Sezione Suicidi
Il tenente Guérin è sempre stato un poliziotto un po' speciale.Misantropo, figlio di una prostituta, vive tutto solo in un appartamento immerso nel caos, con l'unica compagnia di un pappagallo che accoglie l'arrivo dei rari ospiti con vere e proprie esplosioni di turpiloquio.Ma Guérin è anche uno sbirro di prim'ordine, onesto fino al midollo e poco incline ai compromessi. Proprio per questo è stato spedito a dirigere la Sezione Suicidi della Surété.Un esilio ben poco dorato, nel quale sembra condannato all'inattività. Fino a quando Parigi viene sconvolta da una serie di suicidi spettacolari e sospetti.Convinto che l'universo sia una sola, immensa rete di connessioni, e che dunque non esistano fatti isolati, ma solo concatenazioni, Guérin si avvia lentamente a scoprire la verità, tra mille ostacoli, con la coscienza che il caso non esiste e che dietro quelle morti c'è qualcuno pronto a muovere tutte le leve del potere, pur di non essere scoperto...

Sezione Suicidi Details

TitleSezione Suicidi
Author
LanguageItalian
ReleaseFeb 1st, 2011
PublisherEinaudi
ISBN-139788806204730
Rating
GenreCultural, France, Mystery, Noir, Crime, Fiction

Sezione Suicidi Review

  • Orsodimondo
    January 1, 1970
    SINDROME DI SAN SEBASTIANO Il San Sebastiano di Andrea Mantegna è forse quello più trafitto, col maggior numero di frecce. Si trova al Louvre e la collocazione francese sembra particolarmente corretta in quanto i cugini d’oltralpe hanno una fascinazione per questo martire che supera perfino la nostra. In questo romanzo si sostiene, con una certa logica a mio avviso, che il martirio fu protratto in quanto gli arcieri carnefici erano affezionati al militare romano Sebastiano, loro commilitone non SINDROME DI SAN SEBASTIANO Il San Sebastiano di Andrea Mantegna è forse quello più trafitto, col maggior numero di frecce. Si trova al Louvre e la collocazione francese sembra particolarmente corretta in quanto i cugini d’oltralpe hanno una fascinazione per questo martire che supera perfino la nostra. In questo romanzo si sostiene, con una certa logica a mio avviso, che il martirio fu protratto in quanto gli arcieri carnefici erano affezionati al militare romano Sebastiano, loro commilitone non ancora santo, e preferivano ferirlo anziché ucciderlo.Andare a dirigere la Sezione Suicidi due anni prima non è stata esattamente una promozione per Guérin. Tutt’altro: l’ufficio è composto solo da lui e il suo assistente, un lungagnone con scarpe come pinne che veste sempre in tuta da calciatore, è collocato in un sottotetto, ci piove dentro, non ha finestre, e una delle due stanzette è tutta archivio dei casi insoluti.E poi, come si fa a risolvere un caso di suicidio? Perché se si intuisce che quella morte nasconde un delitto, il caso passa ad altra sezione (Omicidi, Anticrimine…).Come mai Guérin si trova lì, a dirigere in pratica se stesso e una quantità di scartoffie? Perché è un poliziotto acuto e mentalmente raffinato che non guarda in faccia nessuno se non la Giustizia, e quindi ha indagato dove non doveva, sugli affari sporchi della famiglia (leggi: la stessa polizia), e la finta promozione è un modo come un altro per isolarlo e metterlo fuori gioco.Oggi, si direbbe mobbing, credo.L’ufficio del commissario Guérin è all’interno di 36 Quai des Orfèvres.Epperò, quello che sembrava il delirio di un omino che zoppica, ricopre il suo storto corpicino con un eterno impermeabile giallo appartenuto alla madre (prostituta), si porta dietro un testone pelato piena di escoriazioni sanguinanti che lui continua a grattarsi e scorticarsi (non mi è chiarissimo se sono segno dell’affetto del suo pappagallo che parla come un frequentatore di bordelli – d’altra parte cos’altro poteva imparare a dire, considerato che apparteneva alla madre prostituta?! – pappagallo che gli si poggia sulla spalla e col becco gli incide lo scalpo, oppure se il pappagallo non fa che peggiorare una situazione iniziata da un tic nervoso di Guérin che si gratta mentre ragiona pensa elabora), le apparenti farneticazioni mentali di Guérin nascondono una verità.Uno dei suicidi su cui s’indaga è a opera di Alan, ex militare USA nella prima Guerra del Golfo, arruolato dai servizi segreti, ex torturatore, ex mangiafuoco e fachiro, ora eroinomane dedito alla Body Suspension Art, di cui in questa foto si vede un esempio. Il suicidio avviene in scena, trafitto dai ganci di sospensione.Anzi, più di una: i casi vengono a galla come i nodi vengono al pettine, la verità guadagna in definizione e chiarezza, le soluzioni affiorano. Perché Guérin è bravo.E il suo assistente lungagnone non così scimunito.E il terzo protagonista di questo romanzo, un non meno eccentrico trentenne americano laureato in psicologia, alle spalle collaborazioni con i servizi segreti del suo paese, che vive nei boschi del Lot in una tenda da nativo indiano procurandosi il cibo con l’arco, vestendo come David Crockett, il terzo protagonista è un personaggio molto riuscito, perfino più dei primi due: tenace, a sua volta acuto e dotato di ottimo intuito, perseverante, affezionato (al morto, alla verità, alla libertà).Un’altra forma di arte di cui si parla in queste pagine è l’Action Body Painting: corpo nudo dell’artista che sbatte e rimbalza sulla tela lasciando impronte di colore.E quelle che iniziano come due vicende a montaggio parallelo, una a Parigi, l’altra che parte dai boschi del sud della Francia, come le rette parallele fanno solitamente in apparenza, e cioè, incrociarsi, qui le due rette s’incrociano a tutti gli effetti, diventano per un tratto una sola, convergono.Ma il personaggio più riuscito, il mio preferito su tutti, è l’ex detenuto che vive come guardiano dei Giardini del Luxembourg dentro una baracchina in compagnia del suo mastino bastardo, ed è talmente rassomigliante a Edward Bunker, che David Crockett finisce col battezzarlo proprio Bunk’.Le Jardin du Luxembourg.Un’umanità che si divide tra pesti, dolenti, solitari, interiormente ammaccati da storie ed esperienze di sofferenza, da una parte, e dall’altra corrotti rapaci marci fino al midollo. Un mondo che si muove con lentezza, e improvvise violente accelerazioni. Il tutto condito da una buona scrittura e migliore ironia.Anche se la caratterizzazione vince alla grande sulla definizione della trama, anche se il finale è di rara luminosa cupezza, è un peccato che la soluzione sia un trionfo di verità e giustizia come nei fatti non succede mai.Almeno da questa parte delle Alpi.Antonin Varenne è laureato in filosfia, accanito viaggiatore, ha pubblicato due romanzi non di genere prima di questo, col quale ha trovato il suo primo grande successo.
