Hannibal (Hannibal Lecter Series #3)

Hannibal (Hannibal Lecter Series #3)

by Thomas Harris

Paperback(Mass Market Paperback - Unabridged)

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Overview

#1 NEW YORK TIMES BESTSELLER • “Is it as good as Red Dragon and Silence of the Lambs? No . . . this one is better.”—Stephen King, The New York Times Book Review

You remember Hannibal Lecter: gentleman, genius, cannibal. Seven years have passed since Dr. Lecter escaped from custody. And for seven years he’s been at large, free to savor the scents, the essences, of an unguarded world.

But intruders have entered Dr. Lecter’s world, piercing his new identity, sensing the evil that surrounds him. For the multimillionaire Hannibal left maimed, for a corrupt Italian policeman, and for FBI agent Clarice Starling, who once stood before Lecter and who has never been the same, the final hunt for Hannibal Lecter has begun. All of them, in their separate ways, want to find Dr. Lecter. And all three will get their wish. But only one will live long enough to savor the reward. . . . 

Praise for Hannibal

“Interested in getting the hell scared out of you? Buy this book on a Friday . . . lock all doors and windows. And by Monday , you might just be able to sleep without a night-light.”Newsday

“Strap yourself in for one heck of a ride. . . . It’ll scare your socks off.”—Denver Post

“A stunner . . . writing in language as bright and precise as a surgeon’s scalpel, Harris has created a world as mysterious as Hannibal’s memory palace and as disturbing as a Goya painting. This is one book you don’t want to read alone at night.”The Atlanta Journal-Constitution

“Relentless . . . endlessly terrifying . . . 486 fast-paced pages, in which every respite is but a prelude to further furious action . . . Hannibal begins with a murderous paroxysm that leaves the reader breathless. . . . Hannibal speaks to the imagination, to the feelings, to the passions, to exalted senses and to debased ones. Harris’s voice will be heard for a while.”Los Angeles Times

“A pleasurable sense of dread.”The Wall Street Journal

“Enormously satisfying . . . a smashing good time, turning the pages for thrills, chills, horror and finally, a bracing, deliciously wicked slap in the face . . . perhaps the very best the thriller/horror genre is capable of producing.”San Diego Union-Tribune

Product Details

ISBN-13: 9780440224679
Publisher: Random House Publishing Group
Publication date: 05/23/2000
Series: Hannibal Lecter Series , #3
Edition description: Unabridged
Pages: 560
Sales rank: 46,525
Product dimensions: 4.18(w) x 6.86(h) x 1.20(d)
Age Range: 3 - 7 Years

About the Author

Thomas Harris began his writing career covering crime in the United States and Mexico, and was a reporter and editor for the Associated Press in New York City. His first novel, Black Sunday, was published in 1975, followed by Red Dragon in 1981, The Silence of the Lambs in 1988, and Hannibal in 1999.

Hometown:

Sag Harbor, New York, and Miami Beach, Florida

Date of Birth:

April 11, 1940

Place of Birth:

Jackson, Tennessee

Education:

B.A., Baylor University, 1964

Read an Excerpt

Chapter Twenty One

The Christian martyr San Miniato picked up his severed head from the sand of the Roman amphitheater in Florence and carried it beneath his arm to the mountainside across the river where he lies in his splendid church, tradition says.

Certainly San Miniato's body, erect or not, passed en route along the ancient street where we now stand, the Via de' Bardi. The evening gathers now and the street is empty, the fan pattern of the cobbles shining in a winter drizzle not cold enough to kill the smell of cats. We are among the palaces built six hundred years ago by the merchant princes, the kingmakers and connivers of Renaissance Florence. Within bow-shot across the Arno River are the cruel spikes of the Signoria, where the monk Savonarola was hanged and burned, and that great meat house of hanging Christs, the Uffizi museum.

These family palaces, pressed together in an ancient street, frozen in the modern Italian bureaucracy, are prison architecture on the outside, but they contain great and graceful spaces, high silent halls no one ever sees, draped with rotting, rain-streaked silk where lesser works of the great Renaissance masters hang in the dark for years, and are illuminated by the lightning after the draperies collapse.

