Sono cinque anni che Antonio Lavezzi è praticamente morto. Una terribile tragedia ha distrutto la sua famiglia e lui è fuggito in un paese dell’alto Veneto, rifugiandosi nel suo impiego di ingegnere edile, deciso ad avere un’esistenza anonima e priva di sussulti. Ma un giorno tutto viene sconvolto: sul cantiere è morto un uomo. E quello che pare inizialmente essere soltanto un drammatico incidente, si rivela presto essere qualcos’altro. Quel cadavere è un messaggio per lui, una sottesa richiesta d’aiuto. Qualcuno gli sta domandando di fare quello che nessun altro fa, di liberare la sete di vendetta che da troppi anni ha cercato di reprimere. Antonio è confuso, ma poco alla volta viene risucchiato in un vortice di messaggi da decodificare, di incontri sconvolgenti e gesti incomprensibili.
Non è lui a dirigere il gioco, e non è nemmeno il solo anello della spaventosa catena di morte: all’inizio si limiterà a eseguire gli ordini, ma alla fine sarà costretto a scegliere che cosa diventare.

Il filo rosso, di Paola Barbato: acquistalo su IBS!

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Titolo: Repetita
Autore: Marilù Oliva
Editore: Perdisa
Anno di pubblicazione: 2009
Pagine: 168

Trama in sintesi:
Lorenzo Cerè è alla ricerca del riscatto da un’infanzia segnata da solitudine e abusi. La sua vita è solo sesso e amore per la Storia, mentre il passato lo tormenta con terribili emicranie e nevrosi. Dalla Storia, Lorenzo trae la conoscenza degli uomini e dei loro crimini, e a loro s’ispira per realizzare i suoi delitti. E’ un omicida metodico e organizzato, ma non ha tenuto conto delle eccezioni, e la più grande è lei, la dottoressa Malaspina che lo attende nel suo studio psichiatrico…

Che ne pensa il sottoscritto di Repetita? Semplice: è un romanzo in cui documentazione e capacità narrative traspaiono chiare e sinergiche per una lettura convincente e affascinante. Merito delle doti di scrittura di Marilù Oliva, sicuramente, e della sua bravura nella costruzione del personaggio di Lorenzo Cerè. Del resto, la scelta della narrazione in prima persona affida al protagonista l’onere di reggere il palcoscenico da solo, ma è proprio questa l’arma vincente del romanzo, perché a Lorenzo più facile pensare come a un serial killer realmente esistito che al frutto dell’inventiva dell’autrice. E, permettetemi, detto da uno che ha appena pubblicato un libro proprio sugli assassini seriali, l’affermazione credo abbia il suo peso.
Leggendo della visione di Lorenzo del sesso e delle donne, per esempio, mi è sembrato quasi di vedere un Leonard Lake che parlava di corpi da usare e rimettere a posto dopo aver finito, o, ricostruendo assieme a lui l’infanzia, di ripercorrere le vicende di tanti bambini abusati divenuti da adulti dei serial killer.
Ma siamo comunque nel campo della narrativa e i meriti di Marilù Oliva vanno quindi oltre la semplice costruzione di un personaggio credibile dal punto di vista dell’anamnesi o del profilo psicologico. Perché Lorenzo, pur essendo un omicida, incassa empatia dal lettore. Compie atti orribili e ha pulsioni deviate, ma ha sentimenti che si possono condividere, cerca riscatto e vorremmo che ce la facesse, che smettesse i panni del vendicatore per cucirsi addosso una vita “normale”, fatta di rapporti personali arricchenti e d’integrazione reale e non di facciata con il resto delle persone. Ma la Spada di Damocle della Storia pende sulla sua testa e sulle possibili aspirazioni di autodeterminare il proprio vivere: Repetita non sono solo i delitti che commette, ma soprattutto quelli che il passato ci consegna come parte, malata ma possibile, dell’essere uomini.
Ci sono anche dei difetti in questo romanzo? Se cercate il classico pelo nell’uovo forse alcune meccaniche dei delitti sono un po’ difficili da immaginare (tipo legare una vittima cosciente a un albero con del filo spinato) ma si tratta di particolari di poco conto e in definitiva, a mio parere Repetita è un ottimo esordio. Complimenti, quindi, a Marilù Oliva.

