"Oggi la morte è l'unica vera notizia per la gente" afferma Joanne, la protagonista del romanzo "Non ricordo chi l'ha detto, ma è vero. La morte è l'eccitazione più estrema, la più esclusiva..."
Qui la morte è delitto, come in ogni giallo. Delitto gratuito, anche. Delitto come antidoto alla noia. E, se Lafcadio ne "I sotterranei Vatican "commits an unprovoked murder and free, hence the killer even draw and complete a series of crimes so perfect that no investigation is able to find physical evidence or at least some clues. Thus, contrary to what usually happens The culprit, we do not know if more intelligent and prudent or more cruel and criminal, remains free until the last page. And further, because the ending makes us fear new crimes and new cruelty. It makes us tremble before the realization that the truth is hard to say, sometimes impossible, and that a ferocious and triumphant guilty can go free.
And, finally, to defuse a bit ': Jessica Fletcher about someone said that, given that wherever she goes, we beat the dead man to a violent death, perhaps the murderer herself. Jessica Mah The culprits identified by the end confess all. But: what if an author of detective stories would not only identify fictitious plots, but also translate them into reality?
Anne Holt, "It should not happen", Einaudi 2009
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