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3 von 3 Kunden fanden die folgende Rezension hilfreich:
5.0 von 5 Sternen
An Excellent Novel! A Real Page-Turner!, 1. August 2000
I absolutely loved this book. I couldn't stop reading. But it wasn't for that cheesy idea it was just a good mystery. But the setting, as well. The mental picture painted by Caleb Carr are amazingly astonishing. He makes a world that the reader get submersed into and never wants to leave until the last page. It was an excellent, excellent book. I would recommend it to anyone! Even the meanest Science-Fiction readers might like this one (don't get me wrong, I love Sci-Fi). This is the story of a serial killer. Most people would say, so what? The thing is, the novel's set in 1896, and what's so interesting about that is that they've never had a serial killer in that time, and when they stumble across his killings, it's both frightening and exhilarating. Some readers might find some of the mental images a bit hard to stomach; if you don't like gruesome descriptions of murders scenes, you might want to abstain on this one... in other words... you didn't like anything to do with Jack the Ripper, you won't like this. This is essentially a twisted account of the murders of Jack the Ripper- different victims, but same setting point. If you like things and are interested with Jack the Ripper, than you'll love this. I found it quite interesting. It really depends on your view of Jack the Ripper as whether you should read this or not. A.A.
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2 von 3 Kunden fanden die folgende Rezension hilfreich:
5.0 von 5 Sternen
Herausragend, 3. Juli 2006
Der amerikanische Präsident Theodore Roosevelt ist tot - und zwei seiner engsten Freunde und Gefährten (der Journalist und Icherzähler der Geschichte John Moore und der Psychiater Dr. Kreizler) unterhalten sich über die vergangenen Zeiten, als Roosevelt gerade erst Polizeichef von New York geworden war. Damals waren alle drei Persönlichkeiten (und noch einige andere liebenswerte Charaktere) in eine Ermittlung im Zusammenhang mit einem Massenmörder verstrickt. Unter Anwendung der im Jahr 1896 noch neuen kriminalpolizeilichen Methoden machen sie sich auf die Jagd nach einem unglaublich perversen Mörder. Neben dem klassischen Thrillerstoff liegt hier das Hauptaugenmerk auf den noch in den Kinderschuhen steckenden psychologischen Beurteilungen des Täters - das erste Täterprofiling der Kriminalgeschichte.
Das Buch, wenngleich ein Kriminalroman, darf man bereits mit hohen literarischen Maßstäben messen. Sowohl sprachlich als auch von der Zeichnung der Personen und deren Geschichte ist Carr ein herausragendes Werk gelungen. Selten wird in einem Thriller auf diese Bereiche Wert gelegt, umso schöner, dass Carr beweisen kann, dass dieses Genre kein Widerspruch zu literarischer Qualität sein muss. Das Buch ist so stimmungsvoll geschrieben, dass man sich richtiggehend in diese Zeit zurück versetzt fühlt. Anfänglich wohl durch die Personen Moore und Kreizler, die ein ganz klein wenig an Holmes und Watson erinnern, fühlte ich mich beinahe wie in einen Sherlock-Holmes-Roman auf höchstem Niveau, so gut gelang es Carr die Zeit wiedererstehen zu lassen.
Das Gesamturteil? Ganz einfach: Eine klare Empfehlung für dieses Buch! In allen Bereichen herausragend - selten noch waren mir fünf Sterne zu wenig.
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1 von 7 Kunden fanden die folgende Rezension hilfreich:
2.0 von 5 Sternen
Sad evidence of consumer control, 2. August 2000
Von Ein Kunde
This plodding work is direct confirmation of a long-held fear of mine: that the American reading public can be quite deftly bamboozled into buying just about anything. I was shocked to read the other reviews of this title, which with its 'brilliant cover' and the splashing across the top border of its bestselling status , seem to be the main agents of coercion. The idea for the book isn't bad, but Carr just falls short of achieving a well-written narrative. One can barely distinguish the voice of either the Alienist or Angel of Darkness (equally disappointing) despite the fact that we're supposed to believe it is two different people speaking to us. His prose is flat and condescending. I usually shy away from contemporary American authors, finding the majority of them contrite and puerile, but was attracted by the novelty of this novel's plot. Kreizler just seems to die out about halfway through the book. He is the title character yet he bumbles through the case with a coterie of accidental intellectuals who are the ones that do all the real work. Kreizler just seems to stand around in front of a blackboard musing thoughtfully while the other characters vie for his attentions with all the glee of a schoolchild who does indeed know what the capital of Burkina-faso is. He just doesn't work, and thus, the entire novel fails. His ideas and theories are too sleek and regimented, as if he were a wayward, time-travelling therapist trapped in fin-de-siecle New York. I am, perhaps unfairly, comparing the character to other lone heroes, such as Holmes, but this line of reasoning falls short of the criticism that one cannot expect one man to do it all himself; Holmes was based on a real person, a Dr. Bell, so why deem it impossible? As for the other characters, throughout both novels, they seem to drift like some sort of sophmoronic somnambulists going through the motions of existence like clockwork: Sara Howard whines incessantly over her treatment and then casually pulls guns on her partners; Cyrus plays the piano and makes coffee ("Make it strong, Cyrus." "Of course, Doctor," Cyrus smiled.); Stevie is just superfluous; the Isaacsons resemble those two bitchy Muppets who sat up in the balcony; Moore is just a womanizing yes-man without an iota of personality. Yaaawn...
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