Repetita, di Marilù Oliva: acquistalo su IBS!

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Alex Cross ha combattuto serial killer, psicopatici e criminali dall’acume spaventoso. Tuttavia c’è ancora una sfida che non è riuscito a risolvere, da anni: l’omicidio di sua moglie Marie, uccisa da un colpo di pistola forse diretto a lui, o forse no… Quando il detective John Sampson, suo collega e amico da una vita, chiede il suo apporto per un caso riguardante uno stupratore seriale, Cross scopre alcuni agganci con l’omicidio di Marie e per lui si riaprono squarci d’incubo. La risposta alle sue domande è nella memoria dell’assassino, e solamente catturandolo vivo Cross potrà ottenerla. Oppure, forse, è nella sua, di memoria, e solo mettendola a tacere Cross potrà trovare pace.

La memoria del killer, di James Patterson: acquistalo su IBS!

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Pat Mullan, who is Ireland Chair of International Thriller Writers, says “I am very pleased (and honored) to be included in this selection of fifty Irish writers.  My short thriller story, Tribunal, which was published in Dublin Noir by Akashic Books in the US and by Brandon in Ireland and the UK has been selected for inclusion.  Tribunal is the opening chapter of my novel, Last Days of the Tiger (available from my agent, Svetlana Pironko).”

The publisher, Oxygen Books, talks about city-pick Dublin:   A truly astonishing variety of writers evoke the myriad pleasures of this legendary writers’ city, bringing Dubliners, famous, not so famous and famously fictional, to life.
city-pick Dublin is introduced by Orna Ross, well-known Dublin journalist and bestselling author of A Dance in Time, who offers her own fascinating perspective on the city and its writers as Dublin becomes a UNESCO World City of Literature in 2010.   ‘Okay, London might have its share of good writers … but in a straight contest - great writers per head of population - isn’t Dublin the clear winner? Haven’t we four Nobel Prizewinners (Shaw, Yeats, Becket and Heaney) out of only a million or so inhabitants? As well as the world’s best novelist (Joyce) who should have got one too?’

Heather Reyes, the English editor who has ‘lived with the voices of Ireland in my head’, talks about this collection: “It has been a particular pleasure to edit a collection of writing on Dublin. My first visit to the city felt like a home-coming: since the age of eleven, when I began my education with the Ursuline Sisters in a school near London, I have lived with the voices of Ireland in my head. A non-Catholic ’scholarship girl’, this was my first encounter both with nuns and with Irishness: the distinctive lilt and phraseology of Irish English was as fascinating to me as the traditions of St Patrick’s Day when the sisters would appear with bright clumps of shamrock fastened to their sober black habits and girls of Irish descent were allowed to flout the strict uniform rules and sport a tin brooch — a golden harp on a piece of folded green ribbon –  and even green ribbons in their hair. The nuns — intelligent, loving, dedicated, strict but broad-minded and independent women — instilled, along with the rules of Latin grammar and quadratic equations, a great respect for the country from which most of them had come. When, as a student of literature, I discovered it to be also the country of Swift, Wilde, Shaw, Joyce, Beckett and a host of other great writers, I often wondered how such a small country with a difficult history could have produced so many great people. This collection aims to be a lyrical but realistic exploration of and tribute to Ireland’s capital. If there are fewer foreign voices in city-pick DUBLIN than in other volumes in the series so far, it is mainly because a city so rich in writers should be allowed to speak for itself. With so much to choose from, there are inevitable omissions — sometimes the result of hard decisions due to lack of space, sometimes to ‘rights’ difficulties, sometimes from the wish to give exposure to lesser-known voices rather than the already famous, and sometimes simply from personal taste. In the case of James Joyce, I felt that those who already love his work do not need it repeated here, while those yet to be persuaded of its great riches and pleasures could hardly be converted by a short extract: this is why I have chosen passages that give a way into Joyce, rather than face the hopeless task of choosing a ‘representative’ passage (which is impossible).  I hope the reader will find here, along with a little of the ‘expected’, some less familiar voices and surprising gems, and the inspiration to seek out the whole texts from which their favourite extracts are taken — and to look more deeply and widely into the great treasure chest of writing about this great European city which even names bridges after its writers.”