Here beside you is the palazzo of the Capponi, a family distinguished for a thousand years, who tore up a French king's ultimatum in his face and produced a pope.

The windows of the Palazzo Capponi are dark now, behind their iron grates. The torch rings are empty. In that pane of crazed old glass is a bullet hole from the 1940s. Go closer. Rest your head against the cold iron as the policeman did and listen. Faintly you can hear a clavier. Bach's Goldberg Variations played, not perfectly, but exceedingly well, with an engaging understanding of the music. Played not perfectly, but exceedingly well; there is perhaps a slight stiffness in the left hand.

If you believe you are beyond harm, will you go inside? Will you enter this palace so prominent in blood and glory, follow your face through the web-spanned dark, toward the exquisite chiming of the clavier? The alarms cannot see us. The wet policeman lurking in the doorway cannot see us. Come . . .

Inside the foyer the darkness is almost absolute. A long stone staircase, the stair rail cold beneath our sliding hand, the steps scooped by the hundreds of years of footfalls, uneven beneath our feet as we climb toward the music.

The tall double doors of the main salon would squeak and howl if we had to open them. For you, they are open. The music comes from the far, far corner, and from the corner comes the only light, light of many candles pouring reddish through the small door of a chapel off the corner of the room.

Cross to the music. We are dimly aware of passing large groups of draped furniture, vague shapes not quite still in the candlelight, like a sleeping herd. Above us the height of the room disappears into darkness.

The light glows redly on an ornate clavier and on the man known to Renaissance scholars as Dr. Fell, the doctor elegant, straight-backed as he leans into the music, the light reflecting off his hair and the back of his quilted silk dressing gown with a sheen like pelt.

The raised cover of the clavier is decorated with an intricate scene of banquetry, and the little figures seem to swarm in the candlelight above the strings. He plays with his eyes closed. He has no need of the sheet music. Before him on the lyre-shaped music rack of the clavier is a copy of the American trash tabloid the National Tattler. It is folded to show only the face on the front page, the face of Clarice Starling.

Our musician smiles, ends the piece, repeats the saraband once for his own pleasure and as the last quill-plucked string vibrates to silence in the great room, he opens his eyes, each pupil centered with a red pinpoint of light. He tilts his head to the side and looks at the paper before him.

He rises without sound and carries the American tabloid into the tiny, ornate chapel, built before the discovery of America. As he holds it up to the light of the candles and unfolds it, the religious icons above the altar seem to read the tabloid over his shoulder, as they would in a grocery line. The type is seventy-two-point Railroad Gothic. It says "DEATH ANGEL: CLARICE STARLING, THE FBI'S KILLING MACHINE."

Faces painted in agony and beatitude around the altar fade as he snuffs the candles. Crossing the great hall he has no need of light. A puff of air as Dr. Hannibal Lecter passes us. The great door creaks, closes with a thud we can feel in the floor. Silence.

Footsteps entering another room. In the resonances of this place, the walls feel closer, the ceiling still high—sharp sounds echo late from above—and the still air holds the smell of vellum and parchment and extinguished candlewicks.

The rustle of paper in the dark, the squeak and scrape of a chair. Dr. Lecter sits in a great armchair in the fabled Capponi Library. His eyes reflect light redly, but they do not glow red in the dark, as some of his keepers have sworn they do. The darkness is complete. He is considering. . . .

It is true that Dr. Lecter created the vacancy at the Palazzo Capponi by removing the former curator—a simple process requiring a few seconds' work on the old man and a modest outlay for two bags of cement—but once the way was clear he won the job fairly, demonstrating to the Belle Arti Committee an extraordinary linguistic capability, sight-translating medieval Italian and Latin from the densest Gothic black-letter manuscripts.

He has found a peace here that he would preserve—he has killed hardly anybody, except his predecessor, during his residence in Florence.

