crimen

The Architecture of Crime: Why Crime Fiction Is Really an Art of Knowledge

/ albalongablog / Leave a comment

In brief: crime fiction is an architecture of knowledge in which clues, concealment and points of view determine what the detective, the reader and the narrator can know.

How crime fiction organizes knowledge

Crime fiction seems, at first glance, to be a literature of events. A body is discovered. Someone disappears. A lie is exposed. A detective begins to ask questions. Yet the event itself is only the visible entrance to a more complicated structure. The real material of crime fiction is knowledge: who possesses it, who withholds it, who misreads it, and how long the reader can remain suspended between competing versions of the truth.

This is why the most enduring crime novels cannot be reduced to the question of who committed the crime. The identity of the culprit may matter enormously, but it is only one component in a larger architecture. A crime novel must decide what happened before the first page, what traces that hidden history left behind, who can perceive those traces, and what assumptions will prevent both characters and readers from understanding them too soon. In other words, crime fiction is not merely a literature of concealment. It is a literature of controlled revelation.

That distinction changes the way we read the genre. A clue is no longer simply an object placed in the narrative for the detective to find. It is a relationship between a sign and an interpretation. A footprint, a message, a missing object, or an unusual silence becomes significant only when someone asks the right question. The same clue can therefore support several hypotheses before its true meaning becomes legible. The craft lies not in hiding the truth outside the reader’s reach, but in placing it within view while surrounding it with plausible alternative explanations.

The best crime fiction has always understood this, even when it lacked the terminology later supplied by narratology. Concepts such as focalization, narrative order, duration, frequency, unreliability, and polyphony allow us to describe with precision what writers have long achieved intuitively. Who sees a scene? Who knows more? Who is wrong? What information belongs to the narrator, and what belongs only to the focal character? When does the past enter the present? How many times is the same event retold, and why does each version change its meaning?

These questions become especially important in twenty-first-century crime fiction because the genre has moved far beyond a single model. The classical puzzle remains alive, but it now coexists with psychological thrillers, domestic noir, historical crime fiction, eco-noir, transnational narratives, political thrillers, rural noir, speculative mysteries, and novels that stand deliberately on the border between crime fiction and so-called literary fiction. The result is not the disappearance of genre, but its expansion.

A writer such as Keigo Higashino can reveal the culprit early and move the true mystery elsewhere: toward method, proof, sacrifice, or the hidden premise governing the investigation. Tana French can turn the detective’s consciousness into part of the case, making personal desire and traumatic memory interfere with professional perception. Gillian Flynn can make narration itself into a criminal action, showing how diaries, media performances, and competing versions become instruments of power. Leonardo Padura can use an individual investigation to excavate history, disillusionment, and the memory of a city. Don Winslow can expand criminal causality until the antagonist is no longer a single person but a network connecting money, institutions, political decisions, and violence.

What unites such different writers is not a formula. It is an awareness that crime produces an epistemological crisis. Something has happened, but its meaning is not yet available. The novel must construct the path from the event to its interpretation. That path is the architecture of crime.

Narrative time is one of the principal materials of that architecture. Crimes generally belong to the past; investigations unfold in the present. The novel moves forward while searching backward. This double temporality gives the genre its distinctive energy. Analepsis, testimony, recovered documents, altered memories, and retrospective revelations gradually reconstruct what can no longer be witnessed directly. At the same time, present danger may continue to evolve, turning curiosity about the past into suspense about the future.

Suspense itself becomes more precise when we stop treating it as a vague synonym for excitement. Curiosity asks what happened. Suspense asks what will happen. Anticipatory dread begins when a feared possibility starts to feel almost present before it occurs. A sophisticated crime novel can move among all three modes. It can make us investigate an old death, fear a new one, and watch a character move toward danger that we understand better than they do.

Point of view is equally decisive. Choosing a perspective is not merely a way of controlling information; it is also an ethical decision. To narrate through the perpetrator can produce disturbing intimacy and temporary complicity. To remain with the investigator can reduce victims to evidence unless the novel restores their individuality. To enter the victim’s consciousness may resist objectification, but it can also expose suffering to a voyeuristic gaze. There is no morally neutral perspective. Every focalization distributes attention, sympathy, opacity, and power.

