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blood portrait - John Katzenbach

"No era un viaje normal por carretera…Miami, Nueva Orleans, Kansas City, Omaha, Chicago, Cleveland. Un hombre, una mujer, un coche y una cámara fotográfica. Él secuestra, mata y después fotografía a sus víctimas. Ella writes about what happened and make sure you have correctly captured the story, because he knows that he todo.La detective reviews Mercedes Barren has reason to pursue: her niece was a victim. And the psychiatrist Martin Jeffers, a specialist in sex crimes. An odyssey. An expedition. A nightmare that goes into the next day ... with Portrait in blood. "

All novels by John Katzenbach share the same flaw: a tendency to fill with straw excessive mental approximately 200 pages on average in each novel, so that taking into account that usually comprise about 500 pages (512, where "Portrait in blood") can almost speak of half of a work. It is a pity, because Katzenbach knows how to build characters of great depth and interesting plots, but their virtues are lost in its labyrinthine insights, sometimes causing a rather heavy reading.
"Portrait in Blood" continues with this trend irregular. The story begins with the discovery of a corpse, a young woman raped and strangled, we must thank the author does not wallow in the sordid details, which happens to be one in a long series. The other difference is that this girl is the niece of a police detective, Mercedes Barren, which, although evidence points to a culprit, he decided to heed their instincts and begin a search the real murderer alone, regardless of their department and with one goal in mind: revenge.
same time, a man named Douglas Jeffers decided to undertake a long journey, "a sentimental journey" as he confided to his brother a psychiatrist. With the introduction of the character, we know from the outset the identity of the particular nemesis of Detective Barren, a ruthless serial murderer who has devoted his life to perfecting the art of death in all its possible variants. Jeffers, who has what would be the equivalent of a psychotic midlife crisis, decides it's time to take a reporter to document their journey. And it is then kidnapped a college student, Anne Hampton, to devote to such a useful task.
Since then, the novel becomes a game of search and seizure between the four characters: Mercedes Barren, Dr. Jeffers, Jeffers and Anne Douglas Hampton. Such is the vigor with which these characters are drawn all the other side are practically anecdotal and in fact, the story is more focused on the ties that bind them in the criminal adventure in itself. On the one hand, the antagonism between the detective and the murderer's brother, who undertake the quest together, each for different reasons, and secondly, the terrifying tug of war between Jeffers and kidnapped the girl, who is forced to undergo a learning forced marches. The novel glides seamlessly along the wide roads to circulate his characters, but stumbles when he subjects the reader to self-analytical verbiage of the murderer, the detective autofustigamientos Barren, extensive guilt of Dr. Jeffers. The pace is improving during therapy sessions with his psychiatrist's patients, all murderers and rapists, it is during those moments when they reveal the keys that make the novel a recommended reading.

DATA BOOK TITLE: "PORTRAIT IN BLOOD"

AUTHOR: John Katzenbach

EDITORIAL: ISSUES B

YEAR: 2006

SCORE *** (THREE SHOTS)

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Rules thriller - SS Van Dine

"The detective story is a kind of intellectual game's more, it becomes a sports event. And to write detective stories there are very definite laws, perhaps unwritten, but binding; and any schemer literary mystery that boasts work on this basis. What follows here is a kind of belief, based partly on the practice of all the great writers of detective stories, and partly on the promptings of the honest awareness author. To wit:

1. The reader must have equal opportunity with the detective to solve the mystery. All clues must be shown and described.

2. You should not make the reader fall in any trap or deceptions than those lawfully made by the criminal on the detective himself.

3. There must be no love. The issue is to bring the criminal to justice, not to bring a lovelorn couple to the altar of Hymen.

4. Neither the detective nor any of the official investigators, should never turn out as the culprit. Truculence is a tasteless, like offering someone a bright penny for a gold coin of five dollars. It is a false pretension.

5. The culprit must be determined by logical deductions, not by accident or coincidence or unmotivated confession. Resolve a criminal problem in this fashion is like hunting the reader and, after an arduous march, saying that you had the whole time I was looking on your sleeve. An author is no better than a joker.

6. The detective novel must have a detective and a detective is not a detective unless he detects. Its function is to gather clues that lead to the person who did the dirty work in the first chapter, and if the detective does not reach its conclusion through an analysis of these tracks, no more solved his problem than the schoolboy who gets his answer out of the arithmetic.

7. In a detective story must have a corpse and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred is too high for any other crime other than murder. After all, the reader's time and energy expenditure should be rewarded.

8. The crime problem must be solved by strictly naturalistic means. Methods to know the truth as slate, thought-reading, seances, crystal balls and the like are prohibited. The reader has a chance when matching his wits with a rationalistic detective, but must compete with the world of spirits and go chasing about the fourth dimension metaphysical, is defeated ab initio.

9. There should be no more than a detective, that is, a protagonist of deduction, a deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to solve a problem "is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If more than one detective the reader does not know who your driver. It's like making the reader run a race with a relay team.

10. The culprit must be a person who has played more or less important part of history, that is, a person with whom the reader is familiar and which is interest.

11. A servant must not be chosen by the author as the culprit. It's a too easy solution. The culprit must be definitely a person of importance, someone who would not ordinarily come under suspicion.

12. There should be one culprit, no matter the number of crimes committed. The culprit may, of course, have an accomplice or assistant secondary, but the onus must rest on one pair of shoulders: the indignation of the reader should be concentrated on a single black nature.

13. The secret societies, gangs, etc. have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled for any culpability. In a thriller, the murderer should be treated graciously, but it is going too far to a secret society in which they can shelter. No criminal class that respect would accept such advantages.

