Everyone in Their Place

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What to expect

Naples, 1931. Together with his indefatigable partner Brigadier Maione, Commissario Ricciardi, a man driven into solitude by his paranormal “gift” of seeing the final seconds in the lives of victims of violent deaths—a talent that also makes him a highly effective investigator—is conducting an investigation into the death of the beautiful and mysterious Duchess of Camparino. The duchess’ connections to Neapolitan privileged social circles and the local Fascist elite make the case a powder keg waiting to blow.

Critics Review

“Reading a novel by Maurizio de Giovanni is like stepping into a Vittorio De Sica movie. The sights and smells of Naples are pungently evoked in Everyone in Their Place, the latest entry in a superb historical series set in Fascist Italy during the 1930s and featuring one of the most melancholy detectives in European noir crime fiction.”

New York Times Book Review

“Combines a rare
setting for a whodunit, Fascist Italy, with a classic fair-play puzzle
and a highly unusual lead…[and a] convincing portrayal of life under
Mussolini, which included government directives to demobilize crime
reporters and bar reporting of stories that could have ‘an unhealthy
effect on the spirits of the mentally weak.’”

Publishers Weekly (starred review)

“In the popular field of historical noir featuring gloomy but brilliant
detectives, de Giovanni’s series easily stands out as a success. His is a
classic detective story built on clues, motive, and character, where
political turmoil seasons the plot but doesn’t overwhelm it. An
excellent choice for mystery fans and readers of international fiction.”

Library Journal (starred review)

“Will resonate with those who love complicated thrillers. Grover Gardner’s narration is easy on the ear. His voice takes listeners through the winding streets of the Italian city and the many turns in this plot. He sets a steady pace, retelling the details of gruesome crimes in a matter-of-fact tone that allows listeners to focus on the story rather than the violence. Gardner’s performance is reminiscent of the voices used in radio shows of this era.”

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