Dead Manuel Vasquez Montalban is more than eighty Francisco Gonzalez Ledesma to maintain the role of poet of the time that Barcelona was, through the character of older inspector Mendez, who knows the sad and disillusioned from all corners of the city, a city that changes rapidly under his eyes and is losing its connotations most sincere and popular to sell to the logic of the market, working class neighborhoods are displaced by anonymous and no claims made places of offices, agencies, clubs, skyscrapers where man is alone with his fate. "Good architects act as counter-revolutionaries, even if they do not know" think a character contemplating the changing city. But Mendez, police are allergic to the rules and conformity, and historical memory is an integral part of Barcelona, \u200b\u200bits dark streets, its smoky bars and noisy which was thronged until late at night gamblers, prostitutes, thieves, poets, vagabonds and dreamers, is the pure air of the residential areas that hurts the lungs from Mendez, who are used "fresh enough known, fetid, heavy and full of history 
" bars of Barrio Chino . In this Barcelona dominated by the god of money, in which "the capitalist state has meant that there are no more revolutions, and soon will ensure that there are more cigarettes , unravels the plot of this film noir tough and bitter they move heinous killers, Islamic terrorists, pedophiles, unscrupulous businessmen, and in which three stories that intersect only at the end find a common link. The young bride Sandra kills on the day of the wedding the bridegroom, who turns out to have presented anche lui armato alla cerimonia di nozze; Gabri , appena uscito dal carcere dove scontava la pena per aver ucciso e decapitato il violentatore di sua moglie, poi morta di parto, per saldare un debito verso la cognata viene assoldato per compiere un assassinio da un ricco uomo
d’affari; in una villetta di Vallvidrera una signora, che un tempo introduceva le giovani barcellonesi in società, ora sfrutta una bambina down, a lei affidata da un islamico, in un giro di clienti pedofili. Ma il lettore stia attento, qui quasi nulla è come appare, la verità si nasconde nei personaggi ancora capaci di emozioni, di sentimenti, di amore e di pietà. Nel dipanarsi della vicenda emerge una società in cui è ormai il denaro l’elemento centrale nei rapporti umani, denaro e potere sono il fine della società capitalista che ha distrutto qualunque valore umano ed etico; la borghesia, chiusa nelle sue ville protette da videocamere e bodyguard conosce soltanto l’inganno e la menzogna, i matrimoni sono matrimoni d’affari, l’amore è ridotto a una questione di sesso e potere, i rapporti umani inesistenti; sono i reietti, i perdenti, coloro che sono stati lasciati ai margini del boom della new economy, quelli capaci di sentimenti, di
dignità, di amore e di orgoglio: la segretaria che rifiuta le avances del padrone, il vecchio giardiniere comunista, l’ex galeotto col senso dell’onore and justice, but also ironic that Mendez inspector to computers and mobile phones prefers his flair and the ability to look into the eyes of the people. Again Gonzalez Ledesma give us a great noir to enjoy page after page, but also an opportunity to reflect on the progress that the globalized world is forcing us and confirms that gender is now, at least in its best authors, is shows better able to help us read the world around us. Conclude this review with another quote fulminant choice among many that the book suggests, and that is somehow a key to the whole work of the author Catalan: "The Revolutions makes people feel better on the road than at home against those who are better at home or on the street. "
Ignatius Gulotta
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