You can get a copy here:

Amazon.com 

Amazon.co.uk

LoveReading.co.uk  

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A few weeks later, the Pirates in Germany entered the local Parliament after a member of another party switched sides.

In 2010 the Pirate Parties hope to continue this hot streak, especially during the Swedish national elections later this year. However, Sweden is not the only country where a Pirate Party will end up at the ballot. In the UK the local Pirate Party hopes to compete as well and the Dutch party has now decided to do the same.

In recent months there has been a lot of political debate regarding Dutch copyright law which currently allows people to download copyrighted movies and music for personal use. Several established parties have shown interest in criminalizing file-sharers, something the Pirate Party hopes to avoid.

Instead, the Pirates would like to shorten the copyright term to 5 years and legalize sharing of all copyrighted material on the Internet. Tim Kuik, head honcho at the local anti-piracy outfit BREIN, is not afraid of politically organized pirates and described the Party’s plans as short sighted and unrealistic.

Samir Allioui, Chairman of the Pirate Party, told TorrentFreak that he’s very happy with Kuik’s negative comments. “He gives people a good reason to vote for us,” he said, referring to the negative view that most people have of BREIN.

If elected, the party will do everything it can to stop abuses of copyright, promote Net Neutrality and push for patent reform. The party is further committed to increasing transparency, strengthening fundamental rights and protecting privacy.

Despite the enthusiasm of the party’s members, there is still a long way to go before they can actually compete in the election on June 9th. One of the biggest hurdles is the requirement to deposit a sum of 12,000 euros, a barrier which is meant to prevent too many parties from entering the election.

Samir is confident that they will be able to raise the money in the weeks to come. He encourages all sympathizers to become a member of the Party and help to get the Pirate Party on the ballot.

Article from: TorrentFreak, check out our new blog at FreakBits.

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Of course, there will always be a way to acquire media free of charge, the last few decades have shown us that. But the media industries are now having to find new ways to defend their corner. There has always been talk of Big Movies or Big Music ‘owning’ politicians and lawmakers, but while this is true to the extent that their immense lobbying power allows, there has also been another more serious threat on the back-burner.

If the RIAA or MPAA owned – literally – all the major ISPs, they could affect the piracy landscape quicker than ever before. A simple rewrite or tweaking of subscriber’s Terms of Service would ensure that anyone proven to be a pirate could be ejected from the Internet in an instant, no laws needed. While this is unfeasible right now, there are easier ways of encouraging the same, like business partnerships and promises of profit.

According to a new study titled “Is There A Commercial Argument For ISP Music Services” commissioned by the BPI on behalf of Universal Music and carried out by industry analyst Ovum, if the UK’s most prominent ISPs all more or less immediately launched subscriber packages that included bundled music, they could generate new revenues of £103 million by 2013.

The BPI say this figure is based on a ‘medium adoption scenario’ and is an amount equal to 41% of the total 2009 digital music market. In an ‘accelerated adoption scenario’ the study says that the revenues could nearly double to £203m.

Aside from the profitability implied by these revenues, the report seems keen to offer other incentives to the major ISPs – Virgin Media, Sky, BT, O2, Orange and TalkTalk – to get involved in the music business. The study suggests that the inclusion of a music element to bundles would reduce subscriber ‘churn’ – the rate at which customers cancel their contracts. The example given is that an ISP with 3.5m customers could save £20m if the bundling of music cut churn by 10%, although there is no information to show that it actually would.

While suggesting good business is to be had in getting a little involved in the music business, the BPI is keen to point out that for ISPs, the more involved they get, the more they can make.

