Thriller - romanzo (284 pagine) - Nell'Atomo, il nucleo era lei. Loro gli elettroni. Tutti votati alla Scienza. Con l'utopia di realizzare qualcosa di tanto straordinario quanto pericoloso. Qualcosa che avrebbe significato confrontarsi con la loro metà oscura. Chicago 2010. Reda Valente, Julian Emerson e i fratelli Roger e Paul Richardson: i ragazzi dell'Atomo. Uniti non solo dalla passione per la Fisica e i viaggi nel tempo, ma anche da un legame erotico, contorto e paranoico e un antico segreto. Un legame che sembrava indissolubile, spezzato dalla fine tragica di Roger che innescherà una folle ricerca scientifica: il ritorno al passato per scoprire la verità. Una corsa nel tempo che coinvolgerà molte persone, tra cui il generale Aaron Berger, trascinato in una sorta di ispirata pazzia. Un thriller avvincente, con continui colpi di scena da action movie. Elena Martignoni e Michela Martignoni, sorelle, milanesi, dopo esperienze nell’insegnamento e nella scrittura teatrale, dal 2004 scrivono insieme romanzi storici, tradotti anche all’estero, e firmano con lo pseudonimo di Emilio Martini per l’editore Corbaccio (gruppo Gems Mauri Spagnol) la serie poliziesca del Commissario Berté, giunta al nono episodio. Collaborano inoltre con riviste e blog in cui scrivono articoli di argomenti storico-culturali. Oltre ai romanzi hanno al loro attivo vari racconti pubblicati in diverse raccolte. Andrea Novelli e Gianpaolo Zarini vivono a Savona e hanno pubblicato per Marsilio i medical thriller, Soluzione finale, Per esclusione, edito anche ne il Giallo Mondadori, Il paziente zero. Per Feltrinelli la trilogia Manticora. Per Frilli Editore gli hard-boiled Acque Torbide, La Superba Illusione, L’essenza della colpa e Dare e Avere, con protagonista l'investigatore privato Michele Astengo. Nel 2020 hanno pubblicato Blind Spot, medical thriller per Ink Edizioni. Innumerevoli i racconti per diverse antologie tra cui: Anime nere reloaded, Medicina Oscura, Bad Prisma. Tra gli altri lavori, la partecipazione alla saga The tube Nomads di Delos Books considerata dagli appassionati del genere il The Walking Dead letterario, con l'episodio Shockwave. Alan D. Altieri li ha definiti il techno-thriller writing team italiano.
ZOMBIE - Dopo le katakombs del monastero, i Nomads sono sull'orlo del baratro e la loro marcia dovrà proseguire nel segno della sopravvivenza estrema. Dovranno contare sulle proprie forze e soprattutto sul loro addestramento per salvare la pelle. Fino al luogo rilevato dal GPS satellitare: una centrale idroelettrica deserta e inattiva. Dopo "Cold Zero" (parte 1 e 2) di Alan D. Altieri, "Ghost in the machine" di Danilo Arona e "Katakombs" di Massimo Rainer, ecco il quinto capitolo di The Tube Nomads, la serie spin-off di The Tube, la saga horror del momento. Lasciatisi alle spalle la stazione di sorveglianza Ecom-Con 334, la torre ponte-radio dei fantasmi e le catacombe del monastero, i Nomads continuano a scendere verso valle sotto una pioggia incessante e una notte ormai prossima. Korvin, Red-Eye, Doc e Jester non sanno ancora che la loro decisione comune di raggiungere la centrale idroelettrica avvistata da Korvin il giorno del suo arrivo alla stazione 334 si rivelerà un percorso a prova di morte oltre ogni limite umano. L'infezione dilaga e gli zombie hanno sempre più fame e non arretrano mai. Dopo uno scontro all'ultimo sangue, una casa nelle viscere del bosco sembra essere un rifugio sicuro per trascorrere la notte, ma non c'è soltanto la voce di un fiume impetuoso che proviene dagli alberi attorno alla casa. E la centrale è ancora lontana... Andrea Novelli e Gianpaolo Zarini hanno all'attivo tre libri per Marsilio, "Soluzione finale" pubblicato nel 2005, "Per esclusione" nel 2008, rieditato anche ne il Giallo Mondadori. Nel maggio 2011 il terzo, "Il paziente zero". Nel 2012, è stato pubblicato l'hard boiled ambientato a Genova "Acque torbide" per Frilli Editori. Diversi racconti per antologie, tra cui "Anime nere reloaded" (Oscar Mondadori) con il racconto "American Istanbul". "Memories of a killer" compare in "Medicina Oscura" per il Giallo Mondadori. "Melissa Project" per l'antologia "Bad Prisma". In e-book, la serie di sette episodi "Gli insoliti casi del professor Augusto Salbertrand", "Santa Claus is coming to town" e "Fino all'ultimo respiro" per la Chichili Agency Italia. Per altre informazioni: www.novellizarini.it
The Italian phrase Mai due senza tre–“never two without three”–forms the basis of Andrea Lee’s spellbinding novel of betrayal. Sophisticated and richly told, Lost Hearts in Italy reveals a trio caught in the grip of desire, deception, and remorse. When Mira Ward, an American, relocates to Rome with her husband, Nick, she looks forward to a time of exploration and awakening. Young, beautiful, and in love, Mira is on the verge of a writing career, and giddy with the prospect of living abroad. On the trip over, Mira meets Zenin, an older Italian billionaire, who intrigues Mira with his coolness and worldly mystique. A few weeks later, feeling idle and adrift in her new life, Mira agrees to a seemingly innocent lunch with Zenin and is soon catapulted into an intense affair, which moves beyond her control more quickly than she intends. Her job as a travel writer allows clandestine trysts and opulent getaways with Zenin to Paris, Monte Carlo, London, and Venice, and over the next few years, now the mother of a baby daughter, she struggles between resisting and relenting to this man who has such a hold on her. As her marriage erodes, so too does Mira’s sense of self, until she no longer resembles the free spirit she was on her arrival in the on her arrival in the Eternal City. Years later, Mira and Nick, now divorced and remarried to others, look back in an attempt to understand their history, while a detached Zenin assesses his own life and his role in the unlikely love triangle. Each recounts the past, aided by those witness to their failure and fallout. An elegant, raw, and emotionally charged read, Lost Hearts in Italy is a classic coming-of-age story in which cultures collide, innocence dissolves, and those we know most intimately remain foreign to us.