This is why contemporary crime fiction is often at its strongest when it refuses the comforting equivalence between truth and repair. A case can be solved and still leave injustice behind. The guilty person may be identified while the institution that protected them remains intact. The victim may receive a name without receiving life back. A family may learn what happened and discover that knowledge itself has consequences. The ending therefore has to distinguish plot closure from moral closure, legal closure from emotional closure, and truth from reparation.

Such distinctions matter not only to critics but also to writers. Anyone planning a crime novel must eventually answer a surprisingly concrete series of questions. What exactly happened before the story begins? What did the perpetrator intend, and where did the plan fail? What did the victim want before becoming a victim? What does each suspect know, believe, and conceal? Which clue will first support the wrong interpretation and later become decisive under the right one? Why does the protagonist misread the case, and what personal or institutional bias makes that error plausible?

These are compositional questions, but they are also questions about meaning. A twist has no lasting value if it merely exchanges one culprit for another. Its real power lies in retrospective transformation: after the revelation, earlier scenes should remain true while becoming newly legible. The reader should not feel that the novel changed the rules. The reader should feel that the same facts have entered a more powerful relationship.

This is also the principle behind fair play. Fairness does not mean that the reader must be capable of solving every case before the detective. It means that the decisive explanation must arise from material the narrative has legitimately made available. A surprising solution can be difficult, even nearly impossible to foresee, and still feel fair if rereading reveals that its causes were present all along.

The architecture becomes still more complex when crime fiction turns toward society. A murder may be committed by one person, but the conditions that made it possible may include class inequality, racism, gendered violence, corporate power, political corruption, historical trauma, or institutional indifference. Social crime fiction is most persuasive when these forces do not appear as speeches added to the plot, but as elements of causality. Who is believed? Who receives police attention? Who has access to lawyers, information, transportation, money, or safe space? Which deaths become public crises, and which disappear into administrative silence?

Once crime fiction begins to ask such questions, the genre becomes a form of social anatomy. Investigation links spaces and institutions that ordinary life keeps separate. It moves from private homes to police files, from bodies to financial records, from family memory to political history. The detective’s route becomes a way of reading a society.

Yet the genre’s international expansion makes any single model increasingly inadequate. Nordic noir cannot be reduced to snow and melancholy; Latin American crime fiction cannot be reduced to corruption; Japanese mystery cannot be reduced to logical puzzles; African crime fiction cannot be treated merely as an illustration of political instability. Every tradition transforms the concepts of law, evidence, community, victimhood, authority, and justice according to its own history. Translation does not simply carry stories across languages. It changes the map of the genre itself.

That international and theoretical breadth is the foundation of The Architecture of Crime. The book treats crime fiction as a serious narrative form whose technical sophistication deserves the same analytical precision applied to any major literary tradition. At the same time, it refuses to separate theory from practice. Narratological concepts matter because they allow us to see choices: why a scene is focalized through one character rather than another, why an event is delayed, why a clue works, why a confession fails, why a final twist feels inevitable or fraudulent.

The aim is therefore neither to impose a formula nor to celebrate complexity for its own sake. The aim is to understand necessity. A good crime novel is not one that accumulates twists, narrators, timelines, and secrets. It is one in which those elements form a system: the point of view determines what can be known; the chronology controls when it can be understood; characterization determines which interpretation will seem plausible; space determines what actions are possible; and the ending forces the reader to remember the entire narrative differently.

When that system works, the architecture becomes almost invisible. We feel suspense rather than seeing information management. We experience surprise rather than noticing structural preparation. We believe the characters are choosing freely even though the writer has built the causal conditions that make those choices coherent. This apparent naturalness is one of the highest achievements of narrative craft.

Crime fiction begins with a disturbance, but its deepest subject is what human beings do when reality no longer fits the story they believed. Investigation is the attempt to build a new story from what remains: traces, memories, bodies, documents, lies, silences, and consequences. The solution matters because it reorganizes those fragments. But the best novels know that something always remains outside the solution.

That remainder is where crime fiction becomes more than a puzzle. Truth can identify responsibility, but it cannot undo the act. Justice can impose consequences, but it cannot restore a lost life. Narrative can recover a victim’s history, but it cannot erase absence. What remains after the truth is therefore not a failure of the genre. It is the point at which the genre recognizes the full gravity of what it has been investigating.

The architecture of crime is ultimately the architecture of that journey: from appearance to causality, from suspicion to knowledge, from knowledge to judgment, and from judgment to the recognition that understanding and repair are not the same thing. That is why crime fiction remains one of the most adaptable and intellectually powerful narrative forms of our time.

