Showing results by author "Donna Leon" in All Categories

Count Falier urges his Venetian son-in-law Guido Brunetti to investigate, and preferably intervene in, the seemingly innocent plan of the Count's best friend, the elderly Gonzalo Rodriguez de Tejada, to adopt a much younger man as his son. Under arcane Italian inheritance laws this man would then be heir to Gonzalo's entire fortune, a prospect Gonzalo's friends find appalling. Then Gonzalo unexpectedly, and literally, drops dead on the street, and his good friend Berta Dodson, just arrived in Venice for the memorial service, is strangled in her hotel room.

Around one a.m. on an early spring morning, two teenage gangs are arrested after clashing violently in one of Venice’s squares. Commissario Claudia Griffoni, on duty that night, perhaps ill-advisedly walks the last of the boys home because his father, Dario Monforte, failed to pick him up at the Questura. Coincidentally, Guido Brunetti is asked by a wealthy friend of Vice-Questore Patta to vet Monforte for a job, triggering Brunetti’s memory that twenty years earlier Monforte had been publicly celebrated as the hero of a devastating bombing of the Italian military compound in Iraq.

In The Golden Egg, as the first leaves of autumn begin to fall, Vice Questore Patta asks Brunetti to look into a minor violation committed by the mayor’s future daughter-in-law. Brunetti has no interest in helping his boss amass political favors, but he has little choice but to comply. Then Brunetti’s wife, Paola, comes to him with a request of her own. The mentally handicapped man who worked at their dry cleaners has just died of a sleeping pill overdose, and Paola loathes the idea that he lived and died without anyone noticing him, or helping him.

Guido Brunetti faces a heinous crime committed outside his jurisdiction. He is drawn in innocently enough: two young American women have been badly injured in a boating accident, joyriding in the Laguna with two young Italians. However, Brunetti's curiosity is aroused by the behavior of the young men, who abandoned the victims after taking them to the hospital. If the injuries were the result of an accident, why did they want to avoid association with it?

Brunetti is forced to confront the price of loyalty, to his past and in his work, as a seemingly innocent request leads him into troubling waters. What role can or should loyalty play in the life of a police inspector? It’s a question Commissario Guido Brunetti must face and ultimately answer in Give Unto Others, Donna Leon’s splendid 31st installment of her acclaimed Venetian crime series.

When the body of man is found in a canal, damaged by the tides, carrying no wallet, and wearing only one shoe, Brunetti has little to work with. No local has filed a missing-person report, and no hotel guests have disappeared. Where was the crime scene? And how can Brunetti identify the man when he can’t show pictures of his face? The autopsy shows a way forward: It turns out the man was suffering from a rare, disfiguring disease.

Commissario Guido Brunetti's hopes for a refreshing family holiday in the mountains are once again dashed when a gruesome discovery is made in Marghera--a body so badly beaten the face is completely unrecognizable. Brunetti searches Venice for someone who can identify the corpse but is met with a wall of silence. He then receives a telephone call from a contact who promises some tantalizing information.

On a cold November evening, Guido Brunetti and Paola are up late when a call from his colleague Ispettore Vianello arrives, alerting the Commissario that a hand has been seen in one of Venice’s canals. The body is soon found, and Brunetti is assigned to investigate the murder of an undocumented Sri Lankan immigrant. Because no official record of the man’s presence in Venice exists, Brunetti is forced to use the city’s far richer sources of information: gossip and the memories of people who knew the victim.

When Commissario Brunetti is summoned in the middle of the night to the hospital bed of a pediatrician, he is confronted with more questions than answers. Three men, a young carabiniere captain and two privates from out of town, burst into the doctor's apartment while the family was sleeping, attacked him, and took away his 18-month-old boy. What could have motivated an assault by the forces of the state that was so violent it has left the doctor mute?

A good man who loves his family and his city, Commissario Guido Brunetti is relentless in his pursuit of truth and some measure of justice. In Earthly Remains, Brunetti's endurance is tested more than ever before. During an interrogation of an entitled, arrogant man suspected of giving drugs to a young girl who then died, Brunetti acts rashly, doing something he will quickly come to regret. In the fallout, he realizes that he needs a break, needs to get away from the stifling problems of his work.