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  • Toby
    January 1, 1970
    I was searching for the book about the making of Blade Runner - Future Noir - on my library catalogue and this strange little existential French noir popped up in the search results. No question I was just going to read it immediately, science fiction noir can be a rich vein of the classic storytelling tropes in new and interesting environments afterall.Except this is not the future, this is not science fiction and the idiot librarian who catalogued this book has clearly made a mistake. Not that I was searching for the book about the making of Blade Runner - Future Noir - on my library catalogue and this strange little existential French noir popped up in the search results. No question I was just going to read it immediately, science fiction noir can be a rich vein of the classic storytelling tropes in new and interesting environments afterall.Except this is not the future, this is not science fiction and the idiot librarian who catalogued this book has clearly made a mistake. Not that I'm complaining as Antonin Varenne's deconstruction of some of the classic obsessive detective full of quirks and foibles was one of the most interesting and different novels I've read in quite some time. At least before it became just another excuse to use the CIA as the bad guys, at which point it all became very obvious. But much like the great films of the French Poetic Realism movement/style/tendency Varenne was largely concerned with characters living on he edges of society and offers a fatalistic view of life. Defeat clutched from the jaws of victory sort of stuff.His detective, much like Dirk Gently meets Columbo, is a mess of a man, dedicated to his profession and his scruffy mack, believes in the interconnectedness of all things and that this "Big Theory" can solve everything. Naturally he's a pariah in a modern, aggressive, metropolitan police force. He's investigating suicides that he believes are a series of murders and that's what leads him to the secondary protagonist's storyline - classic crime novel trope ahoy! - an American dropout living in the woods in rural France who is informed that his best friend has just committed suicide during his "S&M club" skin piercing stage act. With a few other interesting major supporting characters thrown in Varenne leads you on an interesting investigation that threatens to be one thing then becomes another, and the whole thing is full of philosophical pondering, complex characterisation and bleak scenarios. I'm a big fan.
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  • Helena (Renchi King)
    January 1, 1970
    Negdje između 3 i 4 zvjezdice. Radnja mi je malo premračna,stil pisanja mi se jako svidio. Mislim da bi ovo bio dobar film.
  • Raven
    January 1, 1970
    I have not read a crime thriller as utterly compelling and emotionally powerful as ‘Bed of Nails’ for many years and, having been promised a unique crime reading experience by those lucky enough to have read this before publication, I would implore that you seek this out and prepare for an unparallelled master class in crime writing. A novel that metaphorically slaps you round the face from the opening scene of a harrowing suicide and a plot that continues to pummel the reader’s senses throughou I have not read a crime thriller as utterly compelling and emotionally powerful as ‘Bed of Nails’ for many years and, having been promised a unique crime reading experience by those lucky enough to have read this before publication, I would implore that you seek this out and prepare for an unparallelled master class in crime writing. A novel that metaphorically slaps you round the face from the opening scene of a harrowing suicide and a plot that continues to pummel the reader’s senses throughout, plunging you unreservedly into the seedy underbelly of Parisian life, police and foreign diplomatic corruption and a twisting thriller peopled by a cast of beguiling and emotionally flawed but totally engaging characters. Being reluctant to divulge any further details of the plot, I would say that this a novel that is best approached from another angle entirely and for the following reasons:There’s that awful reviewer’s cliche that ‘this is a book that stays with you long after the final page is turned’ but I would absolutely endorse this statement in relation to this novel. The ending is so emotionally bleak for all the main protagonists, but you have engaged with them so much during the course of the book, gravitating between moments of violence to tenuous but touching interludes of human connection that it genuinely strikes a powerful chord. As the denouement unfolds with such devastating consequences for the characters , there is a calm and understated depiction of human frailty. In the death of one character in particular, whose violent end is tinged with a moment of complete serenity, there is a beautifully wrought and succinct juxtaposition with a solitary image that is wholly resonant of the natural world . With assured vignettes like this at absolutely the right moments, the manipulation of language to suit the change of tempo and tone in the plot, and the deeper philosophical context, this crime novel just draws you in and adds to your sense of this being more than a thriller, but a literary exploration of the boundaries of mainstream crime writing. Simply wonderful...