For a fuller account of structure, clues, focalization and knowledge in crime fiction, continue with The Architecture of Crime.

EBOOK

PAPERBACK

The Seven Dials Mystery: clocks, conspiracies and murder in Agatha Christie’s England

/ albalongablog / Leave a comment

In brief: The Seven Dials Mystery combines conspiracy, misleading clues and social comedy, with Bundle Brent progressively taking control of the investigation.

Clues, conspiracy and Bundle Brent

First published in 1929, The Seven Dials Mystery is one of Agatha Christie’s most spirited and unconventional novels: a dazzling combination of country-house mystery, political intrigue, secret societies and sophisticated comedy. Beginning with an apparently harmless practical joke, the story soon descends into a dangerous world of concealed identities, international secrets and murder, where every clue may have been deliberately placed to mislead and every respectable appearance may conceal a darker purpose.

The novel opens at Chimneys, the magnificent country estate already familiar to readers of The Secret of Chimneys. A lively group of young people has gathered there, and one of the guests, Gerald Wade, has acquired an unfortunate reputation for sleeping late. His friends decide to play a prank on him by placing eight alarm clocks in his bedroom, all set to ring at different times the following morning. Yet the joke ends in tragedy when Wade is discovered dead. Even more disturbing is the fact that only seven clocks remain, arranged with a deliberation that suggests something far more sinister than an accidental death.

What initially appears to be an inexplicable private tragedy gradually reveals the outlines of a much larger conspiracy. A mysterious reference to “Seven Dials,” a cryptic letter and the shadow of a clandestine organisation draw the principal characters away from the apparent tranquillity of English country life and into a labyrinth of espionage, political secrets and mortal danger. Behind closed doors, respectable gentlemen discuss matters of national importance; elsewhere, unknown figures gather in secrecy beneath the symbolic faces of seven clocks. Nothing is quite what it seems, and the distinction between amateur adventure and genuine peril rapidly disappears.

At the centre of the investigation is Lady Eileen Brent, universally known as “Bundle,” one of Christie’s most engaging heroines. Intelligent, courageous, impulsive and equipped with an irrepressible sense of humour, Bundle refuses to remain a passive observer. Her curiosity leads her into situations of increasing danger, but her determination and instinct make her a formidable investigator. Accompanied by the amiable and resourceful Bill Eversleigh, she attempts to uncover the truth behind the deaths and to identify the real purpose of the Seven Dials organisation.

Bundle belongs to a generation transformed by the aftermath of the First World War. Independent and impatient with convention, she drives fast cars, asks uncomfortable questions and enters spaces from which a more traditional heroine might have been excluded. Through her, Christie brings vitality and modernity to the familiar landscape of the English country-house mystery. Bundle’s audacity gives the novel much of its momentum, while her wit prevents the increasingly ominous plot from losing its lightness and charm.

The Seven Dials Mystery differs in tone and structure from the more methodical investigations associated with Hercule Poirot or Miss Marple. It is not merely a puzzle constructed around a closed circle of suspects; it is also an adventure thriller, filled with secret meetings, stolen documents, coded messages, political manoeuvres and sudden reversals. Christie moves confidently between drawing rooms, country estates, government offices and hidden chambers, transforming the ordered surface of British society into a theatrical world of masks and concealed loyalties.

Yet beneath its pace and humour lies a carefully constructed mystery. Christie repeatedly invites the reader to draw conclusions from appearances, only to reveal how easily appearances can be manipulated. The seven clocks are at once a clue, a symbol and an instrument of deception. Characters seem to occupy familiar roles—the foolish young man, the mysterious foreigner, the dignified politician, the adventurous aristocrat—but these roles cannot always be trusted. The novel’s central pleasure lies in watching Christie rearrange the meaning of events until the apparently obvious interpretation becomes the least reliable one.

The story also offers a vivid portrait of Britain between the wars. The old aristocratic world still survives in country houses such as Chimneys, but it now coexists with motorcars, modern young women, international diplomacy and anxieties about political instability. Christie observes this changing society with affectionate irony. Her aristocrats may be eccentric, her politicians guarded and her young adventurers occasionally reckless, but each contributes to a social comedy that remains inseparable from the mystery itself.

