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Das Gesetz der Ehre: Roman by Gianrico…

Das Gesetz der Ehre: Roman (original 2006; edition 2007)

by Gianrico Carofiglio, Claudia Schmitt (Übersetzer)

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4091126,011 (3.61)6
Title:Das Gesetz der Ehre: Roman
Authors:Gianrico Carofiglio
Other authors:Claudia Schmitt (Übersetzer)
Info:Goldmann Verlag (2007), Gebundene Ausgabe, 272 Seiten
Collections:Your library

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Italian (4)  English (3)  Dutch (1)  Danish (1)  Spanish (1)  German (1)  All (11)
Showing 3 of 3
C. ha a mio avviso la grande capacita' di saper creare curiosita' con parole semplici e trame lineari. Questo suo terzo romanzo mantiene la medesima caratteristica, spostandosi su fatti di cronaca che potrebbero capitare a tutti, risolvendoli tuttavia con escamotage giurisprudenziali degni dei migliori avvocati del foro. L'avvocato Guerrieri, che si dimostra sempre piu' colto e simpatico, si sposta verso la dimensione della fiction, della finzione, del personaggio e non della persona, perdendo a tratti - per il mio personalissimo gusto - quel mordente di credibilità dei primi libri. Questo, assieme agli altri, rimane comunque un testo da leggere - a maggior ragione se si è iscritti a giurisprudenza... ( )
  bobparr | Dec 14, 2014 |
Rating: 4.9* of five

The Publisher Says: Lawyer Guerrieri is asked to handle the appeal of Fabio Paolicelli, sentenced to sixteen years for smuggling drugs into Italy. Everything seems stacked against the accused, not least because he initially confessed to the crime. His past as a neo-fascist thug also adds credence to the case against him. Only the intervention of Paolicelli’s beautiful half-Japanese wife finally overcomes Guerrieri’s reluctance. Matters get more complicated when Guerrieri ends up in bed with her. Gianrico Carofiglio, born in 1961, is a judge and anti-Mafia prosecutor in the southern Italian city of Bari. Bitter Lemon Press introduced him to English-speaking readers with his best-selling debut novel, Involuntary Witness.

My Review: Third in the Guido Guerrieri Italian legal procedural thrillers, this outing finds Avv. Guerrieri tilting at windmills again, with a twist: He's running an investigation into the client's story. He's taken the case of an imprisoned drug courier who insists he's innocent of knowingly transporting 40 kilos of cocaine from Montenegro back to Bari in the car carrying himself, his wife, and their small daughter. He was a small-time crook before, yes, and (unknown to the client) was even a nasty Fascist gang-bully in the 1970s who beat young Guido up in the street. But to imperil his own wife and daughter by doing something so stupid as to run a hundred pounds of cocaine across international borders?! Never!

But word in the prison-yard is that Avv. Guerrieri is a good one, a lawyer who does the job he's hired for, and makes the case work for the client. This time, though, Guido faces something a little bit tougher than just a client probably guilty and just denying it out of embarrassment at involving his family, or even the long-ago beating he got at the client's hands (which the client's clearly forgotten): Don Quixote de Guerrieri has met his Dulcinea, the client's beautiful half-Japanese wife Natsu.

And here Guido Guerrieri is, single and everything, since Margherita left for New York and a new life (the rat!). And here Natsu is, unsure of her husband's innocence, unsure of her future, unsure of how to tell her daughter that Papa's not coming home from his business trip until 2025...what can you expect a woman to do when a handsome older gent with sad eyes and a penchant for reading strange books, a sophisticated palate that can really appreciate her cooking, and a way with soothing her deeply unhappy daughter's nightmares falls into her lap?

In the end, as always, Guido sees justice served, and sees his services amply rewarded in the process by solidifying his excellent reputation among the criminal classes, with the local narcotics officers, and the Italian judiciary, all at the same time. Not for the first time, Carofiglio weaves a believable resolution to a plot he seems to have set in motion specifically to challenge the clockwork universe into crushing our Don Quixote hero with the windmill blades.

At the end of the last book, Guido and Margherita were celebrating Christmas together! He'd even jumped out of a plane to impress her! And in one short passage at the very beginning of this book, Carofiglio dispatches her to the same place that all happy-making things go in the lives of hard-boiled sleuths. I was a little bit surprised at first, then I remembered the cardinal rule of noir: No one is happy for long.

A doomed affair with a client's wife is a great noir touch, too. No one even moderately sentient can doubt for a second that, once Natsu appears, Guido's going to succumb to her and that she's going to offer up the goods. All progresses apace, and the expected complications ensue; and perhaps that's why this installment isn't quite so thrilling to me as the previous two. I suspect that the far greater emphasis on the investigative parts of the case as opposed to the actual court arguments and examinations might contribute to my lack of superhappy. But the elements are there, just in smaller proportion to previous outings. All I can hope is that the series doesn't become all PI instead of procedural.

I really like the translations of these books, I must say, since they give me credit for being intelligent enough to need the occasional reinforcement of the book's Italian setting by using actual Italian in some non-critical but very practical ways. My favorite example is the characters calling each other, when culturally necessary for them to do so, by their job titles, eg Guido being called "Avvocato" or "Lawyer-man" in professional contexts, exactly as they would in Italy. Grace notes like this are very important to my sense of pleasure in a book, and greatly enhance my willingness to read more of the series.

I continue to enjoy these books, and wait eagerly for the next installment. That's saying something from a man whose "to be read" shelf has over 1000 titles on it. ( )
  richardderus | Nov 6, 2011 |
Margherita has left Guido, ostensibly for a “short-term” job (read, at least one year) in New York for a once-in-a-lifetime chance to design for an internationally renowned firm. Guido, at 42, then goes into a classic mid-life crisis. At which vulnerable point, in walks a beautiful Japanese-Italian woman who wants Guido to take on what looks like the hopeless case of her husband, who is accused of smuggling drugs across the border into Italy--a lot of drugs. Already in prison, he wants Guido to take on his appeal.

Not only is the case bad enough, but the husband/suspect, Fabbiro RayBans, is someone out of Guido’s own childhood, a Fascist punk who delighted in beating Guido up when the latter was 12 and who was suspected in the murder of one of Guido’s acquaintances.

Guido is torn by any number of emotions, not the least of which is taking on the case and losing it so that this nemesis from the past--with the beautiful wife who then would be available--would disappear for 12 long years.

All this is combined with Guido’s usual melancholy reflection which does mean pages of self-examination and agonizing, Italian style. The book drags at that point. But it’s when Guido enters the courtroom he comes into his own. We are never in doubt what he’s going to say, as far as approach; what we never expect is exactly how he’s going to present his case. It’s extremely well done.

Even so, there’s a bit too much inner conflict going on though this book for me; it truly slowed the story down and as opposed to his two previous books, really didn’t add much to the story--we’ve heard it all before from Guido.

Still, a good read for the courtroom drama, which is very well done. ( )
  Joycepa | Feb 1, 2011 |
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Author nameRoleType of authorWork?Status
Gianrico Carofiglioprimary authorall editionscalculated
Gerritsen, RobTranslatorsecondary authorsome editionsconfirmed
Jansen, JanineCover designersecondary authorsome editionsconfirmed
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Guerrieri is asked to handle the appeal of Fabio Paolicelli. Everything seems stacked against the appeal, not least the fact that Paolicelli initially confessed to the crime. Guerrieri's reluctance to take on the case is intensified by the fact that the accused isn't unknown to him.… (more)

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