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  • Andy Weston
    January 1, 1970
    Varenne has conjured up a group of odd characters in this dark, quirky and philosophical story. Guerin is the police headquarters’ chief suicide investigator and is piecing together links between recent suicides that forms the plot for the early part of the novel at least. His parrot abuses his visitors at home, and his sidekick, Lambert, is unpopular with his other colleagues and an outsider. The parallel storyline is of an ex American diplomat living off the grid in rural France who is in Pari Varenne has conjured up a group of odd characters in this dark, quirky and philosophical story. Guerin is the police headquarters’ chief suicide investigator and is piecing together links between recent suicides that forms the plot for the early part of the novel at least. His parrot abuses his visitors at home, and his sidekick, Lambert, is unpopular with his other colleagues and an outsider. The parallel storyline is of an ex American diplomat living off the grid in rural France who is in Paris after the death of an old friend, an ex Marine with PTSD who last work was in an S and M bar as a torture artist. Few things are as they seem and this is certainly not a straightforward detective story. The stories within the story are a feature of the novel, and it is therefore best approached in a different way by the reader. It falls between the noir and literary genres, it’s philosophical aspects meeting with the emotional bleakness of the characters and the seedy underbelly Of Parisian life.
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  • Jim Coughenour
    January 1, 1970
    It's possible to believe, at least for the first few pages, that Bed of Nails is another quirky policier in the spirit of the Commissaire Adamsberg series by Fred Vargas – and then it starts to sink in: these characters aren't Gallic eccentrics, they are truly damaged. Guérin, the chief detective in charge of suicides, scratches his head so hard he leaves bloody scars across his scalp, while the suicide at the center of the story is a performance artist who spears himself onstage. The beautiful It's possible to believe, at least for the first few pages, that Bed of Nails is another quirky policier in the spirit of the Commissaire Adamsberg series by Fred Vargas – and then it starts to sink in: these characters aren't Gallic eccentrics, they are truly damaged. Guérin, the chief detective in charge of suicides, scratches his head so hard he leaves bloody scars across his scalp, while the suicide at the center of the story is a performance artist who spears himself onstage. The beautiful blond (required in every noir novel) runs into walls, a pet parrot plucks himself, and I won't even start with the crimes of the corrupt police department. Varenne's pacing didn't quite work for me, but somehow he's managed to write a book that's completely bleak yet still has moments of desolate charm. French fiction…
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  • Filippo Bossolino
    January 1, 1970
    Uno dei più tristi romanzi che io abbia mai letto. Negativo, pessimista e quant'altro.Trama un po' cervellotica, ma ben scritto
  • Jaime Perrin
    January 1, 1970
    English: Had I not been reading this for my french class, I wouldn't have finished it. The plot never seemed like it was going anywhere. Most of the main characters were annoying, crazy, or stupid (with the exception of the dog, Mesrine, and Bunker). By the end of the book, I had no desire to finish it, and didn't really care what happened.Français: Si ce livre n'était pas requis pour mon cours de français, je ne l'aurais pas fini. L'intrigue n'a jamais semblé aller nulle part. La plupart des pe English: Had I not been reading this for my french class, I wouldn't have finished it. The plot never seemed like it was going anywhere. Most of the main characters were annoying, crazy, or stupid (with the exception of the dog, Mesrine, and Bunker). By the end of the book, I had no desire to finish it, and didn't really care what happened.Français: Si ce livre n'était pas requis pour mon cours de français, je ne l'aurais pas fini. L'intrigue n'a jamais semblé aller nulle part. La plupart des personnages étaient ennuyeux, cinglés, ou stupide (à l'exception du chien, Mesrine, et Bunker). À la fin du livre, je n'avais aucune d'envie de le terminer, et je me fichais de ce qui s'était passé.