Suspenseful, witty and rich in atmosphere, The Seven Dials Mystery displays a more adventurous side of Agatha Christie’s imagination. It retains the ingenious misdirection and surprising revelations expected of the Queen of Crime while embracing the energy of the espionage thriller. The result is a novel in which a bedroom prank becomes the entrance to a hidden world, seven ordinary clocks acquire a threatening significance, and an intrepid young woman discovers that curiosity may be as dangerous as it is irresistible.

For readers who enjoy classic British mysteries, secret societies, country-house intrigue and bold amateur detectives, The Seven Dials Mystery offers an irresistible journey into a world where danger waits behind the most respectable doors—and where the final truth may overturn everything that has gone before.

Return to Agatha Christie’s complete novel in the format that suits your reading.

BUY YOUR EBOOK
BUY YOUR PAPERBACK

Carolingian councils, theological disputes

/ albalongablog / Leave a comment

Historical fiction, when written with rigor, does not simply recreate the atmosphere of a bygone age; it reopens the debates, anxieties, and contradictions that defined it. This novel, set in the year 797, situates its action on the eve of Charlemagne’s imperial coronation by Pope Leo III—a moment that would inaugurate the renovatio imperii and the symbolic rebirth of the Western Roman Empire. At that time, the Frankish monarch was not merely a warlord but the supreme protector of Christendom, his political project inseparable from the theological consolidation of the Latin Church. Yet the narrative refuses to remain at the level of palaces and synods. It unfolds instead within a German abbey, a liminal space where empire, theology, and clandestine ambition converge.

At the center of the intrigue is a mysterious object, concealed by the aged Ramiro, a Spanish exile whose reputation as a magus evokes both the persistence of Visigothic erudition and the transmission of esoteric traditions from al-Andalus. The death of this centenarian custodian unleashes a struggle within the abbey’s walls, where spies of competing powers attempt to seize the relic. These clandestine conflicts mirror, in microcosm, the broader fractures of the Carolingian world: between Frankish authority and local autonomies, between orthodoxy and heterodoxy, between the universal aspirations of empire and the centrifugal realities of human ambition.

The monastic setting is more than a backdrop; it embodies the intellectual ferment of the Carolingian Renaissance. One recalls the Council of Frankfurt in 794, where Charlemagne and his advisors, including Alcuin of York and Theodulf of Orléans, condemned the Adoptionist heresy emanating from Spain and rejected the decrees of the Second Council of Nicaea on the veneration of images. Such disputes find their echo in the novel’s theological conversations, where monks wrestle with the mystery of the Trinity, the immortality of the soul, and the boundaries between orthodoxy and superstition. The novel thus situates itself at the intersection of the great Carolingian debates, where theology was never a purely speculative matter but an issue of political survival and ecclesiastical unity.

The missi dominici, imperial envoys who appear within the story, remind the reader of the administrative reforms by which Charlemagne sought to impose order across his vast dominions. Their presence in the abbey dramatizes the reality that no monastic community could remain isolated from the machinery of empire. In this respect, the abbey becomes a microcosm of Carolingian governance: a place where law, faith, and power collide, and where loyalty to the emperor must coexist with obedience to the Rule of Saint Benedict.

Stylistically, the prose alternates between lyrical evocation—landscapes of November forests, frozen rivers, and cloisters resonant with whispered conspiracies—and scholastic disputation, where children and monks alike grapple with metaphysical questions. The dialogues are not ornamental but function as windows into the intellectual universe of the early Middle Ages, when categories such as justice, heresy, and power were debated with a gravity that could determine both salvation and political legitimacy.

The motif of the hidden relic, lethal to those who attempt to wield it without comprehension, resonates with Augustinian theology. In De civitate Dei (Book XIX), Augustine insists that power, divorced from justice, becomes nothing more than organized brigandage. The novel dramatizes this principle: each character who seeks to seize the relic for self-interest meets an abrupt and terrible end, while only Bernardo, the innocent novice, succeeds in deciphering its enigma. Here the narrative suggests that true authority, far from being reducible to possession, requires purity of intention and alignment with higher truths.

In its interweaving of espionage, theology, and monastic daily life, the novel recalls both the chronicles of Einhard and the later fictional tradition epitomized by Umberto Eco’s Il nome della rosa. Yet it remains distinct in its focus on the Carolingian moment, a period too often reduced to political triumphs but in reality suffused with intellectual and spiritual tensions. By embedding fictional intrigue within the very real theological controversies of Frankfurt (794), the intellectual program of Alcuin, and the missionary zeal of the Carolingian clergy, the work transcends the conventions of the historical thriller.