“The revenue prospects for bundled ISP music services would be substantially increased if services were offered to consumers in tandem with meaningful action to tackle illegal music downloading,” say the BPI.

We approached TalkTalk, an ISP referred to in the study, for a comment.

“TalkTalk thanks the BPI for its strategic business advice. Though some may question the value of such insight from an industry which has failed to acknowledge the impact of new technology on its own business models and is pressing the Government to criminalise its biggest customers,” a spokesperson told TorrentFreak.

Clearly TalkTalk doesn’t want to do the music industry’s dirty work for them, but if other ISPs got heavily involved in the music distribution business it might be considered natural for them to try and protect their revenues. That said, the leap from simple common carrier to having a vested interest could complicate their position.

Nevertheless, another issue the report highlights is that heavy competition is driving down the price of broadband services while consumer desire for bandwidth continues to increase. In any business working in plain commodities, the desire to bring in more profitable “added-value” products is strong.

“It’s increasingly clear that it isn’t smart to be a ‘dumb pipe’. This report shows that the revenue potential of digital music services alone makes sound economic sense for ISPs,” said BPI Chief Executive, Geoff Taylor.

So let’s imagine that the ISPs want to get involved in this market, offering bundled music for an extra £6.49 (the price level suggested in the report) – what would be so wrong with that? It’s pretty affordable after all, so why not give it a chance?

“With the right service platform, user experience and merchandising strategy, ISPs have an opportunity to reach a green-field digital music market that mainstream download-to-own services such as iTunes do not reach today,” explains report co-author and Ovum’s principal analyst, Adrian Drury.

So these suggested services aren’t of the “fill up your iPod” type, but of the “can only be used sitting-at-your-computer streaming services with limited download allocation” type. Surprised? Us neither.

Trying to convert those currently using file-sharing services over to paid models is already a big challenge. Trying to switch them to an inferior product whilst being hounded by their ISP on behalf of the music industry is a different matter altogether, and something TalkTalk refuses to be drawn into.

“Perhaps there is a goldmine for ISPs in legal downloads but that will not alter the fact that the copyright protection proposals being proposed threaten human rights,” their spokesperson told us. “They will penalise innocent broadband customers. They are expensive, unwieldy and utterly futile.”

If the record labels really did own your ISP, this is the type of environment subscribers would be pushed into. And you’d still have to fill up your iPod elsewhere at additional cost.

Article from: TorrentFreak, check out our new blog at FreakBits.

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Non manca molto alla pensione per il commissario Miceli, così, quando sulla scrivania gli quell’anonimo biglietto che recita:”Commissario domani ucciderò Labruna”, la tentazione di prenderlo come uno scherzo è forte. Ma di scherzo non si tratta, e lo si capisce appena il cadavere salta fuori, il primo di una serie vorticosa di delitti. Dopo Labruna tocca a infatti a Lobianco, e poi a Larossa… Il “serial killer dei colori” terrorizza Brescia. Miceli, spalleggiato dall’amico Petri, ex giudice in pensione, e da una preparatissima squadra d’investigatori, deve risolvere il caso. Ma il tempo gioca tutto a favore del misterioso avversario.

Commissario domani ucciderò Labruna, di Gianni Simoni: acquistalo su IBS!

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With millions of individuals using BitTorrent and a relative handful using Direct Connect (DC), many wondered why this smaller group were considered worth of police attention. The answer was simple – gathering evidence of mass infringement to be used against those using BitTorrent is a hugely complicated task compared to Direct Connect.

“They can try to download the movie and see a list of people who have the movie. But they can not get a list of everything you download,” explained uTorrent creator Ludvig Strigeus recently. “It is difficult to attack a specific person.”

In common with DC but on a much bigger scale, BitTorrent is not just one network – every single swarm is a new and separate network and the task of monitoring them all is massive.

“There is a huge apparatus needed to keep track on all torrents. I think it’s too hard to manage to do it and then get [the evidence] to hold in the District Court,” adds Strigeus.