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  • Satyrika
    January 1, 1970
    Sono devota lettrice di Fred Vargas, per cui ho fatto un po' fatica, inizialmente, a staccarmi dal modello.Ma: proprio questa difficoltà iniziale ha evidenziato un fattore interessante, su cui altrimenti non avrei riflettuto. Perché è innegabile che esista una scrittura più tipicamente maschile e una più tipicamente femminile, e mi è parso quindi in tutta la sua evidenza quanto Vargas, pur adottando uno pseudonimo maschile, poi si sveli autrice da sé.Abituandomi a poco a poco al nuovo 'genere', Sono devota lettrice di Fred Vargas, per cui ho fatto un po' fatica, inizialmente, a staccarmi dal modello.Ma: proprio questa difficoltà iniziale ha evidenziato un fattore interessante, su cui altrimenti non avrei riflettuto. Perché è innegabile che esista una scrittura più tipicamente maschile e una più tipicamente femminile, e mi è parso quindi in tutta la sua evidenza quanto Vargas, pur adottando uno pseudonimo maschile, poi si sveli autrice da sé.Abituandomi a poco a poco al nuovo 'genere', con tutta la durezza e l'asprezza che spesso lo accompagnano, ho poi apprezzato molto innanzi tutto l'architettura del romanzo: ben studiata e calibrata, altrettanto ben condotta e accompagnata da uno stile che definirei 'nebuloso', che descrive a volte solo a metà, diventando in questo molto accattivante.Non starò a riassumere o descrivere, perché si trova tutto sul sito Einaudi.Sezione suicidi è un racconto intriso di tristezza e solitudine, in cui si affaccia uno spicchio di sole: il vecchio Bunker è un personaggio che non dimenticherò tanto presto.
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  • Tuck
    January 1, 1970
    noir police prodedural set in paris. the question is: does usa use S&M folks to "practice" their torture and black sites? of course they do.
  • Marco Rossetti
    January 1, 1970
    Non sapevo bene cosa aspettarmi da questo libro. Mi ci sono incaponito, però, nel trovarlo. Era comparso nello stream pesantissimo di consigli che ogni tanto mi popuppano "in da face" e mi ha subito attirato.Insomma avevo anche letto la sinossi e tutto avrei pensato fuorché quel che poi si è rivelato: un libro francese, così francese nel midollo che ad ogni fine capitolo mi veniva l'impulso di andare a controllare se in bagno avessi ancora il bidet.Fin da subito la sensazione è quella di sedersi Non sapevo bene cosa aspettarmi da questo libro. Mi ci sono incaponito, però, nel trovarlo. Era comparso nello stream pesantissimo di consigli che ogni tanto mi popuppano "in da face" e mi ha subito attirato.Insomma avevo anche letto la sinossi e tutto avrei pensato fuorché quel che poi si è rivelato: un libro francese, così francese nel midollo che ad ogni fine capitolo mi veniva l'impulso di andare a controllare se in bagno avessi ancora il bidet.Fin da subito la sensazione è quella di sedersi ad uno di quei pranzi eterni in cui le portate arrivano col contagocce e sono tutte annunciate con nomi impronunciabili che però fa fighissimo declamare. Come se esibendo un "fantasia di arrosto in letto di rugiada gargantuesca accompagnato da patate del sole di orione in tramonto sulla costellazione di andromeda" tu possa sfamarti senza pensare che alla fine ti stanno servendo uno stronzino di carne con contorno.Varenne è francese. Scrive un libro francese, da francese, in quello stile francese così pieno di dettagli e particolari che a volte danno decisamente un po' troppo la nausea. Se fosse un film, questo libro, sarebbe un film leeeentissimo in bianco e nero, muto, con i dialoghi scritti su fondo nero in quel fuori sincrono a volte esasperante. Ma, mettiamoci un bel "ma", devo anche dire che alla fine la storia ha il suo bel perché. Alla fine in un qualche modo ti prende e ti coinvolge fino alla fine, mentre vorresti schiaffeggiare Varenne per dirgli "eddai e muoviti, smettila di descrivere anche il colore del dorso dello scarafaggio che passava per strada quella mattina!".Per onore di cronaca, il libro, è un bel noir in cui ci si capisce all'inizio poco, poi qualcosa e alla fine qualcosina, con però qualche punto interrogativo che rimane aperto. I personaggi vedono l'eccentrico e nevrotico Guérin, a capo della "Sezione Suicidi" della polizia parigina, rimanere invischiato con il suo vice Lambert in una storia che coinvolge morti troppo singolari per essere scollegate e la crociata personale di un altro personaggio, il buon ammeregano a Parigi John Nichols. Che gran caduta di stile chiamare un americano John. O Jack. O insomma, qualsiasi nome un po' meno scontato poteva andare bene.Ecco l'avete capito, questo libro ti fa diventare una sorta di vecchio brontolone imbruttito, perché alla fine ti lascia in bocca l'amaro gusto dell'insoddisfazione, con la catarsi che ormai si è andata a far friggere ben prima delle ultime pagine.Non lo boccio su tutta la linea perché è scritto bene, perché si capisce che l'autore è un peso massimo della sega mentale applicata al racconto ossessivo compulsivo dei dettagli (ed è una dote che, a scanso di equivoci, per una mia deviazione mentale mi ritrovo ad apprezzare anche quando fine a sé stessa) e perché i personaggi vengono rappresentati bene, un po' ti ci affezioni anche se a diversi tratti vanno a scadere nel mix macchietta-luogo comune che buonanotte suonatori.Concludo con la benedizione urbi et orbi.Consigliato agli amanti del cioccolato fondente nero senza speranza.https://www.rossettimarco.com/2019/01...
