The Complaints Of The Dead By Maurizio De Giovanni Review

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Tullio Iovine del Castello thinks of Sisinella and smiles until it hits the pavement. In the darkness of a relentlessly hot night of the Chair of Gynecology crashes his office on the fourth floor of the Poli Clinic at the Royal University of Naples from the window.

Has killed himself the acknowledged specialist on the peak of his career, or he was thrust down? His case concerned the next morning the whole town, for he had helped the women from the poorest neighborhoods.

He leaves a wife and an eight-year-old son. Sisinella but belonged to his heart; with her he had set up a secret love nest.

After nonetheless Grand defenestration -. a masterpiece of poetic time stretching – takes a classic Whodunit -Plot its course. Investigators conduct by one, all that had to do with the dead, and gather information until they know the end is how the deadly process has played and what circumstances led then. The evidence is clear, and who thinks good, can eventually piece together what happened himself.

So a simple crime? Maybe, but that’s just the reverse side of the coin. The investigation of the criminal case in connection with which later another death is to complain and promotes quite complex backgrounds to day, is not the focus of the author. More important are his haunting atmosphere (Naples in July 1932 the heißesten summer of the century) and the careful, differentiated design of its protagonists and the development of the braid their relations. Which have to do mainly with very different forms of love and play with the phrase “In the depths of your heart,” which is the original Italian title ( ” In fondo al tuo cuore < “Maurizio de Giovanni: “In fondo al tuo cuore” at” the most complex figure of commissario Luigi Alfredo Ricciardi is.

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he comes from noble family (Baron von Malomonte) and enjoyed a comfortable childhood, which was overshadowed by a traumatic experience. Since then, he has a strange gift, a blessing and a curse that fear him can he was “crazy. Yes, as mad as it was my poor mother. Imagine, I imagine, to see dead who tell me their very last thoughts. “Under this spiritual sword of Damocles, the man has become a melancholy loner (” the prince of Darkness, our Ricciardi “), who, tormented shrink by self-doubt, not to start a family.

Interested women were there already that for the good-looking bachelor with unruly forelock, cultivated manners and aristocratic calm nature want to stand side. Hot on his heels is currently Lucia, the merry widow of the celebrated baritone Arnaldo Vezzi for which she had given up her own artistic career. Two years of mourning to wear it never occurs to her. She moved from Rome to Naples, here leads a sophisticated house and enjoys the Aufsehens that excites them at official functions with Ricciardi at her side. Now she is busy trying to prepare the lavish masked ball, with whom she on July 16, the feast day of the Madonna del Carmine ( ” la Signora Bruna – the brown virgin” ) will put its reputation as the queen of the Neapolitan Society the crown. When hit, they will surprise celebrity guests from the highest circles of the whole country with a song Lecture: As spark for her comeback as a singer is the first performance of a passionate Opus the star composer of the city just good enough. Ricciardi must be there, come what may – only he wants to look into the eyes singing commissario will admittedly not be set.. The events surrounding the case Iovine pointed to as we approach the feast, and of course he would always give priority before private duty. He also feels that affection and claims the lady threaten to narrow him too much without really fulfill it. Above all, he is in love with Enrica, the restrained daughter Hatter, who lives in the apartment opposite his. The two have not yet learned really know, but their emotions are deep and serious. Only they (from which branches off a comprehensive, stand-alone storyline which harbors the potential for a sequel) have each other not yet opened.

The most important woman in Ricciardi life is his nurse Rosa. She has raised him like a mother and leads him now the budget in a self-sacrificing-caring way that he does not need to worry yet about any other matters of everyday life to the management of its inherited goods. But she is old. Because it sees near its end and know that the signorino , the young man, without them would be lost, it has recently brought her eldest niece into the city and into the house to them after a thorough examination of its establish suitability as successor. While they, tough with the tough, zealous and faithful Nelide has made a good choice, it has overestimated her remaining strength and time. That it is now unconscious in the hospital, is one of the circles of Ricciardi private Inferno: He fears the loss of Rosas unconditional love, and he feels his power and helplessness works to Ricciardi side of the loyal to him. brigadiere Raffaele Maione. The author dedicates this child of the people the same attention as his superior and designed its nature and needs the same care. Maione leads the research plumper, but closer to the people, and he does not mince his words. Unfortunately it torment private concerns. The meager salary is hardly enough to secure a livelihood of his pretty blonde wife and five children, and now there are also signs that the previously happy family man to his marriage must fear. (Also from this results in a unique storyline.)

In the course of more than 450 pages a wealth takes further figures multidimensional shape. Tullio, his wife and his rival prove as a life-like, differentiated characters like his mistress Sisinella that is from the depths of poverty risen through abysses of prostitution as a lover of a rich old man and now has a unique opportunity in mind, a Residential Life.

Their investigation leads the police in all walks of life in the city: We meet ambitious doctors, fascist politicians, the transvestite Bambi Ella (a femminiello , a kind of drag queen ), takes a gifted master goldsmith, a young criminal climber who, for anything to what he needs, and many ordinary residents of the palazzi (apartment buildings) and bassi < / em> (walk-in small apartments), whose gossip all the latest news, secret police activities, including wearing wildfire through all the district and Maione drives almost to despair. ‘

Also, the city of Naples itself with their treasures and their misery, the busy gear in the streets and palazzi , the hectic preparations for the feast of the Madonna del Carmine gives de Giovanni lives. Only the political climate of Fascism (who the regiment took over in Italy in 1922) remains relatively colorless.

De Giovanni’s literary detective story is just beautiful to read. He is filled with blazing life. The perspectives change from chapter to chapter, time and again the style: there are inner monologues that provide important clues for the case and the state of mind of the people, even if it is not clear right away, by whose head they flow. aesthetic highlights are de Giovanni’s stylistic> pirouettes, “describes their first Tullios death fall: The focus is on a formula of central importance (” he falls … “;” the heat, the real heat “; ‘you’ve sworn to me”; “in the depth of your heart”) which is repeated several times by the respective short section runs like the axis of a spiral staircase. The narrative screwed higher and higher, the narrator reveals level by level happened, the formula is the guardrail, to open at the end, which must be uncovered. This can create a somewhat pathetic tone. The most amazing chapter is that which can arise in all its manifestations and impacts the infernal heat – one reads breathlessly

“In fondo al tuo cuore” is the seventh part of a thematically structured series order. the commissario from the thirties. It started with four thrillers over the seasons ( “La condanna del sangue. La primavera del commissario Ricciardi” Maurizio de Giovanni: “La condanna del sangue. La primavera del commissario Ricciardi”.

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The Complaints Of The Dead By Maurizio De Giovanni Review. (2019, Nov 18). Retrieved from

The Complaints Of The Dead By Maurizio De Giovanni Review
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