Hannibal, Engl. ed., Film Tie-In
A Novel
(Sprache: Englisch)
#1 NEW YORK TIMES BESTSELLER • "Is it as good as Red Dragon and Silence of the Lambs? No . . . this one is better."-Stephen King, The New York Times Book Review
You remember Hannibal Lecter: gentleman, genius, cannibal. Seven years have passed since Dr....
You remember Hannibal Lecter: gentleman, genius, cannibal. Seven years have passed since Dr....
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#1 NEW YORK TIMES BESTSELLER • "Is it as good as Red Dragon and Silence of the Lambs? No . . . this one is better."-Stephen King, The New York Times Book ReviewYou remember Hannibal Lecter: gentleman, genius, cannibal. Seven years have passed since Dr. Lecter escaped from custody. And for seven years he's been at large, free to savor the scents, the essences, of an unguarded world.
But intruders have entered Dr. Lecter's world, piercing his new identity, sensing the evil that surrounds him. For the multimillionaire Hannibal left maimed, for a corrupt Italian policeman, and for FBI agent Clarice Starling, who once stood before Lecter and who has never been the same, the final hunt for Hannibal Lecter has begun. All of them, in their separate ways, want to find Dr. Lecter. And all three will get their wish. But only one will live long enough to savor the reward. . . .
Praise for Hannibal
"Interested in getting the hell scared out of you? Buy this book on a Friday . . . lock all doors and windows. And by Monday , you might just be able to sleep without a night-light."-Newsday
"Strap yourself in for one heck of a ride. . . . It'll scare your socks off."-Denver Post
"A stunner . . . writing in language as bright and precise as a surgeon's scalpel, Harris has created a world as mysterious as Hannibal's memory palace and as disturbing as a Goya painting. This is one book you don't want to read alone at night."-The Atlanta Journal-Constitution
"Relentless . . . endlessly terrifying . . . 486 fast-paced pages, in which every respite is but a prelude to further furious action . . . Hannibal begins with a murderous paroxysm that leaves the reader breathless. . . . Hannibal speaks to the imagination, to the feelings, to the passions, to exalted senses and to debased ones. Harris's voice will be heard for a while."-Los Angeles Times
"A pleasurable sense of dread."-The Wall Street Journal
"Enormously satisfying . . . a smashing good time, turning
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the pages for thrills, chills, horror and finally, a bracing, deliciously wicked slap in the face . . . perhaps the very best the thriller/horror genre is capable of producing."-San Diego Union-Tribune
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Lese-Probe zu „Hannibal, Engl. ed., Film Tie-In “
Chapter Twenty OneThe Christian martyr San Miniato picked up his severed head from the sand of the Roman amphitheater in Florence and carried it beneath his arm to the mountainside across the river where he lies in his splendid church, tradition says.
Certainly San Miniato's body, erect or not, passed en route along the ancient street where we now stand, the Via de' Bardi. The evening gathers now and the street is empty, the fan pattern of the cobbles shining in a winter drizzle not cold enough to kill the smell of cats. We are among the palaces built six hundred years ago by the merchant princes, the kingmakers and connivers of Renaissance Florence. Within bow-shot across the Arno River are the cruel spikes of the Signoria, where the monk Savonarola was hanged and burned, and that great meat house of hanging Christs, the Uffizi museum.
These family palaces, pressed together in an ancient street, frozen in the modern Italian bureaucracy, are prison architecture on the outside, but they contain great and graceful spaces, high silent halls no one ever sees, draped with rotting, rain-streaked silk where lesser works of the great Renaissance masters hang in the dark for years, and are illuminated by the lightning after the draperies collapse.
Here beside you is the palazzo of the Capponi, a family distinguished for a thousand years, who tore up a French king's ultimatum in his face and produced a pope.
The windows of the Palazzo Capponi are dark now, behind their iron grates. The torch rings are empty. In that pane of crazed old glass is a bullet hole from the 1940s. Go closer. Rest your head against the cold iron as the policeman did and listen. Faintly you can hear a clavier. Bach's Goldberg Variations played, not perfectly, but exceedingly well, with an engaging understanding of the music. Played not perfectly, but exceedingly well; there is perhaps a slight stiffness in the left hand.
If you believe you are beyond harm, will you go inside? Will
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you enter this palace so prominent in blood and glory, follow your face through the web-spanned dark, toward the exquisite chiming of the clavier? The alarms cannot see us. The wet policeman lurking in the doorway cannot see us. Come . . .
Inside the foyer the darkness is almost absolute. A long stone staircase, the stair rail cold beneath our sliding hand, the steps scooped by the hundreds of years of footfalls, uneven beneath our feet as we climb toward the music.
The tall double doors of the main salon would squeak and howl if we had to open them. For you, they are open. The music comes from the far, far corner, and from the corner comes the only light, light of many candles pouring reddish through the small door of a chapel off the corner of the room.
Cross to the music. We are dimly aware of passing large groups of draped furniture, vague shapes not quite still in the candlelight, like a sleeping herd. Above us the height of the room disappears into darkness.
The light glows redly on an ornate clavier and on the man known to Renaissance scholars as Dr. Fell, the doctor elegant, straight-backed as he leans into the music, the light reflecting off his hair and the back of his quilted silk dressing gown with a sheen like pelt.
The raised cover of the clavier is decorated with an intricate scene of banquetry, and the little figures seem to swarm in the candlelight above the strings. He plays with his eyes closed. He has no need of the sheet music. Before him on the lyre-shaped music rack of the clavier is a copy of the American trash tabloid the National Tattler. It is folded to show only the face on the front page, the face of Clarice Starling.
