Hiding in Plain Sight

It is 1913 and ex-soldier turned professional big game hunter, Leon Courtney, is in British East Africa guiding rich and powerful men from America and Europe on safaris in the Masai tribe territories. One of his clients, German industrialist Count Otto von Meerbach, has a company which builds aircraft and vehicles for the Kaiser’s burgeoning army. But Leon had not bargained for falling passionately in love with Eva, the Count’s beautiful and enigmatic mistress.

Just prior to the outbreak of World War I, Leon is recruited by his uncle, Penrod Ballantyne, Commander of the British Forces in East Africa , to gather information from von Meerbach. He stumbles on a plot against the British involving the disenchanted survivors of the Boer War, but it is only when Eva and von Meerbach return to Africa that Leon finds out who and what is really behind the conspiracy.

When author Douglas Preston moved his family to Florence he never expected he would soon become obsessed and entwined in a horrific crime story whose true-life details rivaled the plots of his own bestselling thrillers. While researching his next book, Preston met Mario Spezi, an Italian journalist who told him about the Monster of Florence, Italy’s answer to Jack the Ripper, a terror who stalked lovers’ lanes in the Italian countryside. The killer would strike at the most intimate time, leaving mutilated corpses in his bloody wake over a period from 1968 to 1985. One of these crimes had taken place in an olive grove on the property of Preston’s new home. That was enough for him to join “Monsterologist” Spezi on a quest to name the killer, or killers, and bring closure to these unsolved crimes. Local theories and accusations flourished: the killer was a cuckolded husband; a local aristocrat; a physician or butcher, someone well-versed with knives; a satanic cult. Thomas Harris even dipped into “Monster” lore for some of Hannibal Lecter’s more Grand Guignol moments in Hannibal. Add to this a paranoid police force more concerned with saving face and naming a suspect (any suspect) than with assessing the often conflicting evidence on hand, and an unbelievable twist that finds both authors charged with obstructing justice, with Spezi jailed on suspicion of being the Monster himself. The Monster of Florence is split into two sections: the first half is Spezi’s story, with the latter bringing in Preston’s updated involvement on the case. Together these two parts create a dark and fascinating descent into a landscape of horror that deserves to be shelved between In Cold Blood and Midnight in the Garden of Good and Evil.