When Sarah leaves him-heartbroken by their inability to conceive-Pietro reverts to a younger self, leaving the dishes unwashed, his bed unmade and the post unopened. Soon afterwards, Sarah confesses that she is pregnant, but from a casual encounter. She comes to rely on Pietro's mother for support, leaving all three in a painful limbo, unable to move on or return to the way things were. Into the void falls Olmo, an old man haunted by memories of war. At first he provides a distraction, but when he asks Pietro to travel to Russia on his behalf, to right a wrong from his past, he offers this most troubled of young men the chance of a new beginning.
Cecilia and Claudio are doctors are the same hospital. They eat lunch together almost every day; they talk, sometimes even share secrets. Each is enmeshed in a complicated, painful relationship that has technically ended but isn't really over: she is newly separated, with two small children; he's stuck in the apartment building where he grew up, where his senile mother, not to mention his ex-wife and her new family, all still live. Cecilia and Claudio are attracted to each other: magnetically, powerfully. But life has taught them to treat that attraction with suspicion. Then a chance encounter between Claudio and Cecilia's sister, Silvia, shifts the precarious balance of the relationship between the two colleagues. Claudio begins to recognize the damage caused by his wary stance toward everything around him. He has hidden a hunger for life and experience beneath a veneer of apathy, a mask that also conceals a deep well of anguish. And just when Cecilia comes to the realization that she loves Claudio and is ready to commit to a genuine relationship, fate steps in once again.
Andrea is eighty-two years old and he has an incomplete life behind him, when he goes through the gate of the ‘House of the Roses’, the distinguished and cold nursing home where his niece has left him. He would have wanted to rebel, to avoid that subtle torture, the alienating sense of useless wait for an end now inevitable but, like a loyal soldier from an army now defeated, he did not want or could not say no. He is welcomed by monstrous-looking peers with yellow and spotted skin and with eyes and a mouth reduced to dark cavities: tired, aged faces, bent under the burden of years and life. The solitude of lots of past afternoons, the ghosts meticulously collected during years of daily defeats, the pain that slowly turns into bitterness assault him. He seeks relief in that God he has always loved, respected and never understood, but, in the face of the eternal impermanence of existence, all his certainties seem to waver. In Torquato, a terminally-ill patient, who faces his suffering with a smile on his lips, he sees that clear and unshakable faith that he has chased so much, without ever truly being able to reach it, to make it his own and to taste it fully. Days pass slowly and little by little Andrea gets to know his misfortune companions: the gentle and reasonable Ubaldo, the confrontational Professor, the seemingly sharp and haughty Adelina, the inflexible Ermanno, the irreproachable Leandro, the skinny and schizophrenic Galileo. Crazy, unpredictable, desperate but at the same time very human protagonists of the eternal tragedy and the many-sided comedy of all our endless, earthly days. Like a pond where cyclically life is recreated, that unstable and very fragile microcosm is populated with apparently lost feelings: Andrea finds again joy and dejection, faith and blasphemy, selfishness and friendship and perhaps even love… Finally he has neither bonds nor chains, no rule or convention to respect: a meaningless existence, a permanent job to preserve, an improbable future to build are only a yellowed memory, worn by time. His past, present and future are kept in a single endless moment, the hornet flapping its wings that, against all the laws of nature, insists on flying in the hot lights of sunset before night wraps it in its mortal embrace.
Italy is a country of recent decline and long-standing idiosyncratic traits. A rich society served by an advanced manufacturing economy, where the rule of law is weak and political accountability low, it has long been in downward spiral alimented by corruption and clientelism. From this spiral has emerged an equilibrium as consistent as it is inefficient, that raises serious obstacles to economic and democratic development. The Political Economy of Italy's Decline explains the causes of Italy's downward trajectory, and explains how the country can shift to a fairer and more efficient system. Analysing both political economic literature and the history of Italy from 1861 onwards, The Political Economy of Italy's Decline argues that the deeper roots of the decline lie in the political economy of growth. It places emphasis on the country's convergence to the productivity frontier and the evolution of its social order and institutions to illuminate the origins and evolution of the current constraints to growth, using institutional economics and Schumpeterian growth theory to support its findings. It analyses two alternative reactions to the insufficient provision of public goods: an opportunistic one – employing tax evasion, corruption, or clientelism as means to appropriate private goods –- and one based on enforcing political accountability. From the perspective of ordinary citizens and firms such social dilemmas can typically be modelled as coordination games, which have multiple equilibria. Self-interested rationality can thus lead to a spiral, in which several mutually reinforcing vicious circles lead society onto an inefficient equilibrium characterized by low political accountability and weak rule of law. The Political Economy of Italy's Decline follows the gradual setting in of this spiral as it identifys the deeper causes of Italy's decline.
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