopra le righe.
Conservavo un buon ricordo della versione televisiva con Paolo Stoppa nei panni del commissario, chiss脿 a rivederla ora.
E' pi霉 un dramma da camera.
Il tono generale 猫 parecchio cupo, i poliziotti sembrano protagonisti di un dramma di Ibsen, i discorsi sempre sopra le righe.
Conservavo un buon ricordo della versione televisiva con Paolo Stoppa nei panni del commissario, chiss脿 a rivederla ora.
March 6, 2025
I had never heard of the author before coming across this book, so I was fascinated to learn in the publisher鈥檚 鈥淒id you know?鈥� afterword that he was the late1930s and early 1940s Italian equivalent of our own Agatha Christie. And he wasn鈥檛 someone who sat in an ivory tower only writing puzzle novels. He penned anti-Fascist articles during WW2, got himself arrested by the authorities, and died in 1944 after being beaten up by a Fascist thug.
So, with hindsight, I am slightly surprised that there is so little overt politics in this novel, because whilst it was originally published well before WW2 (in 1935), this was still more than ten years after Mussolini came to power. However, although it is set firmly in Milan (with references in the opening two paragraphs to the real Piazza San Fedele and the Manzoni Theatre), it is definitely more of a Golden Age-style whodunit than an attempt to portray the realities of 1930s life in Italy. You certainly have to read and assess it, therefore, by the standards and motifs of (mostly) English detective stories of that period. So the murder takes place off camera; forensics barely seem to exist (the doctor called to the scene of death pops a phial of prussic acid that he finds lying around into his pocket); the chief of police authorises a private investigator (by the name of Harrington!) to work alongside Inspector De Vincenzi right from the start; much depends on a clock in the victim鈥檚 apartment that has been deliberately set to run one hour fast; and the cornered murderer, as well as looking around 鈥渓ike a captive beast, 鈥� eyes flaming,鈥� smilingly asks the Inspector how he is going to prove their guilt.
However, there are also some nice acknowledgements by the author of the influence of his more famous English peers. For example, Harrington the private investigator has his own 鈥渢heory鈥� right from the start, aided by the use of his 鈥渓ittle grey cells鈥� (I wonder who that is a reference to!), and the doctor draws a chalk outline around the body because 鈥渆veryone does it these days, in Germany, in America 鈥︹€�. If I am honest, much of the book reads like a play, with long sections of dialogue interspersed with passages of scene-setting and of the Inspector鈥檚 introspection, and all the action (apart from the epilogue) is condensed into 24 hours. There is also much more 鈥渢elling鈥� than 鈥渟howing鈥� 鈥� such as when, to give one random example, 鈥淚t was obvious that XXX could barely restrain himself from running up to his daughter and shutting her mouth with his own hand 鈥︹€�.
But this is all typical of what can often be found in 1930s Golden Age fiction, and judged on that basis this novel is a light, interesting, and enjoyable read.
So, with hindsight, I am slightly surprised that there is so little overt politics in this novel, because whilst it was originally published well before WW2 (in 1935), this was still more than ten years after Mussolini came to power. However, although it is set firmly in Milan (with references in the opening two paragraphs to the real Piazza San Fedele and the Manzoni Theatre), it is definitely more of a Golden Age-style whodunit than an attempt to portray the realities of 1930s life in Italy. You certainly have to read and assess it, therefore, by the standards and motifs of (mostly) English detective stories of that period. So the murder takes place off camera; forensics barely seem to exist (the doctor called to the scene of death pops a phial of prussic acid that he finds lying around into his pocket); the chief of police authorises a private investigator (by the name of Harrington!) to work alongside Inspector De Vincenzi right from the start; much depends on a clock in the victim鈥檚 apartment that has been deliberately set to run one hour fast; and the cornered murderer, as well as looking around 鈥渓ike a captive beast, 鈥� eyes flaming,鈥� smilingly asks the Inspector how he is going to prove their guilt.
However, there are also some nice acknowledgements by the author of the influence of his more famous English peers. For example, Harrington the private investigator has his own 鈥渢heory鈥� right from the start, aided by the use of his 鈥渓ittle grey cells鈥� (I wonder who that is a reference to!), and the doctor draws a chalk outline around the body because 鈥渆veryone does it these days, in Germany, in America 鈥︹€�. If I am honest, much of the book reads like a play, with long sections of dialogue interspersed with passages of scene-setting and of the Inspector鈥檚 introspection, and all the action (apart from the epilogue) is condensed into 24 hours. There is also much more 鈥渢elling鈥� than 鈥渟howing鈥� 鈥� such as when, to give one random example, 鈥淚t was obvious that XXX could barely restrain himself from running up to his daughter and shutting her mouth with his own hand 鈥︹€�.
But this is all typical of what can often be found in 1930s Golden Age fiction, and judged on that basis this novel is a light, interesting, and enjoyable read.