Not to say that Sweden and its fledgling anti-piracy taskforce haven’t been busy, though. They just haven’t been getting that many results.

According to a report, in the last 18 months they have reported between 70 and 80 file-sharers to the police. Of those, just 35 to 40 cases were considered worth pursuing. Around 10 of those individuals have been arrested thus far, only 3 have admitted to offenses and agreed to pay fines and there are just 15 cases still under investigated. Needless to say, this is not considered good progress for the time and money invested. Additionally, none of them were BitTorrent users.

While investigators insist that they are looking into new ways of tracking and logging evidence against BitTorrent infringers, anti-piracy group Antipiratbyran (APB) are hoping that the law will help their battle.

APB lawyer Henrik Pontén says the difficulties posed by BitTorrent “…shows the need for other types of intervention from the legislators, if they are serious about copyright law to work on the Internet.”

Pontén is hoping that changes to legislation will allow collecting societies and outfits like the IFPI to start sending copyright infringement warnings directly to those they suspect are sharing files illegally.

“The simplest option is that the victims of copyright crimes are able to send warning letters,” says Pontén.

Currently this is a problem in Sweden, since it is very difficult to obtain the real identity of someone behind an IP address without the assistance of the police. Because of this, Pontén hopes that his group can cooperate with ISPs so that they can forward infringement warnings to file-sharers on their behalf.

“We will not get [the file-sharer's] identity, we just want the warning message to arrive at the correct address. An independent body should be able to send information to the person breaking the law, possibly a government body or a third party organization,” he concludes.

Although this would be a first step, with no sanctions should the warnings be ignored it’s difficult to see how this system would have ‘teeth’. But it’s probably one step at a time for APB – teeth will be bared at a later stage.

Article from: TorrentFreak, check out our new blog at FreakBits.

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Dozens of contributing artists waived their rights and performed free of charge to maximize the revenue for Africa. In an attempt to replicate this success, a group of artists recorded “We Are the World 25 for Haiti” following the devastating earthquake in Haiti, hoping to raise money to help those in need.

Although most people realize that donating directly to Doctors Without Borders or the Red Cross is a more efficient way to donate, the initiative was obviously started with the best intentions by most of the people involved. According to the RIAA however, there is also a group of people who deliberately try to “steal” from this fundraising campaign – music pirates.

In a recent blog post the RIAA dramatically claims that “the album is now widely available on illicit BitTorrent sites like The Pirate Bay, Torrentz and more. The posting highlights a truly ugly side of P2P piracy – the undermining of humanitarian fundraising efforts via online theft of the ‘Hope for Haiti Now’ compilation.”

The RIAA basically says that pirates are purposely stealing money from Haitians. But are they?

In a response to the RIAA’s writing, Music Ally dug up some numbers and they found out that compared to most other popular singles the number of downloads the song gets are really low. Aside from this, one has to wonder if those who downloaded the song would have paid for it if it was not available on BitTorrent. Perhaps they already donated through a more direct channel?

Techdirt further notes that the RIAA blames sites like Torrentz which doesn’t even store torrent files, while they leave out Google, the site through which their source actually found the torrents.

What most people missed though, might make the RIAA’s post look even more hypocritical. Charity singles such as “We Are The World” actually bring in a lot of cash for the record industry and related businesses. This could be easily framed as “Stealing from Haitians” as well.

Columbia Records fared well with the release of the first “We Are The World” single and the performance rights that still come in today continue to benefit the “copyright holders.” In addition, charity songs including “Do They Know It’s Christmas?” ended up on thousands of compilation albums for which the charities probably never saw a penny.

We were unable to find out exactly how long the profits of the new Haiti single will actually go to Haiti, but we’re sure that the music industry will take a cut regardless. Similarly, iTunes will give up their share for a few months but will be profiting from the single later on.

These examples show that reality is always a bit more balanced than how the RIAA portrays it. Nonetheless, those who actually like the song should definitely consider buying it or at least donate to one of the other charities that benefit Haiti.

Article from: TorrentFreak, check out our new blog at FreakBits.

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