Showing posts with label Giorgio Scerbanenco. Show all posts
Showing posts with label Giorgio Scerbanenco. Show all posts

Wednesday, 11 February 2026

Penguin Classics Crime and Espionage for 2026

Publishing through 2026, the Penguin Classics Crime and Espionage series brings together landmark works of fiction from across the twentieth century and beyond. Highlights include Robert van Gulik’s Judge Dee mystery The Chinese Nail Murders, Dorothy B. Hughes’s noir classic Ride the Pink Horse, Robert Littell’s Cold War thriller The Amateur, and Mai Jia’s international bestseller Decoded. The list also features Giorgio Scerbanenco’s Italian noir Traitors to All, alongside Rear Window and Other Stories, a newly curated Penguin Classics selection of suspense stories by Cornell Woolrich, originally published in the 1930s and 1940s. 

The Chinese Nail Murders by Robert van Gulik (9 July 2026) First published in 1961

Judge Dee returns in one of Robert van Gulik’s strangest and most atmospheric mysteries, set far from the courtly intrigue of Tang China and deep into a ferocious northern wilderness. In a remote, freezing region, a young girl vanishes, jewels are stolen and a brutal beheading shocks the local community. As Dee pulls at the threads, the case begins to circle an unsettling local obsession, the “Seven Board”, a popular game that may be more than a harmless pastime. With its locked room ingenuity and mounting dread, the novel offers all the pleasures of classic puzzle crime while using the harsh landscape and tight knit settlements to heighten the tension. Van Gulik’s Judge Dee novels are celebrated for their vivid historical texture, and this instalment is a particularly rich example, blending clue driven plotting with an immersive sense of place and period.

About the author: Robert van Gulik (1910 to 1967) was a Dutch diplomat and a leading authority on Chinese history and culture, who lived much of his life in the Far East. He wrote sixteen Judge Dee mysteries alongside influential studies of Chinese art and music.

Ride the Pink Horse by Dorothy B. Hughes (9 July 2026) First published in 1946

A heat hazed, high pressure noir that shifts the genre out of shadowy alleyways and into the bright glare of the American Southwest. Sailor, a former gangster’s muscle, arrives from Chicago in Santa Fe during Fiesta season with revenge and money on his mind. But the city is packed, the temperature is punishing, and the forces ranged against him are both organised and unpredictable. With nowhere to stay and danger in every crowd, Sailor is pushed into a tightening web of corruption and violence, where survival depends on reading people quickly and striking first. Dorothy B. Hughes turns the usual noir palette inside out, using vivid colour and sunlight to make paranoia feel even sharper. The result is a lean, propulsive thriller that builds dread through constant motion, chance encounters and the sense that the whole town is watching.

About the author: Hughes (born Kansas City, later based in New Mexico) was a journalist and poet who became one of the key voices of American hard-boiled fiction. Several novels were adapted for film, and she was named a Grand Master by the Mystery Writers of America.

The Amateur by Robert Littell (23 July 2026) First published in 1981

A classic Cold War thriller built on a deliciously unnerving premise: what happens when an ordinary man decides to do an extraordinary, violent thing and refuses to be stopped. Charlie Heller is a CIA cryptographer, a quiet specialist in codes and patterns, not fieldcraft. When his beloved fiancée is murdered by terrorists and his superiors choose not to pursue the killers, Heller turns his grief into purpose. He forces his way into the role of avenger, following the trail behind the Iron Curtain and stepping into a world he understands only on paper. Littell’s brilliance is in making Heller’s “amateur” status an advantage as well as a vulnerability. He does not know the rules, but he can see structures others miss, and his enemies underestimate him until it is too late. The novel moves with pace and bite, balancing tradecraft detail with mounting moral stakes, and it remains a sharp, unsettling meditation on bureaucratic cynicism and personal justice.

About the author: Robert Littell (born 1935) is a major American novelist of espionage and Cold War fiction, also known for The Company. The Amateur has been filmed twice, most recently as a major film released in April 2025.

Decoded by Mai Jia (13 August 2026) First published in China in 2002

An international bestselling spy novel that plunges into the secretive world of cryptology and the psychological cost of genius. Rong Jinzhen is a mathematical prodigy, recruited into China’s clandestine Unit 701 to crack “Code Purple”, an enemy cipher so elusive it becomes an obsession. As Jinzhen’s reputation rises, so does the pressure: the work is isolating, the stakes are national, and the line between brilliance and breakdown begins to blur. What starts as a triumph narrative becomes something darker, a descent into paranoia and mental unravelling as the act of decoding becomes a metaphor for power, secrecy and the limits of the human mind. Mai Jia writes from intimate knowledge of intelligence culture, giving the novel an unusual authenticity and a strong sense of Chinese social texture across decades. The result is both a gripping thriller and a portrait of a man consumed by the very talent that makes him indispensable. Decoded was first published in China in 2002 and became a phenomenon.