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  • Iza
    January 1, 1970
    Pas le meilleur roman que j'aie lu cette année... Pas mal surtout à cause des personnages, marginaux bizarres et intéressants, mais l'histoire se traînait un peu et ne commence à vraiment bouger que vers la fin. Des flashs d'humour ici ou là, mais un roman très noir. Cependant, page 133, j'ai bien rigolé en voyant tous les noms sur la liste des suicidés !
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  • Andy
    January 1, 1970
    Fantastic!I'm ever on the trail of new detective fiction, and this novel was like a first encounter with Dale Cooper or Harry Hole or Veronica Mars; if you like them, you may well like this novel. +Paris.
  • Jack Heath
    January 1, 1970
    Synopsis: Guerin is not a typical policeman. He reviews suicides to check that they were really self-inflicted. He finds two strikingly similar.
  • Adam Quadrelli
    January 1, 1970
    Confermo la media delle recensioni mediocri.Trama lenta nella parte centrale e finale un po' troppo pesante a mio avviso
  • John Brooke
    January 1, 1970
    This is a great one. Very dark, very sad, but funny in the right places, deeply touching, ultimately heart wrenching. Difficult too. The underlying theme is complex. Through a bleak cop story set mainly in Paris in the present, the author seeks to understand the role and soul of ‘the torturer’ as war’s most potent and poisonous weapon. What kind of human ends up in this role, and how? Where must such a corrupted human logically end, regardless of the righteous cause? This aspect of the book is l This is a great one. Very dark, very sad, but funny in the right places, deeply touching, ultimately heart wrenching. Difficult too. The underlying theme is complex. Through a bleak cop story set mainly in Paris in the present, the author seeks to understand the role and soul of ‘the torturer’ as war’s most potent and poisonous weapon. What kind of human ends up in this role, and how? Where must such a corrupted human logically end, regardless of the righteous cause? This aspect of the book is lucid, painfully relevant and well written - but I still to read those passages more than once.There are two protagonists (three, if you count a dean man who can't speak but is vividly present): Inspector Richard Guerin is an eccentric outcast amongst the ranks at 36 Quai des Orfevres (the central police building in Paris, and Ministry of Interior police HQ for all of France). He has been put in charge of investigating suicides. His squad consists of himself and Lambert, a naive but loyal assistant. As the story begins – with an incredibly horrific scene - we understand Guerin’s assignment is a punishment. But for what? We won’t know till near the end.John Nichols is an American from California living in a tent in the southwest on a piece of land inherited from his French-born "hippie" mother. Nichols is a PhD in Psychology who has turned his back on the world. But when he receives word from the US embassy in Paris that John Mustgrave has died – an apparent suicide – he heads back into civilization to officially identify his ‘old friend’s’ body and take care of the paper work involved in sending him home to Kansas.Mustgrave is revealed as a broken American character. Blame it on his role in the US military as a CIA trained torturer. His apparent suicide during a bizarre S&M performance in a murky Paris nightclub is suspicious. Nichols, who focused his abandoned research on Mustgrave, seeks to know more. The corruption within the murder squad at 36 Quai des Orfevres which Guerin has been quietly laboring to prove is equally strange and leads to the same S&M club. Sunny, hippie-strewn California. Deeply “American” Kansas. The back streets of Paris, where dark sub-cultures, exiles in hiding, criminals and cops of all stripes interconnect… In themselves these locations point in the direction of a police novel that is also a morality tale enacted on an Uber level. With slow, tragic inevitability the separate paths of a grimly dreamy French cop and two burned-out Americans(one live, one dead) cross.5 stars. I would call this a poetic police story of the highest order. The only French reference I can give which might resonate is that Bed of Nails is translated by Sian Reynolds, who does such a great job with the voice and tone of huge star Fred Vargas. I am happy to have found this book. (There is one other listed translated "thriller" by Antonin Varenne - Loser's Corner. I will look for it.)
