HALLIE EPHRON: When I first heard about James Ziskin's Ellie Stone novels, he had a new one out which was set in Hollywood in the 1960s, I knew I had to meet him. I grew up in Hollywood in the 60's and
I'd set my latest novel there, too. He was getting an amazing reception to the series--his books have won the Anthony and Macavity awards, and been finalists for Lefty, Edgar, and Barry Awards. Not too shabby! I just finished reading the latest, TURN TO STONE (launching June 21) and it's simply terrific.So I'm delighted to welcome him to Jungle Red, and have him weigh in on music, and the role it plays in the Ellie Stone novels.
JAMES ZISKIN: I write a series of traditional mysteries set in the early 1960s, featuring plucky young newspaper reporter Ellie Stone. Since the first book, music has played a supporting role in all the stories. Not necessarily front and center, but important just the same. Whether it’s a clue tied to some classical records maliciously shattered in STYX & STONE, or simply Ellie’s uncanny ability to name a piece of music at the drop of a needle, you’ll always find music in an Ellie Stone mystery. It’s no different in the seventh installment, TURN TO STONE, coming out January 21, 2020.
Ellie moves around quite a bit. That’s because she’s living and working in an upstate New York mill town and I wanted to avoid Cabot Cove syndrome. You know, that disorder characterized by too many murders in a small village? Ellie has solved crimes in her adopted upstate home of New Holland, New York City, the Adirondacks, Los Angeles, Saratoga Springs, and now—in TURN TO STONE—Florence, Italy. It’s September 1963. Ellie is in Florence to attend an academic symposium honoring her late father. Just as she arrives on the banks of the Arno, however, she learns that her host, Professor Alberto Bondinelli, has drown in the river under suspicious circumstances. Then a suspected rubella outbreak leaves Ellie and nine of the symposium participants quarantined in villa outside the city with little to do but tell stories to entertain themselves. Making the best of their confinement, the men and women spin tales and gorge themselves on fine Tuscan food and wine until the quarantine can be lifted. And as they do, long-buried secrets about Bondinelli rise to the surface, and Ellie must figure out if one or more of her companions is capable of murder.
That’s the setup. But what about the music? I’m just getting to that. Since Ellie is in Italy, there’s bound to be Italian music. Let’s take the pieces mentioned in the book in order.
1. Ellie writes in her preamble to the story that Neil Sedaka, Paul Anka, Andy Williams, and Petula Clark all had hits in Italy in 1963. And they sang those songs in Italian.
2. The first song that appears in the book is an anti-fascist anthem of sorts, “Bella ciao!” The song has its roots in the nineteenth century as a folk song, but was adopted and adapted during the Second World War by the partisans and the anti-fascist resistance that sprang up in 1943-44. It’s a catchy tune and an enduring song of protest and rebellion. Have a listen.
Here are the words to the first stanza and refrain:
Una mattina mi son alzato,3. “Volare.” Lucio Bevilacqua is the adorable Marxist, one of the ten academics trapped by the quarantine. And he’s the one who plays the guitar. Not many complete songs, mind you, as he never seems satisfied with the tuning of his strings. After he plays “Bella ciao,” which is not well received by those with different political persuasions, Lucio tries to lower the political tensions by playing “Volare.” Everyone groans at the overplayed hit, and Lucio abandons the song halfway through.
o bella ciao, bella ciao, bella ciao ciao ciao!
Una mattina mi son alzato
e ho trovato l'invasor.
O partigiano portami via,
o bella ciao, bella ciao, bella ciao ciao ciao
o partigiano portami via
che mi sento di morir.
One morning I awakened,
oh bella ciao, bella ciao, bella ciao, ciao, ciao!
One morning I awakened
And I found the invader.
Oh partisan carry me away,
oh bella ciao, bella ciao, bella ciao, ciao, ciao
oh partisan carry me away
Because I feel death approaching
4. Throughout the book, Lucio spends a lot of time flirting good-naturedly with Ellie. His courting usually takes the form of a theatrical serenade on bended knee. And the love ballades are always taken from Italian pop songs of the era.
“Eri un’abitudine, dolcissima abitudine, che vorrei reprendere per sognar” (This is the Italian version of “Can’t Get Used to Losing You.”)
“Mi sono inamorato di te” (I’ve fallen in love with you.)
“La ragazza del mio cuore sei” (The girl of my heart is you.)
“Non dimenticar che t’ho voluto tanto bene” (Don’t forget that I loved you so.) This is the Italian version of a song made famous by Nat King Cole.
5. When the quarantined residents tell their stories for entertainment, Lucio is there to accompany them on his guitar. For the tale about a Jew who considers—then rejects—converting to Christianity, Lucio spontaneously strums a tune that Ellie recognizes as part of the third movement of Mahler’s first symphony, the “Titan.” It’s a distinctly Jewish theme, a jaunty bit that makes you want to dance. For the first time, she’s impressed by his considerable talent and wit.
6. Professor Bondinelli’s fourteen-year-old daughter, Mariangela, arrives at the villa from her school in England, and Ellie takes her under her wing. The two discuss photography, the losses of their fathers, and music. Now, this is late September 1963, and Mariangela—like many girls her age in the UK—is crazy about the Beatles. Of course they Beatles were virtually unknown in the US until a couple of months later.
Mariangela and Ellie manage to scare up a portable record player at the villa, and the girl treats Ellie to her favorite three songs in the world: “Ask Me Why,” “Please Please Me,” and “She Loves You.” With the pure, unbridled enthusiasm of youth, Mariangela plays the songs over and over, and Ellie indulges her her passion, especially in light of the recent loss of her father.
Why do I include so much music in my books? I’ll answer that with the very same Shakespeare quote that Ellie butchers above. He said it better than I could ever hope to.
“The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music.”
(The Merchant of Venice, 5.1.91-7)
TURN TO STONE launches January 21, 2020. Available in bookstores, libraries, and popular online portals.
Amazon
Barnes & Noble
James W. Ziskin, Jim to his friends, is the author of the seven Ellie Stone mysteries. His books have been finalists for the Edgar, Anthony, Barry, Lefty, and Macavity awards. His fourth book, Heart of Stone, won the 2017 Anthony for Best Paperback Original and the 2017 Macavity (Sue Feder Memorial) award for Best Historical Mystery. He’s published short stories in various anthologies and in The Strand Magazine. Before he turned to writing, he worked in New York as a photo-news producer and writer, and then as director of NYU’s Casa Italiana. He spent fifteen years in the Hollywood postproduction industry, running large international operations in the subtitling and visual effects fields. His international experience includes two years working and studying in France, extensive time in Italy, and more than three years in India. He speaks Italian and French. Jim can be reached through his website www.jameswziskin.com or on Twitter @jameswziskin.
HALLIE: What Jim didn't talk about is ITALY! Turn To Stone is nearly as much fun as taking the trip to Florence yourself. But since he's talking about music, my mind wanders to the authors for whom music is a central part of their stories. And of course Deborah Crombie, for sure. And Ian Rankin. And of course Colin Dexter's opera-loving Inspector Morse.
And I want to hear about his years in Italy, because it's so clear that his view of it (not to mention his accent) belies an insider's perspective.
