“Veltroni has won his bet: we grow very fond of Buonvino and his team […] To make the reading even more enjoyable there’s the added value given by the “romanity” of the setting.” Giancarlo De Cataldo, la Repubblica
“The author builds the story piece by piece until the intrigue is unraveled almost at the very last page.” Andrea Purgatori, Corriere della Sera
“The great bloodhound Giovanni Buonvino is back, in a thriller full of rhythm and happy irony.” Mirella Serri, La Stampa
“Lightness and fear, smiles and blood.” Mario Ajello, Il Messaggero
“A theater of human comedy articulated in stories that give density and depth to the story.” Generoso Picone, Il Mattino
A new investigation for Commissioner Buonvino, the third chapter of the series that has captivated over 100,000 readers.
Set in one of the most beautiful and unique places in the world, this crime series takes place in Villa Borghese, the amazing park in the center of Rome famous worldwide for its many attractions: the lush and enchanting vegetation, the charming restaurants, the wonderful statues, the museums and the art galleries. And then the thousands of plants, the waterways and the many animal species. It’s a whole universe, fascinating and mysterious, where the unlikely police station guided by Giovanni Buonvino turns out to be more necessary than expected.
After the happy resolution of the case of the missing child, Commissioner Buonvino enjoys the newfound quiet of the Villa Borghese park and the joys of love. But it’s a short-lived respite. The discovery of a corpse in the reptile house of the Bioparco, the capital’s zoological garden housed inside the Villa, represents a nasty problem for Buonvino, who happens to be herpetophobic, feeling an atavistic terror for any kind of reptile. How did a naked man’s body end up inside the anaconda’s case? And how did his head end up in the belly of the anaconda? These are just some of the unanswered questions among which the commissioner and his fearless and disheveled agents try to solve what appears to be a real puzzle. As if we were in the most classic of Agatha Christie’s detective stories, Buonvino will have to use all his acumen and deductive skills to unravel the threads of an investigation in which clues are scarce and suspects abound, and finally unmask the culprit.
Walter Veltroni
Walter Veltroni has been editor-in-chief of l’Unità, deputy Prime Minister, mayor of Rome, secretary of the Democratic Party and he ran for president in 2008. He is the author of Noi (2009), Quando cade l’acrobata, entrano i clown (2010), L’inizio del buio (2011), L’isola e le rose (2012), E se noi domani (2013), Quando c’era Berlinguer (2014), which also became a movie he directed, Ciao (2015), Quando (2017), Il sogno spezzato (1993; 2018), La sfida interrotta (1994; 2019), Roma. Storie per ritrovare la mia città (2019), Assassinio a Villa Borghese (2019), Odiare l’odio (2020), Buonvino e il caso del bambino scomparso (2020), Labirinto italiano (2020), Tana libera tutti (2021), Il caso Moro e la Prima Repubblica (2021), C’è un cadavere al Bioparco (2021). His most recent book is La scelta (2022). He also directed I bambini sanno (2015), Gli occhi cambiano (2016), Indizi di felicità (2017), Tutto davanti a questi occhi (2018), C’è tempo (2019), Fabrizio De André e PFM. Il concerto ritrovato (2020).
- Buonvino tra amore e morte (Buonvino between Love and Death)
- C’è un cadavere al Bioparco (There is a corpse at the Bioparco)
- Buonvino e il caso del bambino scomparso (Buonvino and the Case of the Missing Child)
- Odiare l’odio (Hating Hatred)
- Assassinio a Villa Borghese (Murder at Villa Borghese)
“Veltroni has won his bet: we grow very fond of Buonvino and his team […] To make the reading even more enjoyable there’s the added value given by the “romanity” of the setting.” Giancarlo De Cataldo, la Repubblica
“The author builds the story piece by piece until the intrigue is unraveled almost at the very last page.” Andrea Purgatori, Corriere della Sera
“The great bloodhound Giovanni Buonvino is back, in a thriller full of rhythm and happy irony.” Mirella Serri, La Stampa
“Lightness and fear, smiles and blood.” Mario Ajello, Il Messaggero
“A theater of human comedy articulated in stories that give density and depth to the story.” Generoso Picone, Il Mattino