One afternoon, Commissario Guido Brunetti gets a frantic call from the director of a prestigious Venetian library. Someone has stolen pages out of several rare books. After a round of questioning, the case seems clear: The culprit must be the man who requested the volumes, an American professor from a Kansas university. The only problem-- the man fled the library earlier that day, and after checking his credentials, the American professor doesn't exist.

Donna Leon’s wildly popular novels starring Venetian Commissario Guido Brunetti have often been praised for their insight into culture, politics, family life, and the history of Venice, one of the world’s most treasured cities and her home for over thirty years. My Venice and Other Essays collects over fifty of Leon’s funny, charming, and passionate essays on subjects that range from battles over garbage in the canals to troubles with rehabbing Venetian real estate.

Surprised, if not dismayed, to discover from his superior, Vice-Questore Patta, that leaks are emanating from the Questura, Commissario Guido Brunetti is surprised more consequentially by the appearance of a friend of his wife's, fearful that her son is using drugs and hopeful Brunetti can somehow intervene. When Tullio Gasparini, the woman's husband, is found unconscious and with a serious brain injury at the foot of a Venice bridge at midnight, Brunetti is drawn to pursue a possible connection to the boy's behavior. But the truth, as Brunetti has experienced so often, is rarely straightforward.

The internationally bestselling author of the Guido Brunetti mysteries tells her own adventurous life story as she enters her eighties In a series of vignettes full of affection, irony, and good humor, Donna Leon narrates a remarkable life she feels has rather more happened to her than been planned.

Caterina Pellegrini is a native Venetian, and like so many of them, she’s had to leave home to pursue her career elsewhere, mostly abroad. With a doctorate in baroque opera from Vienna, she lands in Birmingham, England, as a research fellow and assistant professor. Birmingham, however, is no Venice, so when she gets word of a position back home, Caterina jumps at the opportunity. The job is an unusual one.

Of all the trademarks of Venice - and there are many, from the gilded Basilica of San Marco to the melancholy Bridge of Sighs - none is more ubiquitous than the gondola. The internationally acclaimed "American with the Venetian heart," Donna Leon, tells its fascinating story ( The Washington Post). First used in medieval Venice as a deftly maneuverable getaway boat, the gondola evolved over the centuries into a floating pleasure palace, bedecked in silk, that facilitated the romantic escapades of the Venetian elite.

Donna Leon's Death at La Fenice, the first novel in her beloved Commissario Guido Brunetti series, introduced listeners to the glamorous and cutthroat world of opera and one of Italy's finest living sopranos, Flavia Petrelli - then a suspect in the poisoning of a renowned German conductor. Years after Brunetti cleared her name, Flavia has returned to Venice and La Fenice to sing the lead in Tosca.

Donna Leon’s memoir, Wandering through Life, gave her legions of fans a colorful tour through her life, from childhood in New Jersey to adventures in China and Iran, to her love of Venice and opera. Nowhere, however, did she discuss her writing life. In Backstage, Donna reveals her admiration for, and inspiration from, the great crime novelists Ruth Rendell and Ross MacDonald, examining their approach to storytelling as she dissects her favorite books of theirs. She expresses her love for Charles Dickens’s Great Expectations and her appreciation for Sir Walter Scott’s generosity of spirit.

Fifteen years ago a teenage girl fell into a canal late at night. Unable to swim, she went under and started to drown, surviving only thanks to a nearby man, an alcoholic, who heard her splashes and pulled her out, though not before she suffered irreparable brain damage that left her in a state of permanent childhood, unable to learn or mature. The drunk man claimed he saw her thrown into the canal by another man, but the following day he couldn't remember a thing.

Venetian Commissario Guido Brunetti’s hopes of escaping the sweltering heat of Venice in August for a refreshing family holiday in the mountains are dashed when a gruesome discovery is made in a field in Marghera—a body so badly beaten the face is completely unrecognizable. Brunetti searches Venice for someone who can identify the corpse, but he is met with a wall of silence. Then he receives a phone call promising tantalizing information, provided he meets with the caller under a bridge outside of town in the middle of the night.