January 11, 2023
Il primo romanzo della serie con protagonista Carlo De Vincenzi, poliziotto atipico, fuori dagli schemi, poeta pi霉 che uomo d鈥檃zione.
In una fredda e nebbiosa notte milanese, De Vincenzi riceve in Questura la visita del suo ex compagno di collegio Giannetto Aurigi. Proprio in quel momento, De Vincenzi viene chiamato sulla scena di un omicidio: il banchiere Garlini 猫 stato trovato assassinato con un colpo di pistola proprio nell'appartamento dell'Aurigi. Il quale, guarda caso, doveva all'uomo una grossa somma di denaro.Tutto congiura contro il suo vecchio amico, ma De Vincenzi sa scrutare come pochi la scena del delitto e l鈥檃nimo umano...
De Angelis 猫 il vero creatore, negli anni 鈥榯renta, del giallo all鈥檌taliana: inaugur貌 la via italiana al poliziesco, portando avanti allo stesso tempo una sottile ma ferma resistenza al regime fascista. Fu lui il primo a scrivere gialli di 芦clima禄 italiano: la citt脿 - Milano - gli interni, i personaggi 鈥a soprattutto i poliziotti all鈥檌taliana. Su tutti il perfetto protagonista, il commissario De Vincenzi: un funzionario dello stato che cerca di fare bene il proprio lavoro, n茅 poliziotto spaccone n茅 freddo detective, ma attento indagatore dell鈥檃nimo umano; il suo metodo investigativo 猫 basato sull鈥檌ntuizione psicologica e sull鈥檕sservazione dell鈥檌nvolontario da cui emerge l鈥檌ndizio segreto. Colto, intelligente, sensibile e nello stesso tempo deciso e pronto, se necessario, a saltare qualche regola che intralcia. De Vincenzi 猫 dotato di una cultura raffinata, il suo vero interesse 猫 la poesia, legge Freud, Lawrence, Platone,听le epistole听di San Paolo. Scettico soprattutto su se stesso, continuamente si domanda: 芦ma perch茅 ho fatto il poliziotto?禄听ma poi 猫 capace delle migliori performance, grazie proprio al suo essere diverso dai colleghi.
Il giallo che 猫 strutturato come un opera teatrale, si svolge quasi tutto in un solo luogo e ricorda molto lo stile di Agatha Christie; 猫 una lettura piacevole e un po鈥� 鈥渧intage鈥�, molto diversa dalle trame rapide ed incalzanti a cui siamo abituati, leggermente appesantita da un linguaggio datato, ma comunque interessante.
In una fredda e nebbiosa notte milanese, De Vincenzi riceve in Questura la visita del suo ex compagno di collegio Giannetto Aurigi. Proprio in quel momento, De Vincenzi viene chiamato sulla scena di un omicidio: il banchiere Garlini 猫 stato trovato assassinato con un colpo di pistola proprio nell'appartamento dell'Aurigi. Il quale, guarda caso, doveva all'uomo una grossa somma di denaro.Tutto congiura contro il suo vecchio amico, ma De Vincenzi sa scrutare come pochi la scena del delitto e l鈥檃nimo umano...
De Angelis 猫 il vero creatore, negli anni 鈥榯renta, del giallo all鈥檌taliana: inaugur貌 la via italiana al poliziesco, portando avanti allo stesso tempo una sottile ma ferma resistenza al regime fascista. Fu lui il primo a scrivere gialli di 芦clima禄 italiano: la citt脿 - Milano - gli interni, i personaggi 鈥a soprattutto i poliziotti all鈥檌taliana. Su tutti il perfetto protagonista, il commissario De Vincenzi: un funzionario dello stato che cerca di fare bene il proprio lavoro, n茅 poliziotto spaccone n茅 freddo detective, ma attento indagatore dell鈥檃nimo umano; il suo metodo investigativo 猫 basato sull鈥檌ntuizione psicologica e sull鈥檕sservazione dell鈥檌nvolontario da cui emerge l鈥檌ndizio segreto. Colto, intelligente, sensibile e nello stesso tempo deciso e pronto, se necessario, a saltare qualche regola che intralcia. De Vincenzi 猫 dotato di una cultura raffinata, il suo vero interesse 猫 la poesia, legge Freud, Lawrence, Platone,听le epistole听di San Paolo. Scettico soprattutto su se stesso, continuamente si domanda: 芦ma perch茅 ho fatto il poliziotto?禄听ma poi 猫 capace delle migliori performance, grazie proprio al suo essere diverso dai colleghi.
Il giallo che 猫 strutturato come un opera teatrale, si svolge quasi tutto in un solo luogo e ricorda molto lo stile di Agatha Christie; 猫 una lettura piacevole e un po鈥� 鈥渧intage鈥�, molto diversa dalle trame rapide ed incalzanti a cui siamo abituati, leggermente appesantita da un linguaggio datato, ma comunque interessante.
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