14. The method of murder, and means for detecting it, must be rational and scientific. That is, the pseudo-science and purely imaginative and speculative instruments should not be tolerated in the roman policier. At the time a perpetrator is liable to the land of fantasy in the manner of Jules Verne, departs from the ways of the police action, stepping into the vast realms of adventure.

15. The truth You must keep in sight, for the cunning of the reader can detect. By this I mean that if the reader, after learning the explanation of crime, re-read the book, you will see that the solution was, in a sense, before their eyes, that all the clues really pointed to the culprit, and that if it had been as smart as the detective could have solved the mystery by itself without having to reach the last chapter. It goes without saying that the intelligent reader often solves the problem.

16. A detective novel should contain no long descriptive passages, no literary profusion of ornaments, and worked on character analysis, no worries "Weather." These things have no place in a tale of crime and deduction. Hinder the action and introduce issues irrelevant to the main purpose, which is to present a problem, analyze and successfully levarlo a conclusion. To be sure, must have descriptions and drawings of characters just to give the novel verisimilitude.

17. A professional criminal must never be blamed on a detective novel. The crimes committed by robbers and bandits are a matter for police departments, not the authors and brilliant amateur detectives. A really fascinating crime is committed by a priest or a knight famous for their acts of charity.

18. In a thriller, the crime must never be an accident or suicide. End the ordeal of an investigation with such anti-climax is mocking the reader's trust.

19. The motives for all crimes in detective stories should be personal. International conspiracies and war policies belong to a different category of fiction, the stories of espionage, for example. But a criminal history should be kept in the field of everyday life, should reflect the common experiences of the reader, and give him a certain outlet for his own repressed desires and emotions.

20. And (to give final remarks about my belief) lists some tricks in which no writer of detective stories that boasts it will fall. Have been employed and are familiar to all true lovers of literature criminal. Using them is a confession of ineptitude and lack of originality by the author:

• a) Determining the identity of the culprit by comparing the butt left at the scene of the crime with the brand smoked by a suspect.
• b) False séance to frighten the culprit and force his confession.
• c) Forged fingerprints.
• d) The simulated figure alibi.
• e) The dog that did not bark and thereby reveals the fact that the murderer's family.
• f) The final charge against a sister or relative who looks exactly like the suspected, but innocent.
• g) The hypodermic syringe with sleep-inducing drug.
• h) The crime in a locked room inside.
• i) The word association test to find the culprit.
• j) The key letter is unraveled by the detective.

SS Van Dyne - September 1928

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The Bone Collector - Jeffery Deaver

"Lincoln Rhyme, a leading forensic criminologists in the world, is paralyzed from the neck down, so that lives attached to his bed. When planning suicide receives a call from an old friend: buried in a road train West Side New York found the hand of a man who took a taxi that would never ... its driver was 'Bone Collector'. Only Rhyme can decipher the clues that leaves the intelligent psychopath. The police officer Amelia Sachs will be your arms and legs in a frantic and exciting race to stop the horror. "

Go ahead comment Jeffery Deaver is always an entertaining writer but rarely touches the brilliance, but rather for lack of resources due to lack of literary talent. It can be said with justice that his best find is the creation of an unusual character such as the criminologist Lincoln Rhyme, whose first novel is the one in question. Rhyme is a leading scientist, gifted intellect, self-centered and cold as a fish but also a troubled man, who lives in hell of complete paralysis except for his head and one finger. In "The Bone Collector", the beginning of a journey that now has several novels, Rhyme contact an association pro-euthanasia to end his frustrating existence. However, a strange series of murders thanks to which the police ask advice to postpone a voluntary cause death sentence.

Because you can not perform by itself, Rhyme uses the help of an attractive police officer Amelia Sachs, also beset by his own personal demons, which is responsible for collecting evidence from crime scenes, these scenes being the most interesting novel.

From there, Deaver develops a fast-paced story that leaves no respite until the exciting final and once again demonstrates the skill with which the author develops the action and chase scenes, 100% film, without neglecting other more introspective sequences in which Rhyme is torn between the desire to die, caused by their living situation and, stimulated by the research itself is carried out. Towards the latter part of the novel, this contrast is of particular importance to be intimately connected with the case.

A History of Jeffery Deaver always guarantee a great time entertaining and "The Bone Collector" does not disappoint in that regard. Perhaps where most weakens the author is in the repetition of situations, not only along several of his works but also within the same novels. Also sometimes the character grates Amelia Sachs, a "stunning redhead", former underwear model, an expert on guns and fast cars, in short, looks like a stereotype of FHM magazine. On other sections of the novel also reveals a more complex woman than meets the eye, but I suspect that resources such as arthritis or endorse a self-destructive manias are nothing more than an attempt by the writer to correct the image almost comic heroine who at the start.

Deaver also weakens the dialogues, which are not bad, but irregular and although "The Bone Collector holds a commendable job of documentation, sometimes the desire for Deaver to explain everything that has studied Lastra a topic action is unnecessary or even irritating.

Finally, I would point out the significant presence of secondary accompany Rhyme and Sachs throughout the series to "Letter No. 12", last published novel: on the whole suffered Thom, a nurse at the criminal, the detective Lon Sellitto and Fred Dellray and some characters related to a particular novel that reappear later as a cameo.

DATA BOOK TITLE: "THE BONE COLLECTOR"

Author: Jeffery Deaver

EDITORIAL: SUM OF ARTS

YEAR: 1997

SCORE OF "THE WEB OF ICE "*** (three shots)