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  • Alexandra
    January 1, 1970
    Am Anfang war ich sehr angetan von diesem Krimi. Sehr gute Sprachfabulierkunst und ein Hintergrundthema, das sehr interessant ist, nämlich wie Menschen zum Folterer gemacht werden können bzw. die Auswirkung von Folter auf den Gefolterten und den Folterer gewürzt mit ausgezeichneten psychologischen, zeitgeschichtlichen und politschen Hintergründen.Diese an sich hervorragende Grundkonstellation ist aber verpackt in ein Werk mit völlig abstrus entwickelten Figuren, die sich komplett ambivalent und Am Anfang war ich sehr angetan von diesem Krimi. Sehr gute Sprachfabulierkunst und ein Hintergrundthema, das sehr interessant ist, nämlich wie Menschen zum Folterer gemacht werden können bzw. die Auswirkung von Folter auf den Gefolterten und den Folterer gewürzt mit ausgezeichneten psychologischen, zeitgeschichtlichen und politschen Hintergründen.Diese an sich hervorragende Grundkonstellation ist aber verpackt in ein Werk mit völlig abstrus entwickelten Figuren, die sich komplett ambivalent und konfus verhalten, so kommt es zumindest mir vor. Nie konnte ich nachvollziehen, warum die Person plötzlich wütend, traurig oder verrückt reagierte. Vielleicht ist dies der geheimnisvolle französische Stil, den ich nicht verstehe, aber die einzelnen Figuren rittern fast darum, wer seinen irreparablen Dachschaden am skurillsten durch psychisch auffällige Verhaltensweisen verdrängt. Mir fällt kein einziger Protagonist ein, der ohne extrem verhaltensauffällige Traumata auskommt - Moment! Der Barman in einem Dorf auf dem Lande und vielleicht ein Hippiepärchen als Neben-Nebenfiguren, was wahrscheinlich ausschliesslich daraus resultiert, dass sie nur nicht ausführlich genug vom Autor beschrieben wurden.Die zwei Handlungssträge sind auch total wirr und fast zufällig miteinander verwoben. Hintergründe und Motive werden überhaupt nicht ausreichend aufgedeckt. In diesem Sinne irrte ich bis zum Schluss durch diesen französischen Krimi der wie der typische Film noir und wie das Gesicht von Jean Gabin geheimnisvoll, ausdruckslos, nebulös, überintellektuell bzw. überhauptnichtintellektuell und unbefriedigend auf mich wirkte. Schwupps löste sich auch der Mordfall und die "Hintergründe" auf und doch habe ich das ungute Gefühl, da steckt irgendwo noch noch ein tieferer Sinn dahinter, den ich nicht verstanden habe. Oder auch nicht :DAbschliessend stellt sich mir die Frage: Sind Franzosen so?
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  • Clay
    January 1, 1970
    Antonin Varenne managed to create a one of a kind noir with Sezione Suicidi. It is packed with mysterious and dark characters who all have their own very serious issues. The detective for example is a complete weirdo. He's got a lot of strange quirks like his idea of everything being interconnected. He keeps looking for connections between random events and tries to draw meaning from that. He also gets some kind of anxiety attacks when he loses control and starts scratching his head until it ble Antonin Varenne managed to create a one of a kind noir with Sezione Suicidi. It is packed with mysterious and dark characters who all have their own very serious issues. The detective for example is a complete weirdo. He's got a lot of strange quirks like his idea of everything being interconnected. He keeps looking for connections between random events and tries to draw meaning from that. He also gets some kind of anxiety attacks when he loses control and starts scratching his head until it bleeds. The other main character is a loner who lives in the woods of France on his own. There is a serious sadness that surrounds these guys. Their struggle seems very real and this book takes itself very seriously most of the time so you never get the feeling that things are going to get better for them. You can also find some very interesting settings that are perfect for this kind of story. There is a suicide of a fakir who dies on stage in an S&M club. How crazy does that sound? It is a noir filled with so many great aspects but the main problem of this book is that it is not very focused. Plot wise it is extremely brave and daring because there are a lot of plot lines which in the end don't really end up having much to do with one another. This makes it very unpredictable because you simple cannot guess what's about to happen next but it also makes it quite tough to stay engaged. It took me quite some time to finish the book and I was quite surprised by that because I expected it to be a two days read. It may be a short book but it is very challenging for sure. I can't think of another short noir that is stacked with so many big ideas.
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  • Clarabel
    January 1, 1970
    Au premier coup d'oeil, la couverture et le résumé ne sont guère alléchants. Et pourtant, ce roman noir, plus que noir, est divinement impitoyable, juste et captivant. C'est l'histoire, d'un côté, d'un lieutenant et de son adjoint, deux bras cassés confinés au service des suicidés, et qui commencent à relever plusieurs cas suspects sans véritablement mettre un nom à ce malaise. C'est ainsi qu'ils font la connaissance d'un trappeur franco-américain, appelé à la rescousse pour régler les formalité Au premier coup d'oeil, la couverture et le résumé ne sont guère alléchants. Et pourtant, ce roman noir, plus que noir, est divinement impitoyable, juste et captivant. C'est l'histoire, d'un côté, d'un lieutenant et de son adjoint, deux bras cassés confinés au service des suicidés, et qui commencent à relever plusieurs cas suspects sans véritablement mettre un nom à ce malaise. C'est ainsi qu'ils font la connaissance d'un trappeur franco-américain, appelé à la rescousse pour régler les formalités administratives suite au décès de son ami, un fakir qui s'est vidé de son sang alors qu'il était en représentation. Une mort douteuse, donc. John commence à fourrer son nez dans les affaires louches de son pote, aidé de loin par le lieutenant Guérin, lui-même hanté par ses propres démons liés à une guerre des barbouzes. C'est tout simplement bluffant, ça se lit tout seul, le désespoir des uns faisant presque le bonheur des autres, parce qu'il ne faut pas se voiler la face, l'auteur dresse un portrait attachant de ses personnages, alors même qu'ils ne sont pas parfaits mais tout cabossés, avec des bleus partout. Ce n'est pas joli-joli, c'est au contraire insolite, sombre mais ça le fait. Cela coule tout seul, la fin est terrible mais parfaitement réussie, à sa façon l'auteur a su tirer son épingle du jeu, et ce serait mentir que de ne pas reconnaître qu'on savoure davantage la forme au fond de l'intrigue.