Ultimately, the abbey becomes a crucible in which the perennial dialectic between knowledge and secrecy, orthodoxy and heresy, justice and ambition, is enacted. Bernardo’s discovery of the relic’s secret is not only a narrative resolution but also a symbolic affirmation: in a world torn between empire and eternity, innocence allied to wisdom may yet prevail over the brutal seductions of absolute power.

books2read.com/u/mgddvD

Between Empire and Eternity: Theological and Political Intrigues in a Carolingian Abbey

/ albalongablog / Leave a comment

Historical fiction at its highest level does not merely reconstruct the past; it interrogates it. The novel under consideration, set in the year 797, situates itself at the very cusp of Charlemagne’s imperial coronation by Pope Leo III, a moment that would redefine the political and religious cartography of medieval Europe. The Frankish monarch, whose campaigns had secured the western borders of Christendom, is here portrayed not only as the guarantor of the Church’s temporal power but as the symbolic center of an emergent Christian universality. Yet the novel’s stage is not Aachen, nor Rome, but a secluded German abbey, a locus where the tensions between empire, theology, and clandestine ambition converge.

At the heart of the drama lies a fabulous object—vestige of an older wisdom, perhaps a relic, perhaps an artifact—which tradition ascribes a capacity to bestow limitless power. Its custody, entrusted to the enigmatic Ramiro, a Spanish exile reputed to possess arcane knowledge, recalls the early medieval intertwining of Christian piety with lingering echoes of esoteric traditions. Ramiro’s death unleashes a clandestine war within the abbey: imperial agents, foreign spies, and ecclesiastical factions engage in a struggle that mirrors, in miniature, the broader geopolitical fractures of the age.

The protagonist, Bernardo, a young novice of noble lineage, provides the narrative’s lens. Through his eyes, the reader discovers a monastic universe at once sacred and perilous. The abbey is not merely a house of prayer; it is a microcosm of Carolingian society, where intellectual labor in the scriptorium coexists with brutal contests for dominance. The presence of the missi dominici, imperial envoys charged with overseeing the King’s law, evokes the Carolingian program of administrative centralization, while theological disputes among the monks reproduce the wider debates that would shape Christian orthodoxy: the filioque controversy, the Trinitarian mystery, and the perennial tension between visible institutions and invisible truths.

Stylistically, the novel achieves a rare synthesis. Its descriptive passages, reminiscent of medieval chronicles yet enriched with modern psychological insight, conjure landscapes in which nature reflects human turmoil: November forests glazed with frost, cloisters reverberating with whispered conspiracies, snow-covered courtyards where innocence is hunted by intrigue. The prose oscillates between lyric evocation—where children perceive the world with a flayed sensitivity—and scholastic disputation, where questions of the soul’s immortality, divine justice, and the possibility of magic become urgent rather than abstract.

One of the work’s most striking dimensions is its meditation on power. The fatal destiny of all those who attempt to seize the hidden relic without grasping its key suggests that true authority cannot be reduced to mere possession. Here the novel echoes the Augustinian vision of earthly power as precarious unless rooted in justice (De civitate Dei, XIX). Likewise, the monastic debates on the Trinity and the soul highlight the precarious balance between orthodoxy and heresy in a world where theological error could prove as dangerous as political treason.

What emerges, ultimately, is a narrative that transcends the boundaries of the historical thriller. The abbey becomes a stage upon which the eternal dialectic between faith and ambition, knowledge and secrecy, justice and domination, is played out. Bernardo, in deciphering the enigma that consumes others, represents not only youthful innocence but the possibility of wisdom purified of greed. The novel thus situates itself within a venerable lineage—from Augustine’s reflections to Umberto Eco’s Il nome della rosa—in which the cloistered world of monks serves as the crucible for universal questions.

