A woman has gone missing. Her husband, too ashamed to admit to the police that he and his wife were part of a ring of sexual adventurers that organized sadomasochistic orgies, turns instead to the Alligator. Marco, a.k.a the Alligator, enters a depraved demi-world where ferocious deviants prey upon lonely victims. But the savagery of this world is only the first surprise this investigation holds in store for the Alligator. Encountering such violence and desperation triggers memories of his own time in prison. And while the unwritten rule of ex-cons is that you must never talk about your experiences behind bars, the Alligator and his two long-time associates, Max Memory and Beniamino Rossini, are forced to confront demons they thought long buried. In The Master of Knots, “the reigning king of Mediterranean Noir” Massimo Carlotto gives his readers a work of hardboiled noir fiction that is darker than ever before as he digs into the shadowy corners of human experience. This stunning novel sets a new standard in the history of the Mediterranean Noir novel.
Massimo Carlotto was born in Padua, Italy. In addition to the many titles in his extremely popular Alligator series, he is also the author of The Fugitive, Death's Dark Abyss, Poisonville, Bandit Love, and the forthcoming At the End of a Dull Day. One of Italy's most popular authors and a major exponent of the Mediterranean Noir novel, Carlotto has been compared with many of the most important American hardboiled crime writers. His novels have been translated into many languages, enjoying enormous success outside of Italy, and several have been made into highly acclaimed films. Author's official Web site (in Italian with English pages) Carlotto on the Mediterranean Noir movement Carlotto on J-C- Izzo Mediterranean Noir "Packs plenty of plot into a slim volume, with space set aside for elaborate northeast Italian meals, musings on women, and plenty of Calvados drinking." - The Daily Beast on The Master of Knots "Carlotto's taut, broody Mediterranean noir is filled with blind corners and savage set pieces." - The New Yorker on At the End of a Dull Day "Beneath the conventions of Continental noir is a remarkable study of corruption and redemption in a world where revenge is best served ice-cold." Kirkus (starred review) on Death's Dark Abyss