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  • Lynn
    January 1, 1970
    Translated from French "Bed of Nails" is rich in characterisation rather than story. A rather bizarre crime thriller based around the death of a fakir of S&M. The plot-line gets lost after the second chapter but you are awarded with some beautifully awkward sub characters who become more important with each chapter. The ex con we come to know as Bunker and his faithful companion, Mesrine are, for me, the most loveable throughout. Though damaged by previous experiences in his life, his nature Translated from French "Bed of Nails" is rich in characterisation rather than story. A rather bizarre crime thriller based around the death of a fakir of S&M. The plot-line gets lost after the second chapter but you are awarded with some beautifully awkward sub characters who become more important with each chapter. The ex con we come to know as Bunker and his faithful companion, Mesrine are, for me, the most loveable throughout. Though damaged by previous experiences in his life, his nature is to protect firstly himself and his dog but as the story evolves you realise that his self emposed exile will encompass those who he sees as worthy of his trust. The fabulous awakening he receives whilst helping our embittered protagonist is truly beautiful in prose and sentiment.I haven't mentioned the main character in name as he seems a sideline to everything else in the story even though the narrative is based around his trying to get answers for the death of the fakir, his friend.I liked this book and if I hadn't been sidetracked into reading one of my favourite authors new book in between I might have gained more enjoyment from it. So, sorry to Mr Varenne but be assured that I would still pick up his next book when it comes out.
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  • Gözde Yeşilsefa
    January 1, 1970
    2 mi yoksa 4 mü versem çok kararsızdım bu yüzden ortası olsun dedim her ne kadar hikayeler ortak olsa bile bence bu kitapta iki farklı hikaye vardı ve üzgünüm guerin ama senin hikayen 2 puanlıktı john u anlatmadan önce neden hikayenin sadece john üzerine kurulu olmadığını merak ettiğimi söylemeliyim yani ilk başta tüm kitabın guerinden ibaret olacağını düşünmüşken ve çok sıkılmışken john kitabın kurtarıcısı oldu john kimseye benzeyemeyen karakteriyle yine benim sahip olduğum fransız ön yargısını 2 mi yoksa 4 mü versem çok kararsızdım bu yüzden ortası olsun dedim her ne kadar hikayeler ortak olsa bile bence bu kitapta iki farklı hikaye vardı ve üzgünüm guerin ama senin hikayen 2 puanlıktı john u anlatmadan önce neden hikayenin sadece john üzerine kurulu olmadığını merak ettiğimi söylemeliyim yani ilk başta tüm kitabın guerinden ibaret olacağını düşünmüşken ve çok sıkılmışken john kitabın kurtarıcısı oldu john kimseye benzeyemeyen karakteriyle yine benim sahip olduğum fransız ön yargısını deldi geçti (biraz amerikalılık var diyedir belki) bir de sonu guerin in tarafında çok mutsuzdu diğer taraftan lambert in sonuda aynı şekilde evet sürükledi ama bazı yerlerde sıktı bıktırdı ancak john çok farklıydı sadece arkadaşının ölümünü araştırsa bile guerin in hikayesinden çok daha iyi bir hikaye ortaya çıkardı yazar guerin için johnlu birçok yeri heba etmiş gibi geldi bana yoksa sırf john olsa ne de olsa iyi günümdeyim diye bu kitaba 5 bile verebilirdim :( keşke alan karakterini de biraz tanıma şansımız olsaydı birkaç flashback belki ama elimizde ki buysa bu kitap maalesef 3 guerin için 2 john için 4
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  • agata
    January 1, 1970
    Fakire ist ein durch und durch französisches Buch. Weder ist es das endlos weite Land der amerikanischen Prärie, noch die maßlosen Städte jenseits des Atlantiks, und auch nicht die systematische Ruhe nordischen Gemüts, zu denen uns der Autor mitnimmt. Fakire flaniert durch ein modernes Paris im Wissen um seine Geschichte und das immer knapp an einem Wutausbruch vorbei.Es fragt nicht nach technischen Möglichkeiten, es zeigt keine ohnmachtsbringende Bestialität, es erklärt nicht die menschliche Un Fakire ist ein durch und durch französisches Buch. Weder ist es das endlos weite Land der amerikanischen Prärie, noch die maßlosen Städte jenseits des Atlantiks, und auch nicht die systematische Ruhe nordischen Gemüts, zu denen uns der Autor mitnimmt. Fakire flaniert durch ein modernes Paris im Wissen um seine Geschichte und das immer knapp an einem Wutausbruch vorbei.Es fragt nicht nach technischen Möglichkeiten, es zeigt keine ohnmachtsbringende Bestialität, es erklärt nicht die menschliche Unzulänglichkeit. Die Kausalität, die es bietet, ist banal. Die Erklärungsmuster wirr und wahnhaft.Die Welt von Fakire und seine Charaktere sind unerklärbar und am Ende unergründlich. Die am Ende dargebotene Auflösung bemüht sich nicht einmal wirklich ihre Unzulänglichkeit zu kaschieren. Fakire zeigt uns etwas ganz anderes: Die 'condition humaine', die Unbegreifbarkeit des menschlichen Seins.Fakire ist kein psychologischer Krimi - er erklärt nichts. Es ist ein philosophischer - auf der Suche nach der richtigen Frage.