In this sense, the book is more than a tale of espionage in a medieval monastery. It is a meditation on the nature of power, the fragility of truth in a world of factions, and the enduring human temptation to grasp the infinite through finite means. To read it is to be reminded that the Carolingian world, for all its distance from us, was haunted by dilemmas that remain strikingly contemporary.

books2read.com/u/mgddvD

Echoes of Power and Faith: A Journey into the Monastic Intrigues of the Carolingian World

/ albalongablog / Leave a comment

There are novels that transport the reader beyond the boundaries of imagination by rooting their narrative firmly within the soil of history. This work, set in the twilight years of the eighth century, belongs unmistakably to that tradition. We are in the year 797, at the very threshold of Charlemagne’s apogee, when the monarch’s sword not only guaranteed the stability of the Church’s temporal power but also its expanding dominion over the souls of Europe. Soon, Pope Leo III would crown him Emperor of the West. Yet, far from the imperial capitals, in a secluded German abbey, an extraordinary secret lies concealed—an object said to grant limitless power, but one that has proved fatal to all those who attempt to wield it without understanding its hidden key.

The story is filtered through the eyes of Bernardo, a young novice whose innocence collides with the ruthless reality of espionage, betrayal, and murder. Within the abbey’s walls, spies in the service of great powers wage a silent war, driven by insatiable ambition. Torture and assassination become their instruments, yet each who dares to grasp the coveted relic meets an inexorable death. Only Bernardo, through a combination of intuition, courage, and the wisdom of unlikely allies, will come to decipher the enigma that eluded so many.

The prose reveals itself as both lyrical and precise. With painterly detail, the author conjures landscapes glazed in the frosts of late November, monasteries humming with the disciplined fervor of monastic labor, and interiors suffused with both sanctity and menace. The narrative voice balances the intimacy of childhood memories with the gravity of theological disputation, philosophical reflections, and political intrigue. In these pages, we are reminded that medieval children perceive the world with an acuity of feeling adults often forget, and that monasteries—though ostensibly devoted to prayer—were crucibles of power struggles, intellectual ferment, and sometimes unspeakable violence.

The dialogues resonate with authenticity, capturing not only the theological debates of the age—about the Trinity, the immortality of the soul, and the eternal struggle between faiths—but also the profound human anxieties that lurked behind the cloistered silence. The presence of mysterious deaths, ominous signs in the heavens, and whispered accusations of sorcery and heresy give the narrative the tense rhythm of a medieval thriller. Yet, at its core, the novel reflects on justice, truth, and the perilous seduction of absolute power.

In this tale of faith and fire, history and fiction weave seamlessly into one another. Charlemagne’s empire forms the vast backdrop, but the true drama unfolds in the shadows of an abbey where loyalty is fragile, knowledge is perilous, and innocence becomes both a shield and a weapon. It is a work that will delight lovers of historical fiction, intrigue, and philosophy alike, inviting them to wander through snow-covered cloisters, to witness conspiracies under flickering candlelight, and ultimately to reflect on the timeless question: who is truly worthy of power?

books2read.com/u/mgddvD

THE HOUSE NEXT DOOR

/ albalongablog / Leave a comment

For more than three decades, a handful of brilliant forgers, all of them at the same time renowned painters, worked so hard and so well that today no one can put their hand in the fire and say, without batting an eyelid, that they possess the original of this or that painting, of any famous painter, of this or no matter what other era. The scientific experts, skilled in the most modern techniques of dating and attribution, the most prestigious gallery owners, art historians, auctioneers, and other intervenors in the field, have all let slip fakes that have consequently been catalogued as authentic and sold as such. The existence of two and even three or more apocrypha of many of them was later discovered. A strict censorship has been imposed on the media; a real veto has fallen from the highest levels that has turned the subject into a sacred taboo. For if it were to spread, panic would spread, as distrust spreads regarding what the system has turned into the supreme currency of exchange, which not only never devalues itself, but has, in recent years, increased in value according to a geometrical progression. The safe-haven value that has more than replaced gold. The elites who hold absolute power would lose colossal amounts of money and their influence would be diminished, to the detriment of their unspeakable projects. With a perfect mastery of the technique of thriller and suspense, Alba Longa tells us the story in which he himself was involved and, during which, he almost cost him his skin. THE HOUSE NEXT DOOR is set in cosmopolitan Nice that is about to experience the most dramatic events in its history. To tell the truth, you don’t come out well reading this novel. The reader is left with the impression that the most sacred words in the world today: freedom, democracy, human rights, social progress and so many others, are nothing but manufactured mirages, a smokescreen called NWO (New World Order) that prevents us from seeing ourselves for what we are: the new slaves of the Empire, at the unconditional service of other Nero and Caligula  who are not mad, and for that very reason is more wicked than the former.  

https://books2read.com/b/3L8VqJ