Our musician smiles, ends the piece, repeats the saraband once for his own pleasure and as the last quill-plucked string vibrates to silence in the great room, he opens his eyes, each pupil centered with a red pinpoint of light. He tilts hi
Inside the foyer the darkness is almost absolute. A long stone staircase, the stair rail cold beneath our sliding hand, the steps scooped by the hundreds of years of footfalls, uneven beneath our feet as we climb toward the music.
The tall double doors of the main salon would squeak and howl if we had to open them. For you, they are open. The music comes from the far, far corner, and from the corner comes the only light, light of many candles pouring reddish through the small door of a chapel off the corner of the room.
Cross to the music. We are dimly aware of passing large groups of draped furniture, vague shapes not quite still in the candlelight, like a sleeping herd. Above us the height of the room disappears into darkness.
The light glows redly on an ornate clavier and on the man known to Renaissance scholars as Dr. Fell, the doctor elegant, straight-backed as he leans into the music, the light reflecting off his hair and the back of his quilted silk dressing gown with a sheen like pelt.
The raised cover of the clavier is decorated with an intricate scene of banquetry, and the little figures seem to swarm in the candlelight above the strings. He plays with his eyes closed. He has no need of the sheet music. Before him on the lyre-shaped music rack of the clavier is a copy of the American trash tabloid the National Tattler. It is folded to show only the face on the front page, the face of Clarice Starling.
Our musician smiles, ends the piece, repeats the saraband once for his own pleasure and as the last quill-plucked string vibrates to silence in the great room, he opens his eyes, each pupil centered with a red pinpoint of light. He tilts hi
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Autoren-Porträt von Thomas Harris
Thomas Harris
Bibliographische Angaben
- Autor: Thomas Harris
- 2000, 560 Seiten, Masse: 10,7 x 16,9 cm, Kartoniert (TB), Englisch
- Verlag: Dell
- ISBN-10: 0440224675
- ISBN-13: 9780440224679
Sprache:
Englisch
Pressezitat
[A] devilish tale . . . eerily realistic and chillingly vivid from beginning to end. As Harris sketches his hideous scenarios, he allows us to color them in with our imaginations. But not overdoing it, he draws us in,practically making us conspirators in his macabre fantasy. New York PostA work of art . . . You ll eat up Hannibal. . . . There isn t a wasted word . . . the last 100 pages are the best I ve ever read in the thriller genre. Larry King, USA Today
The readers who have been waiting for Hannibal only want to know if it is as good as Red Dragon and The Silence of the Lambs. . . . It is a pleasure to reply in the negative. No, not as good. This one is better. It is, in fact, one of the two most frightening popular novels of our time, the other being The Exorcist. . . . Hannibal is really not a sequel at all, but rather the third and most satisfying part of one very long and scary ride through the haunted palace of abnormal psychiatry. . . . Hannibal is a full-out unabashed horror novel. . . . I hope with all my heart that [Harris] will write again,and sooner rather than later novels that bravely and cleverly erase the line between popular fiction and literature are very much to be prized. Stephen King, The New York Times Book Review
A truly scary book . . . Harris writes with authority and a knack for detail, creating some memorably creepy scenes. People
Gothic, fantastic . . . full of wonderful touches. International Herald Tribune
A triumph of straightforward, smart prose. Not a word is wasted, not a thought is irrelevant. Harris is a master, and in Hannibal he reached, he stretched, and once again, he grabbed the prize. Dayton Daily News
Chilling . . . Hannibal is scary, sometimes unenduringly so . . . you hardly mark the moment when an entertaining novel becomes literature . . . a bizarre book, indeed, but enthrallingly so. Daily News (New York)
A magnificently
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gory page-turner. Detroit News
The book takes off . . . into the stratosphere of fantasy, into Hannibal Lecter s private world. . . . a Grand Guignol romp . . . Yet there s still a basso ostinato of serious questions, and the answers are darker than in Silence. The Nation
Gripping . . . a page-turning marvel . . . an ingenious plot . . . Harris writes wonderfully here,with elegant poetic rhythms and much striking imagery. Milwaukee Journal Sentinel
Diabolically clever . . . Harris serves up a feast in Hannibal. . . . He writes like an angel with the devil s sense of humor. . . . The hypnotic blend of horror story and psychological thriller lifts crime fiction to sublime. . . . Hannibal is ghoulishly good fare. Boston Herald
A page-turner . . . Harris works some surprising twists . . . [he] paces the action well. Houston Chronicle
A delightfully perverse book . . . Harris is still one of America s best,most daring pop writers. Time Out New York
The book takes off . . . into the stratosphere of fantasy, into Hannibal Lecter s private world. . . . a Grand Guignol romp . . . Yet there s still a basso ostinato of serious questions, and the answers are darker than in Silence. The Nation
Gripping . . . a page-turning marvel . . . an ingenious plot . . . Harris writes wonderfully here,with elegant poetic rhythms and much striking imagery. Milwaukee Journal Sentinel
Diabolically clever . . . Harris serves up a feast in Hannibal. . . . He writes like an angel with the devil s sense of humor. . . . The hypnotic blend of horror story and psychological thriller lifts crime fiction to sublime. . . . Hannibal is ghoulishly good fare. Boston Herald
A page-turner . . . Harris works some surprising twists . . . [he] paces the action well. Houston Chronicle
A delightfully perverse book . . . Harris is still one of America s best,most daring pop writers. Time Out New York
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