His appointment as translator and curator of the Capponi Library is a considerable prize to him for several reasons:

The spaces, the height of the palace rooms, are important to Dr. Lecter after his years of cramped confinement. More important, he feels a resonance with the palace; it is the only private building he has ever seen that approaches in dimension and detail the memory palace he has maintained since youth.

In the library, this unique collection of manuscripts and correspondence going back to the early thirteenth century, he can indulge a certain curiosity about himself.

Dr. Lecter believed, from fragmentary family records, that he was descended from a certain Giuliano Bevisangue, a fearsome twelfth-century figure in Tuscany, and from the Machiavelli as well as the Visconti. This was the ideal place for research. While he had a certain abstract curiosity about the matter, it was not ego-related. Dr. Lecter does not require conventional reinforcement. His ego, like his intelligence quota, and the degree of his rationality, is not measurable by conventional means.

In fact, there is no consensus in the psychiatric community that Dr. Lecter should be termed a man. He has long been regarded by his professional peers in psychiatry, many of whom fear his acid pen in the professional journals, as something entirely Other. For convenience they term him "monster."

The monster sits in the black library, his mind painting colors on the dark and a medieval air running in his head. He is considering the policeman.

Click of a switch and a low lamp comes on.

Now we can see Dr. Lecter seated at a sixteenth-century refectory table in the Capponi Library. Behind him is a wall of pigeonholed manuscripts and great canvas-covered ledgers going back eight hundred years. A fourteenth-century correspondence with a minister of the Republic of Venice is stacked before him, weighted with a small casting Michelangelo did as a study for his horned Moses, and in front of the inkstand, a laptop computer with on-line research capability through the University of Milan.

Bright red and blue among the dun and yellow piles of parchment and vellum is a copy of the National Tattler. And beside it, the Florence edition of La Nazione.

Dr. Lecter selects the Italian newspaper and reads its latest attack on Rinaldo Pazzi, prompted by an FBI disclaimer in the case of Il Mostro. "Our profile never matched Tocca," an FBI spokesman said.

La Nazione cited Pazzi's background and training in America, at the famous Quantico academy, and said he should have known better.

The case of Il Mostro did not interest Dr. Lecter at all, but Pazzi's background did. How unfortunate that he should encounter a policeman trained at Quantico, where Hannibal Lecter was a textbook case.

When Dr. Lecter looked into Rinaldo Pazzi's face at the Palazzo Vecchio, and stood close enough to smell him, he knew for certain that Pazzi suspected nothing, even though he had asked about the scar on Dr. Lecter's hand. Pazzi did not even have any serious interest in him regarding the curator's disappearance.

The policeman saw him at the exposition of torture instruments. Better to have encountered him at an orchid show.

Dr. Lecter was well aware that all the elements of epiphany were present in the policeman's head, bouncing at random with the million other things he knew.

Should Rinaldo Pazzi join the late curator of the Palazzo Vecchio down in the damp? Should Pazzi's body be found after an apparent suicide? La Nazione would be pleased to have hounded him to death.

Not now, the monster reflected, and turned to his great rolls of vellum and parchment manuscripts.

Dr. Lecter does not worry. He delighted in the writing style of Neri Capponi, banker and emissary to Venice in the fifteenth century, and read his letters, aloud from time to time, for his own pleasure late into the night.

What People are Saying About This

From the Publisher

"Strap yourself in for one heck of a ride—it'll scare your socks off."—Denver Post

"Relentless—endlessly terrifying."—Los Angeles Times

"Interested in getting the hell scared out of you? Buy this book on a Friday ... lock all doors and windows. And by Monday, you might just be able to sleep without a night-light." —Newsday

