A brutal murder in a quiet Tuscan village. A world‑famous maestro under a cloud of suspicion. A wounded war hero ordered to uncover the truth—before history writes the wrong man into infamy.
I'm pleased so welcome Filippo Iannarone to The Writing Desk:
Tell us about your latest book
The story told in this novel lay locked away for years in a drawer, alongside memories, images, and tales gradually accumulate over time. The idea had captivated me from the very first accounts I heard— everything from the descriptions of the protagonists' renown to the unfolding of their story.
The timeline of my novel deals with two different timeframes: the 1930s and the post-war years.
These were delicate periods in Italian history and extremely interesting: the 1930s for its portrayal of the absolute evil of dictatorial regimes, restriction of freedom, repression of principles, values, and ideas; and the postwar revival period for the bravery to start over again, to repair the evils suffered, to build a better world with courage and a commitment to liberty.
In post-war Rome, Colonel Luigi Mari—a wounded Resistance officer—is tasked by the President of the Republic with discreetly reopening a 1935 cold case: the brutal murder of Alberto Rinaldi, doctor, and friend of the legendary Arturo Toscanini, in a small village in Tuscany.
Further investigation delves into the mysteries of past criminal trials, explores unexplored hypotheses, and reveals how the regime's justice bent the truth, the law, and art itself.vThe character of Colonel Mari was inspired by the real life of Major General Michele Iannarone—my uncle, and my beloved storyteller throughout my childhood and later my youth. This applies equally to his wife, Iolanda: a woman of indomitable courage, endowed with grace and beauty no less than with the uncommon gifts of intuition and intellect.
Many minor figures appear throughout the story: Maurizio Gucci and Salvatore Ferragamo, General Mark Wayne Clark, Italia Garibaldi, Prince Boncompagni Ludovisi, the pianist Vladimir Horowitz husband of Wanda Giorgina Toscanini, Artur and Alina Rodzinski, Lucilla Whitman, Ossip Gabrilowitsch and his wife Clara Clemens—daughter of Mark Twain—Umberto Nobile, the tenor Isidoro Fagoaga, and many others.
What is your preferred writing routine?
As I´m a historical novelist, my work unfolds in two main phases.
The first is an in-depth historical investigation based on bibliography and archives, period press, radio broadcasts and films, and on-site visits.
The archival research regarding “The Toscanini Conspiracy” was complicated: the archives of the Criminal Court of Brescia—where the trial took place—had been severely damaged, and it was impossible to locate the case file. Fortunately, I discovered a copy of a booklet written by a court reporter at the Archiginnasio Library in Bologna; thus, I was able to complete my research.
For this novel I also had the fortunate opportunity to speak with an eyewitness to the murder of Dr. Rinaldi in 1935: Argentina Rinaldi—his niece and the daughter of the doctor's brother.
The second phase is the creation of the historical narrative, designed to delight and engage readers. I am incredibly careful to use the language of that historical period, as well as the linguistic nuances of the characters.
As a rule, I prefer to write during the second half of the day—ideally in the evening hours, and late into the night.
What advice do you have for new writers?
I prefer to limit my advice to authors of historical fiction.
History can be told by what I like to call “memory stories” which are fundamental within the context of the contemporary socio-cultural structure and provide answers to fundamental human questions. Our past makes us what we are today and without it we cannot build our future. In an age of algorithm ethics, I recommend to hold as a guide the immortal words of Cicero, “historia vero testis temporum, lux veritatis, vita memoriae, magistra vitae, nuntia vetustatis”, which we can understand to mean “history is the witness of time, the light of truth, the lifeblood of memory, the teacher of life, the messenger of antiquity.” This universal principle is valid in any culture, expressed in any language, immortal to all humanity and the values of humanism.
That´s why an author must never sacrifice historical truth to narrative imagination—nor the daily practice of writing.
What have you found to be the best way to raise awareness of your books?
Do not miss any opportunity to communicate personally—just like right now. I wish to seize every opportunity to communicate with readers—offering them my interpretations of historical events and that real people—is also one of the great opportunities of our time, thanks to social media and the internet.
Tell us something unexpected you discovered during your research.
How profound, intense, and important was the cultural exchange between the Anglo-Saxon and Italian worlds, despite the oppression of the Fascist regime. The relationships between artists and journalists in Europe and the Americas were fantastic, as was the expansion of artistic culture in music and theater thanks to the widespread use of radio.
What was the hardest scene you remember writing?
The action scenes during the Nazi-Fascist occupation of Rome—too many sad memories for my family: one of the Nazis' final acts of reprisal in Rome was to blow up a tank in front of the main entrance of the building where my grandfather—a high-ranking officer and anti-fascist—lived. Fortunately, there were no fatalities, only minor injuries among his family members.
What are you planning to write next?
After several years of research, I´m ready to publish soon another true story: the untold truths about Liberation Day in April 1945 and Mussolini's mysterious escape.
Filippo Iannarone
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