About the author: Mai Jia (pseudonym of Jiang Benhu) is one of China’s most awarded and bestselling writers, often credited as a key moderniser of Chinese espionage fiction.

Traitors to All by Giorgio Scerbanenco (3 September 2026) Originally published in Italian in 1966

A landmark of Italian noir and a defining case for Duca Lamberti, Scerbanenco’s doctor turned detective with a hard-earned moral core. One spring evening outside Milan, a Fiat carrying two passengers plunges into a canal. The deaths are initially filed as an accident, but Lamberti notices the pattern: the canal has claimed others, and the circumstances feel staged. His investigation points to a respectable lawyer with a murky history stretching back to the Second World War, and to an uncomfortable personal link, the man once shared a prison cell with Lamberti. Winner of the Grand Prix de Littérature Policière in 1968, the novel is both a razor tight mystery and a social portrait of “swinging sixties” Milan, where prosperity sits uneasily atop old wounds, compromised loyalties and opportunism. Scerbanenco’s writing is brisk, street level and unsentimental, exposing how violence and betrayal thread through every class. It is a gripping, morally charged thriller that helps explain why Scerbanenco is often called the father of Italian noir.

About the author: Born in Kiev in 1911, Scerbanenco moved to Italy young and settled in Milan as a teenager. After early romance fiction, he pioneered a distinctly Italian crime style, with many adaptations for film. He is best known for the Milan Quartet.

Rear Window and Other Stories by Cornell Woolrich (1 October 2026) Stories first appeared individually in the 1930s–1940s.

Nine superb crime stories from one of the twentieth century’s great masters of suspense and the lethal plot twist. The collection includes the tale that inspired Alfred Hitchcock’s Rear Window, in which an injured, housebound man becomes convinced he has witnessed a murder and must investigate without ever leaving his apartment. Elsewhere, Woolrich pushes ordinary people into extraordinary corners: an accidental killer improvises a grotesque hiding place for a body just as the landlord starts showing the room to prospective tenants; an innocent youth accused of murder flees, only to discover an unnerving talent for crime. Woolrich’s gift is acceleration: he takes a simple premise, tightens the screws with plausible obstacles, and then swivels the reader into a new, darker understanding at exactly the right moment. These stories show why he was so influential on film and fiction alike, and why his work remains a touchstone for psychological suspense. This selection follows the success of the Crime and Espionage edition of his novel I Married a Dead Man and offers an ideal entry point for new readers, while giving collectors a concentrated dose of his best short form work.

About the author: Cornell Woolrich (1903 to 1968) was a hugely admired American crime writer whose work inspired numerous films including Rear Window, Phantom Lady and The Bride Wore Black. He lived a notoriously difficult life and became a recluse in later years.



Thursday, 6 February 2014

Politics and Society in Italian Crime Fiction

Today’s guest blog is by Barbara Pezzotti, PhD, an Honorary Research Associate of the Australasian Centre for Italian Studies (ACIS). She has published a number of articles and book chapters on Italian crime fiction, and the figure of the detective and the serial killer in New Zealand crime fiction. She is the author of Politics and Society in Italian Crime Fiction. An Historical Overview (Jefferson, NC: McFarland, 2014), and The Importance of Place in Contemporary Italian Crime Fiction. A Bloody Journey (Madison, NJ: Fairleigh Dickinson University Press, 2102). She has also published an e-book in Italian entitled  I luoghi del delitto. Una mappa del giallo italiano contemporaneo (Florence: goWare, 2014). She is co-editor (with Jean Anderson and Carolina Miranda) of The Foreign in International Crime Fiction. Transcultural Representations (Continuum, 2012). She is currently working on a monograph on historical crime fiction provisionally entitled Murder in the Ages of Chaos: Italy’s Past in Historical Crime Fiction and Films. She lives in New Zealand with her husband Martin and her cat Garibaldi.   She is a blogger for The Australasian Centre for Italian Studies.

I am glad that my new book “Politics and Society in Italian Crime Fiction. An Historical Overview” is finally out. This marks the end of a long story that started many years ago when I resigned from my job in Italy and moved to New Zealand to marry a nice kiwi bloke, Martin. Having a lot of time up to my sleeve, I decided to go for a PhD in literature. I was then told that my university years would be very challenging and I had to choose a topic I really liked if I wanted to keep my sanity. At that time, feeling nostalgic about my hometown, I was reading crime fiction set in Milan. I thought, why not? I did some research and I realised that in spite of being a very popular genre in Italy and notwithstanding the fact that some Italian crime fiction writers, such as Andrea Camilleri and Massimo Carlotto were very famous internationally, very little study had been done on Italian crime fiction. I jumped at the chance. The topic of my dissertation was the representation of city and regional identities in Italian crime fiction or giallo (yellow, from the traditional book cover for crime fiction in Italy) as we call it in Italian. I thoroughly enjoyed my postgrad years: I read tons of crime books, wrote about them, discussed them with a small bunch of academics who were doing similar research in different parts of the globe, and participated in crime fiction conferences. I also managed not to go nuts; at least I think I did. At the end of my PhD studies, my thesis was finally published in 2012 under the title of The Importance of Place in Contemporary Italian Crime Fiction. A Bloody Journey.