Don't miss Thomas Harris's New York Times bestsellers:
Red Dragon
Black Sunday

Customer Reviews

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Hannibal 3.9 out of 5 based on 0 ratings. 307 reviews.
TMBreck More than 1 year ago
** spoiler alert ** When I finished The Silence of the Lambs I was so hoping that Starling would be a FBI agent well on her way to the top. In a perfect world, she would have been. However, "Hannibal" gives an all-too realistic and believable explanation of why she isn't. During the course of this book, her world collapses in on her and everything she has put her faith and trust in either abandons her (through circumstance or not) or completely turns on her. In SotL, Clarice was a young trainee who was aware of the things she would have to over-come once she actually made it out of training. However, in this book, she has becoming jaded by the reality of how much she's resented for her success and (it is at the very least implied) the fact that she had that success while being female. I actually enjoy the fact that, in the end, Clarice was left open to Hannibal's corruption because the world she valued so much had turned on her and basically left her with nothing to turn back to. I'm really a sucker for twisted versions of happy endings
Sadistprince-18 More than 1 year ago
I love Thomas Harris, he is original and he comes up with the most orginal characters. I have been a fan since I watched silence of the lambs back when I was a tennager, and I have read his other books except for Black Sunday, soon though. I am one of the people that loves the book, start to finish, and I found the ending fitting for this couple. The tension that started with Silence of the Lambs, carried over perfectly. Some people think that Starling acted out of character, but if you read one book right after the other one, you can pick up the hints that Harris left regarding Starlings transformation. The poor girl had a crappy life, her career with the FBI was destroyed the moment she found Jame Gumb, she gave her best years to the bureau and it got her nothing but the scorn of her male contemporaries and superiors. Being a girl, and an attractive one at that with a strong personality didn't help her either. Dr Lecter took advantage of Starlings misfortunes to bring her over to the dark side, something she avidly welcomed I might add. I wouldn't called Dr. Lecter an anti-hero, no matter how much you romanticise him, he is still a murderous cannibal. But you can't deny that his attachment to Clarice is kind of sweet. A great book, the ending might not be for everybody, but like I say. Read Silence right before Hannibal and it makes more sense.
Guest More than 1 year ago
It was the best book of the series.
Saunders More than 1 year ago
I read "Hannibal" over Christmas Vacation in two days, and I immediately proclaimed it as one of my favorites--and although I read (too) much, I have very few favorite books. I stayed up until 5AM the night between those two days reading it by the glow of Christmas lights. It drew me in and I simply could not put it down.
It is much better than the movie (which is still enjoyable in its own right), especially the ending. But if you want to know what that means, you'll have to read the book to find out.
Yes, it's a little gory, but nothing offensive. Another excellent thriller, "Battle Royale," was bloodier, if you want a comparison. At any rate, I figured that Krendler fellow had what was coming to him. (Read the book to find out what I mean by that.)
There's sort of a subliminal romantic twist to it too; not in the in-your-face/mushy/obnoxious style of the 90s version of the movie "Titanic" or those "Twilight" books, though. It was subtle and made the story more appealing.
I really don't want to give anything away, so I'll end my little review here. I do suggest you read it. You will not be disappointed.
Leli1013 on LibraryThing More than 1 year ago
This is my favorite novel of all time. I've been through about 5 or 6 copies of it throughout the ten years since I first read it. I carried it with me all of freshman year of high school. When read along with "Red Dragon" and "The Silence of the Lambs" it almost feels like the story wrote itself. The characters are so COMPLETE. They feel like they're real, living, breathing people and the choices and actions they make seem organic and in accordance to their individual nature.
anniemom More than 1 year ago
I thought this was the best book of the series----it is romance between two people I always thought that Yul Brynner would make a great Lector the best way to read this right after you read Silence of the lambs---it makes sense and shows that love can exist no matter what---- a person can love and be loved in return
Guest More than 1 year ago
