Charles Dickens, Tatjana Hauptmann (Ill.)
Patricia Highsmith, Paul Ingendaay (Hg.)
Tomi Ungerer, Tomi Ungerer (Ill.)
Donna Leon
Donna Leon
Donna Leon
Tomi Ungerer, Tomi Ungerer (Ill.)
Patricia Highsmith, Paul Ingendaay (Hg.)
Donna Leon
Erich Hackl
Hugo Loetscher
Tomi Ungerer, Daniel Kampa (Hg.), Tomi Ungerer (Ill.)
Donna Leon
Astrid Rosenfeld
Tatjana Hauptmann, Tatjana Hauptmann (Ill.)
Liaty Pisani
Friedrich Dürrenmatt
Lukas Hartmann, Tatjana Hauptmann, Tatjana Hauptmann (Ill.)
Doris Dörrie
Martin Suter
Martin Suter
Erich Hackl
Slawomir Mrozek
Slawomir Mrozek
Petros Markaris
Lukas Hartmann
Woody Allen, Marshall Brickman
Erich Hackl
Peter Urban (Hg.)
Petros Markaris
Claus-Ulrich Bielefeld, Bielefeld & Hartlieb, Petra Hartlieb
Erich Hackl
Friedrich Dürrenmatt
Andrzej Szczypiorski
Outwardly they are the perfect couple: the 46-year-old Filippo with his large, smoke-grey eyes, member of one of Florence’s most highly regarded patrician families, and the very young and completely inexperienced Francesca, as beautiful as a Leonardo da Vinci angel. Francesca believes that she has found the prince of her dreams, but as soon as they are married, Filippo seems to lose interest in her amongst his ever more frequent business trips to far-away London. Francesca feels she has been buried alive in their ancient Florentine house. After the birth of her son Cosimo, she falls into one depression after the other, and the only advice she receives from Filippo’s family is that she should visit a sanatorium. Francesca loses faith in herself – after all, who else’s fault can it be that her husband spends hardly any time in her presence? Then, one day, she makes a discovery that explains so much, but which only makes things all the more complicated.
»In this novel about the murder of five-year-old Cosimo, Nabb not only dispenses with the familiar investigator figure of good-natured Maresciallo Guarnaccia, but she discards the detective story conventions at large thus promising the reader a skilful conundrum and construction of the crime as well as a plausible solution. In ›Cosimo‹, the reader must investigate for himself. The material provided by Nabb does not consist of hard facts and irrefutable pieces of circumstantial evidence but, as in real life, of smoke and delusions. As is the case with some of the best detective novel writers, Magdalen Nabb too is a popular author of children’s books. This explains why she succeeds in the feat of telling the story of Cosimo’s demise mostly from a perspective which is especially difficult to sustain credibly: that of the five-year-old future victim.«Die Zeit