During the work on my thesis and then on my manuscript, I became increasingly intrigued by the way the giallo had been used for political reasons. I also noticed that a history of Italian crime fiction in English did not exist. I therefore decided to explore this topic further, embracing a wide temporal frame, from the end of the nineteenth to the twenty-first century. I was lucky enough to convince a publishing house, McFarland, that my project was worth pursuing and I started working on it at the beginning of 2011. I re-read some contemporary novels and classics, and I read old gialli (giallo in the plural) for the first time, discovering a new, exciting world of fiction. Through the analysis of writers belonging to different and crucial periods of Italian history, my ambition was to explore the different ways in which individual authors exploited the structure of crime fiction to reflect the social transformations and dysfunctions of Italy of their times. By investigating in particular the works of seven writers (Augusto De Angelis, Giorgio Scerbanenco, Leonardo Sciascia, Loriano Macchiavelli, Andrea Camilleri, Massimo Carlotto, and Marcello Fois) in the social and political context in which they were written, my book has ended up becoming an investigation into Italy’s recent history, too.

My “time travel” with Italian crime fiction highlights a characteristic that the giallo shares with many other Southern European, Latin American and Scandinavian crime novels: this genre has become a militant vehicle for social and political commentary. Important political and social themes have been present since the beginning of the genre in Italy: not only the hard-boiled formula, but also the traditionally reassuring whodunit in Italy shows a close relationship with Italy’s political and social environment. Among the issues tackled by the giallo are: pollution and a progressive and merciless industrialization of the countryside; consumerism and loneliness in the urban environment; criminal organisations; the North and South divide; a clash between regional and national identities, for example local dialects versus Italian; political instability and corruption and unresolved questions of democracy, freedom, and illegality.

It can be fun, it can be exciting, and it can be scary, but there is little comforting in reading most Italian crime fiction. It’s not an exercise for the faint-hearted, or for people who like to indulge in a postcard image of the country. Forget Venice and the gondolas, the Renaissance art and romance: the giallo is for tough guys and girls who like to be challenged and turn the last page of a book feeling a mix of emotion, uneasiness, and a desire to change the status quo.  

-------

Politics and Society in Italian Crime Fiction


This book comprehensively covers the history of Italian crime fiction from its origins to the present.  Using the concept of "moral rebellion”, the author examines the ways in which Italian crime fiction has articulated the country’s social and political changes.  The book concentrates on such writers as Augusto de Angelis (1888-1944), Giorgio Scerbanenco (1911-1969), Leonardo Sciascia (1921-1989), Andrea Camilleri (b. 1925), Loriano Macchiavelli (b. 1934), Massimo Carlotto (b. 1956), and Marcello Fois (b. 1960).  Through the analysis of writers belonging to differing crucial periods of Italy’s history, this work reveals the many ways in which authors exploit the genre to reflect social transformation and dysfunction.


Sunday, 17 June 2012

Giorgio Scerbanenco's A Private Venus



Fans of Italian noir and Hersilia Press will be pleased to learn that in August 2012 Hersilia  Press will publish A Private Venus.

Shots were delighted to receive the press release below from Hersilia Press.

Giorgio Scerbanenco is considered by many to be the father of Italian noir and has been called 'the Italian Simenon'. He worked as a journalist and as a contributor to women's magazines before turning to crime fiction. The most prestigious Italian literary prize for crime fiction is named after him.


A Private Venus
Milan, 1966, and in the bleak suburb of Metanopoli, a woman is found dead on the side of the road.

Dr Duca Lamberti has just been released from prison, where he has spent three years for having practiced euthanasia.  No longer able to work in medicine, he takes a job helping Davide, a young and depressed alcoholic.  When Duca begins to delve into the young man’s past, he is drawn into a murky world of prostitution, pornography and murder.  As the case unravels, Duca takes the law into his own hands.

The first in this classic series featuring Duca Lamberti.

Howard Curtis has translated more than fifty books from French, Italian and Spanish, including works by Luigi Pirandello, Beppe Fenoglio, Georges Simenon and Gianrico Carofiglio.  His translation of Edoardo Albinati’s Coming Back was awarded the John Florio Prize in 2004, and his translation of Pietro Grossi's Fists was awarded the Premio Campiello Great Britain in 2010.
For further information, please contact Ilaria Meliconi at Hersilia Press on 0775 1484357 or email info@hersilia-press.co.uk

A Private Venus by Giorgio Scerbanenco (translated by Howard Curtis)
Published by Hersilia Press, 2 August 2012
£7.99 (paperback) 978-0-9563796-4-1
£4.99 (eBook) 978-0-9563796-7-2