Elia Barceló returns home to Santa Rita in Barcelona, where her first successful film was shot in Amores que matan. Barceló is a frequent presence at Black Week: in 2014 she won the Celsius Award for best science fiction, fantasy or horror novel for Hijos del clan rojo and was a finalist for Hammett for La noche de plata.
What awaits readers this time in Santa Rita?
This installment brings back many familiar characters while introducing new ones, as secrets from the past gradually surface and the police work to solve the crime of the present. In Santa Rita, a wall hides the reveal of valuable paintings, accompanied by the skeleton of a newborn. The guardians of these works are murdered soon after their arrival, and by mid-August the police face a substantial workload.
How does a Mediterranean film noir differ from a Norwegian film noir?
In almost every way. Beyond the crimes, there is light, joy, good food, lush vegetation, and characters who are portrayed as fallible yet human. The detectives are family-orientated, friends, and not consumed by obsession, addiction, or despair. They do their jobs with competence, like ordinary people who rise to the occasion.
Does the past always return to the crime scene?
The past never truly leaves the crime scene. It is etched into the ground, the walls, the trees, and the memories passed down by people who tell the stories to the next generations. We become who we are because of both our good and bad histories. The past remains a constant ingredient in every crime.
Is writing more relaxing than going to the spa?
Writing can be comforting, yet it can also keep one awake through the night, spiraling through plot twists or trying to extricate a character from a jam you created. The best experience mixes both: writing in a spa style, savoring the best of both worlds.
What about the whereabouts of Galindo and Robles in this volume?
Galindo is settled in Santa Rita for several months and begins to show promising development, while Robles continues to be a powerhouse with a central role in Amores que matan.
Art remains a central thread, right from the opening pages.
The author’s love of painting and visual arts blends with a passion for literature. The narrative places some twentieth-century painters—Werefkin, Jawlensky, and Kandinsky—into scenes where the artists appear alive, although not all are well known to the general public. The past comes alive in episodes set in 1930, when Werefkin emerges with vitality, and the story reveals how some paintings survived through those memories. The scene will unfold on a spring evening, with free entry at the event on April 12 at seven-thirty.
Fragrances, flavors, and colors—could this be a sensory novel?
Yes. Since its inception, the work has explored how people use all their senses to experience the world. There is no junk food or dreary surroundings here. The narrative celebrates the Mediterranean climate and its pleasures: fresh air, bright days, birdsong, and the sea. The meals are simple, wholesome, and flavorful. Beyond crime, the books become a tribute to nature and the beauty that exists around us.
Are there echoes of Agatha Christie in Death in Santa Rita, and will the approach stay true to that spirit?
Yes, there is a deliberate homage to Christie’s style, even as the author experiments with a touch of Colombo and a hint of Dexter, without crossing into gore. It remains a gift for crime readers, embracing diverse traditions and inviting new readers to explore them through books or screen adaptations.