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  • Rob Kitchin
    January 1, 1970
    Bed of Nails is somewhat of a curious book - a police procedural that doesn’t easily fit the genre, with a misfit, and at times almost cartoonish, lead character. The plot is quite complex, weaving together different strands, which veers towards being opaque on occasion; it not always clear quite how Guérin is fitting his clues together or what exactly is going on. As a result, the first half of the book was interesting, but was not compelling. In the second half, the narrative becomes more enga Bed of Nails is somewhat of a curious book - a police procedural that doesn’t easily fit the genre, with a misfit, and at times almost cartoonish, lead character. The plot is quite complex, weaving together different strands, which veers towards being opaque on occasion; it not always clear quite how Guérin is fitting his clues together or what exactly is going on. As a result, the first half of the book was interesting, but was not compelling. In the second half, the narrative becomes more engaging, and in the last quarter shifted gear into a different register which recast the whole story. The closing pages in particular were an emotional rollercoaster as Varenne provides a thoroughly noir ending to the story; one that opened up a number of questions about morality and just rewards. Overall, a dark, quirky tale that progressively became more gripping, noirish and philosophical.
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  • Cmorice
    January 1, 1970
    • Richard Guérin, lieutenant au service « suicides » du 36, quai des Orfèvres, fait face à une vague de cas plutôt inhabituels. Un homme se jette nu sous les roues d’un camion ; un autre s’empale sur le squelette d’un cachalot dans un musée… Et la mort d’un certain Mustgrave, fakir américain, est encore plus suspecte : alors qu’il assurait le spectacle en se mutilant sur une scène parisienne, il s’est écorché jusqu’à se vider entièrement de son sang. Pour Guérin, il n’y a pas de doute : ces suic • Richard Guérin, lieutenant au service « suicides » du 36, quai des Orfèvres, fait face à une vague de cas plutôt inhabituels. Un homme se jette nu sous les roues d’un camion ; un autre s’empale sur le squelette d’un cachalot dans un musée… Et la mort d’un certain Mustgrave, fakir américain, est encore plus suspecte : alors qu’il assurait le spectacle en se mutilant sur une scène parisienne, il s’est écorché jusqu’à se vider entièrement de son sang. Pour Guérin, il n’y a pas de doute : ces suicides sont des meurtres, et l’épidémie ne fait que commencer.• Né à Paris en 1973, Antonin Varenne quitte l’Université après une maîtrise de philosophie. Il vit à Toulouse, travaille en Islande et au Mexique. Revenu en France, il se consacre désormais à l’écriture.
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  • Marina Sofia
    January 1, 1970
    Not quite sure what to make of it. It has been compared to Fred Vargas, repeatedly, on the cover, but that seems far off the mark to me - one or two eccentric characters do not a Vargas novel make. There is something appealing about it, the ending was quite moving, I did rather like the characters (a real bunch of outsiders, one and all). But the puzzle element was missing somehow. Not only was the case (or rather the multiple cases of suicide) never fully and satisfactorily resolved, but it was Not quite sure what to make of it. It has been compared to Fred Vargas, repeatedly, on the cover, but that seems far off the mark to me - one or two eccentric characters do not a Vargas novel make. There is something appealing about it, the ending was quite moving, I did rather like the characters (a real bunch of outsiders, one and all). But the puzzle element was missing somehow. Not only was the case (or rather the multiple cases of suicide) never fully and satisfactorily resolved, but it was also never quite compelling enough.
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  • Ellie
    January 1, 1970
    I picked up Bed of Nail as part of my Paris in July reading and I think my lack of engagement with it is why I did so badly with my personal goals. The concept sounds good; Parisian suicide squad with offbeat characters and a talking parrot. Overall I found it a bit odd and there is an over use of “had” which makes the prose feel a bit clumsy. I don’t know if this is just the translation or the intended style but it wasn’t for me. A shortish book, I gave up at page 102.
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  • Joe Rodeck
    January 1, 1970
    Good concept: An inspector condemned to the suicide squad and a scenario wherein spectators seek bizarre entertainment. But the writing is bland. It's easy to see that this is largely the translator's fault. (How many times does he have to say "the little lieutenant"?) Now I'm convinced that a translation into English should be done by an American or Brit rather than a Frenchman who has no ear for the language.
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  • Emma
    January 1, 1970
    VERDICT: Mix mental issues, social issues, drugs and corruption at all levels, and any human black trait you can think of, and you have Bed of Nails, a roller coaster ride into French crime fiction at its bleakest and most captivating.Read my full review here:http://wordsandpeace.com/2014/11/19/b...
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  • Mark Ellis
    January 1, 1970
    Another very original and enjoyable French thriller. The story features an extremely oddball detective, Richard Guerin and his sidekick Lambert who are in charge of investigating all suicides in Paris. It has an imaginative plot with an idiosyncratic structure. Some parts not for the faint-hearted. Gripping and strangely moving.
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  • maharishi
    January 1, 1970
    Couldn't get past the first 25%... I can't say whether or not it picks up but god man, you need to keep the audience gripped from the first page. Two incoherent plots; some strange protagonist whose logic is beyond my comprehension; and nothing ever happens! Definitely avoidable. No wonder the damn thing was on sale...
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