This case puts Costas Haritos to a difficult test. Recently promoted to Athens’ head of police, for the first time he isn’t investigating alone. Instead, the homicide department’s new leader, Antigone Ferlekis, is responsible for the case of the dead archaeologist. A case with great explosive potential, because behind it lurks a group of American investors who want to bring a lot of money to Attica. And money is always a good motive for murder.

In these stories, Detective Haritos is not the only one battling crime. An old painter who lived through war and hunger has to fight off hostilities and invents a game of fear. And finally, we meet a Greek and a Turk, two competing restaurant owners at daggers drawn. Yet when they happen to sit down at the same table to eat, they discover a few delectable similarities.

Athens during the pandemic. The shops are shut and many people have been pushed to the brink, so it’s hardly surprising that even the elderly are taking their own lives. Yet when Costas Haritos hears that a ninety-year-old has written ›Long live the Suicide Movement!‹ in his note, his ears prick up. Is there more to his actions than just despair? Haritos investigates – and gets to know the city of Athens and its inhabitants’ spirit of resistance in a whole new light.

Left-wing politics are carried solemnly to the grave, in a funeral procession through the streets of Athens. What looks like a carnival parade is in fact the start of a new protest movement: the poor, uniting to make their voices heard. 
Is the murderer of the foreign investors among their ranks? Detective Haritos investigates and pricks up his ears when he hears the song of money all over the city.

The owner of a hotel chain is found dead in a spa resort near Athens. An anonymous letter claims responsibility and accuses him of hypocrisy. Signed: ›The Army of National Idiots‹.
It is the first murder in a grotesque series. The accusation is always the same, but the victims could hardly be more different. Costas Haritos – a brand new proud grand- father – tries to track down the obscure fanatics.

This insight into the making of the film Eternity and a Day (winner of the ›Palme d’Or‹ at the Cannes Film Festival, 1998) reveals a whole new side to the crime writer Petros Markaris.

Featuring photos from the film set.

»I have no idea how to write a screenplay.«
»Don’t worry,« Theo said, »I’ll show you.«
From then on, we were inseparable.

On the inspiring friendship between the writer Petros Markaris and director Theo Angelopoulos.

Petros Markaris is known for his fast-paced crime fiction, Theo Angelopoulos for his epic auteur films. Together, the two men wrote the screenplay for one of Europe’s most important films, Eternity and a Day. The dialogue between them shows the interplay of humour and the serious side in the creative process – and how literature and great cinema come about.

In his new Costas Haritos novel, Greece’s beloved bestselling author satirizes the education business, his unmistakable tone combining pithy wording and Mediterranean wit.

Haritos and holidays? These two rarely seem to happen. But now, Costas and Adriani do take a trip to Epirus. At their hotel, they meet the Three Graces, a trio of vivid elderly Greek ladies, who are ready and willing to go on any excursion and happy to read anyone’s future from their coffee grounds – a rosy future, when it comes to the Haritos family.
But back in Athens a brutal case is waiting for the detective inspector. A professor has been poisoned. The academic world is rotten to the core. Rosy prospects? Sadly not here.

Greece is experiencing an unexpected economic upswing – but where is all the money coming from?

Inspector Costas Haritos’ tenth case: when investment is just another name for money laundering.

A triumph for the Athens police: a civil servant’s murder is solved in no time at all. But Inspector Haritos has his doubts. Just like everything around him is too good to be true: people are enjoying life as if there had never been a crisis. Katarina, too, the Inspector’s daughter, wants to buy an apartment now that credit is easy to obtain.
But the fast money takes its toll: The murder of the civil servant was only the beginning.

Seven stories about travellers and seekers, about displaced and homeless persons in Greece, Turkey and Germany.
The stories are highly topical yet timeless.
Including two crime stories featuring Costas Haritos – proving once again that dark days can only be survived by means of humour and solidarity.

Petros Markaris brings back the myth of the Odyssey to our times. These stories are about people travelling in unfamiliar territory, like the ancient hero, constantly facing new tests, listening to the siren song of hope and at the mercy of brutal opponents. Many Greeks shared the same experiences when they left their country, fleeing the dictatorship of 1967 and poverty. But does that make them more welcoming to the strangers washing up on their shores today?