If, like me you,ve read and enjoyed Harris' two previous novels, don't rush out to get this one. All of the aspects that that made SOL and Reg Dragon grippping reads are missing here. What's wrong? Well, slooow plot, poorly defined characters (Starling starts well, but by the end of the book has become a totally vague personality), weak plot, improbable plot events ( eg man eating pigs - terrifying huh?) and a general lack of tension. The book also contains long passages of descriptive prose of Florence with historical and cultural musings at length. Also changes from third person narrator to first person and first person plural, all seemingly at random. If this isn't enought to bore you, then the last 50 pages or so where the plot goes into cuckoo land will finish you off. Imagine Dr Lecter as a caring benevolent gourmand?? You get the picture. The 'horror' in this book is simply not there, because the author has let the tension go and the reader is left feeling slightly sickened by the gruesome descrptive prose, but not scared because the situations are so obviuosly contrived. Why has Harris written such a bad book? Why did for example Stephen King give it such a rave review? Who knows. Actually who cares. I got my copy of this book for free and still feel I was ripped off. Don't go out there and pay for it.
Guest More than 1 year ago
This book kept me interested until the end...are we really supposed to believe this? At least in a book I can put it down and think of something else, as a movie you see the people and what happens happens. I think the movie will be terrible if they don't change the ending and personally I will not be paying to see it and find out! HORRIBLE ENDING...DON'T WASTE YOUR TIME UNLESS YOU WANT TO BE DISAPPOINTED!!!!
Guest More than 1 year ago
This is definitely one of the greatest, most moving books I have ever read. It applies to every person on earth. Once you read this book, you'll have learned life's lessons.
Anonymous 11 months ago
I+loved+it+as+much+as+I+loved+the+first+two.+%E2%9D%A4%EF%B8%8F
5hrdrive on LibraryThing More than 1 year ago
Deeply disturbing, but after a second reading, excellent. I much prefer The Silence of the Lambs, but this is far creepier. The ending is quite unsettling and I would have preferred something different, and that's why I can only go as high as four stars. The reader simply grows too close to Starling in the first book to see her end up like this.
joyleppin on LibraryThing More than 1 year ago
Oh, the wicked things that men do. 'Well hello Clarice.'
crabbylibrarian on LibraryThing More than 1 year ago
I really wish I could've give this book negative stars. It felt like Harris rushed through it and gave it the most gruesome ending he could think of. Parts of it actually made my skin crawl! (Maybe that was the effect he was seeking. If so, congratulations!)This was nowhere close to the writing in 'Red Dragon' or 'Silence of the Lambs'. It felt like Harris had committed to writing this and he wanted to be finished with it quickly.
hermit on LibraryThing More than 1 year ago
I've never been one for mysteries, but I was sent this one, by the same person who sent me Silence of the Lambs. The characters were well developed. In this book we see the insight of the Doctor's mind. All I can say is Wow! Many will not want to read this...I wish I had not. Be that as it may, this is a quick read, with scenes and action on every page. Despite the sometimes gruesome parts, it keeps the reader breathless throughout. And the ending was . . . well, I really don't want to say how it ended. It just wouldn't be fair to those who want to read a book that is not tasteful to say the least. Talk about the dark recesses of the human mind. This book is not for everyone. Some will call it gross....Even Jodi Foster had the good taste to refuse to play Clarice in the sequel .... The book is well written but I do not recommend reading this.
dsoj84 on LibraryThing More than 1 year ago
It is a great look at Dr Lecter and the relationship with exists between himself and Clarice Starling. If you would like to read a book which will take you into the twisted mind of Hannibal Lecter, then you have the right book.
ParadigmTree on LibraryThing More than 1 year ago
Just awful! And awfully boring! Harris also succeeded in totally destroyed Clarice's character and removing Hannibal's mystic. Not a book for the fans of 'Red Dragon' or 'Silence of the Lambs'.
richard_hesketh on LibraryThing More than 1 year ago
Chunks of the old style but, in the main, a disappointment. Most of the edgy moments are given to Mason Verger and the ending is sheer bloody, porcine nonsense.
ShelfMonkey on LibraryThing More than 1 year ago
