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However, Hannibal Rising goes in a totally unexpected direction – in effect, it’s a prequel to the earlier books, returning to Lecter’s childhood in World War’s Eastern Front. The youthful Hannibal sees his family murdered by the Nazis. But something else happens which alters (and deforms) Hannibal’s psyche forever. The boy moves to Paris with the beautiful Japanese widow of his last surviving relative. And soon, an orgy of grisly revenge is in train, wrought on some opponents almost as nasty as Lecter is to become himself.
We’ve seen this before: Hannibal murdering people quite as ruthless as he is – whether this makes the operatic bloodshed satisfying is a matter for every individual reader. Whatever your stance, the effect of Harris’ prose is, as ever, utterly irresistible.
Hannibal Rising is comparatively uncomplicated, when set against the complex, richly textured Harris novels that came before it.
Is there a danger that in showing us how Hannibal became a monster, something is lost of his terrifying mystery? As if to deal with this possibility, Harris keeps Lecter unknowable by removing his customary articulate examination of this own motives (he is still a boy, after all). But the tale of bloody vengeance has a forward trajectory that (whatever your reservations) will render this is a one (or two) sitting reading. And the next book will, surely, recapture that richer Harris texture. --Barry Forshaw
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