The German-Greek Andreas Makridis is found hanged in his Athens apartment. A short while later, a letter surfaces claiming that it was murder. Signed: The Greeks of the 1950s. What looks like a bad joke turns out to be deadly serious: further murders follow.
Who’s behind this ominous organisation? Crazy old individuals demanding a return to the values of days gone by? The new case leads Costas Haritos back and forth across a city, which is becoming more dangerous with every passing day. And the Commissioner discovers this on a personal level too: his daughter Katerina is attacked by a neo-Nazi of the Golden Dawn – in the city centre, in broad daylight.

Petros Markaris digs around in Greece's recent past – and unearths a lot of dirt. Are yesterday's heroes responsible for today's misery? Forty years after the uprising against the military dictatorship, someone wants to get what the vocal cries of the student movement promised all those years ago: bread, education, freedom. But the path is littered with corpses. Greece has returned to the drachma. Survival is the only priority: jobs are lost, wages unpaid – and a serial killer is targeting prominent leftwingers who shot up the career ladder after rising up against the military junta. Who is behind the killings? A right-wing extremist? Or someone seeking revenge for past transgressions? Inspector Haritos follows the killer's eloquent clues with his own special brand of stubbornness – despite the fact that he has had to make do without his own wages for the last three months.

Rich Greeks do not pay taxes. Poor Greeks are either outraged by that, or just despair about their own hopeless situation. But an unknown man does neither one nor the other: he takes action. With threatening letters, hemlock poison and arrows – in the name of the state. In crisis-shaken Athens, everything is upside down; the only place where things are calm is in the homicide division. There are no murders for miles around, just tedious paperwork. When a body is found on the ancient Kerameikos cemetery, Inspector Haritos is almost relieved. But not quite. He is under pressure: his boss has alerted him to the possibility of a promotion, so he has to avoid treading on anyone's toes. But Haritos is unable to avoid some uncomfortable questions. The dead man was a well-known surgeon who profited from mismanagement in the health care system. Everyone knew that. Even the anonymous tax collector, who has recently been blackmailing tax evaders – and, if necessary, resorting to ancient murder methods.

The novel on the financial crisis in Greece – from best-selling author Petros Markaris. Bitterly serious and fantastically funny. The crisis has brought Greece to a standstill. No-one is keeping to normal working hours, and there are debates and protests everywhere. Demonstrations jam the streets of central Athens more than the traffic ever did. Even the Haritos family need to tighten their belt. Costas and Adriani have just paid for their only daughter's wedding and bought a new car for the first time in thirty years – and now they have no idea how they are going to pay off the instalments. Then, when two bankers are gruesomely murdered in the space of a few days, the financial world goes on high alert. Especially as the media and police are not ruling out the possibility of a terrorist attack. The hate towards the financial world seems to grow and grow: Overnight, the city is plastered with stickers encouraging citizens to refuse to pay off their loans.

What does a superintendent from Athens do in Istanbul? That question is also on the mind of Costas Haritos. Holidays have never been his cup of tea, and this time as for family reasons, they are not even exactly voluntary. But his police work soon catches up with the superintendent, freeing him from guided tours through Hagia Sophia and similarly useless activities. As a liaison officer to the Turkish Criminal Investigation Department, Costas Haritos is put on the case of a Greek lady in her nineties who by all appearances has killed her brother and fled to Istanbul – the city where she spent most of her life. It seems that this Maria Chambou has a few old scores to settle. On theTurkish side, Superintendent Murat Saglam is in charge of the case – a young colleague who was brought up in Germany and with whom Haritos soon forms a bond of mutual distrust.

There is one question that is asked of every author: What is autobiographical in your novels? Petros Markaris answers this question – in his own way. He compares himself with a commissar, sees similarities and differences alike, and gets around to a discussion of his own past: a childhood in Istanbul, everyday life in Athens, collaboration with Theo Angelopoulos, his attachment to the German language and culture. A politically thinking person, such as Petros Markaris, does not limit himself to the autobiographical: When he writes about the Greek community in Istanbul, it is a worthwhile trip to the topic of minorities for him. When he talks about his Armenian roots, the subject is soon ›homeland‹. When he describes the creation of his characters Costas and Adriani, he takes up the themes of equality and political correctness. It is a playful game of association that the author carries on with himself before the reader's eyes. Autobiographically, historically and politically intermixed in a brilliant and loving way.