What can be said about HANNIBAL that hasn't been said already? Hannibal Lecter has become an instantly identifiable icon, an image of madness and insanity that the public has lapped up in droves. His third appearance in fiction has as many detractors as rabid fans, arguing intensely over whether the book is true to what has happened previously, or whether it stains the memory of Lecter and his unusual relationship with FBI Agent Clarice Starling. Jodie Foster, Starling's physical manisfestation in the movie version of THE SILENCE OF THE LAMBS, stated that she wouldn't reprise the role for HANNIBAL, seeing the novel as an insult to her perceptions of how Clarice would grow as a character.Clearly, HANNIBAL is many things to many people. But let's view it for what it is: a horrific thrill-ride through the consciousness of a demon. The only crime Thomas Harris commits is in delivering a product that people didn't expect.HANNIBAL puts the infamous serial killer Hannibal 'The Cannibal' Lecter into the centre spotlight, after consigning him to a supporting role in the previous novels, RED DRAGON and LAMBS. Enjoying his new-found freedom, he is slowly but relentlessly being pursued by Mason Verger; a survivor of Lecter's assaults, and an individual even creepier and unforgivable than Lecter is. Verger uses Starling as his pawn, reeling her along with the hope that Lecter will be unable to resist the bait.The true flaw in HANNIBAL is that Harris takes for granted that the reader will know and understand the unusual relationship Lecter and Starling share. It works as a sequel, but is unable to stand up as an achievement in its own right, unlike both DRAGON and LAMBS, pinacles of the serial killer genre. This lessens the impact somewhat, as does his subplot involving the Barney the orderly, and Verger's body-building sister. They are interesting characters, but aren't given enough character arc to fit in completely. But Harris redeems himself with his presentation of Lecter's life outside the prison cell. Lecter functions in the world quite well, attaining wealth and prestige through his not-inconsiderable intellect. The web that Harris draws around Lecter, disparate elements slowly converging to encircle and capture Hannibal, is a rivetting display of skillful plotting.Some have criticized the decision to reveal parts of Lecter's past, but these glimpses only heighten the mystique that surrounds him. Harris is far more generous in his background to Verger, a malevolent creature of such despicable proportions that he could star in a novel of his own. Harris follows his now-familiar technique of comparing monsters, displaying Verger in stark contrast to Lecter in the same manner as Francis Dollarhyde and Jame Gumb were presented in DRAGON and LAMBS, respectively.Starling is also presented in a memorable light. Far from being the idealistic young trainee of LAMBS, Starling is now a disgraced agent who is haunted by her past actions, both on the job and with Lecter. She is completely at odds with her world, finding herself used and controlled both by Verger and Lecter, as well as certain elements of the FBI. Her downfall, and eventual conclusion, adds a heart-breaking note to the chase.And the ending. Without spoiling the surprise, it is both unexpected, and fair to the characters, despite the uproar it caused. I believe it is Harris's attempt to wrest control of the characters back to his domain. Considering the immense pressures that were undoubtedly heaped upon Harris after the gigantic sucess of LAMBS (both as novel and film), a lesser artist would have merely given the public what they wanted. Harris does something more: he provides the audience with an ending that would silence those who make Lecter into a heroic figure. Never losing sight of the fact that Hannibal is a monster, Harris plays off of Lecter's legend, leaving the reader unnerved. It's the author's way of screaming, "He's my character, not yours! Now, back off!"And perhap
Djupstrom on LibraryThing More than 1 year ago
Thomas Harris is an excellent suspense writer. I love this series. I think Red Dragon was my favorite, but this is a clase second. I can't believe I was rooting for a cannibalistic serial killer, but GO HANNIBAL!!!
Sean_From_OHIO More than 1 year ago
Thomas Harris' third installment of the Hannibal Lecter series shifts the focus more to the machinations of one of his victims as he seeks revenge. Harris still envelopes the reader in the mind of Lecter, but at times he and Clarice Starling seemed to be on the back burner even though they are the most interesting characters. The ending isn't the typical one you'd expect and was a slight surprise. I would have rated this higher if more of Lecter's "appetites" were explored. Still a good book that has a high bar to live up to.
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
Having not read the previous 2 books (Red Dragon and the Silence of the Lambs) I cannot compare the writings of the books, having said that watching the movie Silence of the Lambs gives me an idea of what happened in the previous book.  Well written but unfortunately predictable I won’t give away the plot as there are some people out there that may have not read it.
Anonymous More than 1 year ago
Anonymous More than 1 year ago