No matter what Saviano is saying or denouncing, he is, above all, telling a story. This is his natural genius. The Piranhas once again demonstrates this eloquently. * La Repubblica * A shocking and thrilling book * De Morgen * Dramatic, musical, poetic * El Mundo * The Piranhas is a tragic story, desperate and devastating [...] Saviano both shocks and mesmerises as this tragic tale unfolds. It's a heart breaking tale and a salutary lesson. * Nudge-book magazine * A frightening but thrilling novel, alternatively poetic and brutal. * The Herald * This is an Italy everyone should see . . . Readers will be rewarded. * Literary Review * The children of Gomorrah . . . in Mr Saviano's Naples, not even the playgrounds are safe. * The Economist * A kind of Instagram-era Godfather, pungent with trashtalking and squalid detail. * Metro * Very impressive . . . I admire Roberto [Saviano] a lot. -- Leila Slimani Thriller of the Month . . . Saviano's characterisation, dialogue and set-pieces are first-rate, but what sets the book apart (as with Gomorrah) is his quasi-anthropological portrayal of a micro-society, with a mix of influences that ranges from Call of Duty, porn and mafia movies to Catholic ritual. * Sunday Times * With the open-hearted rashness that belongs to every true writer, Saviano returns to tell the story of the fierce and grieving heart of Naples. -- Elena Ferrante'With the open-hearted rashness that belongs to every true writer, Saviano returns to tell the story of the fierce and grieving heart of Naples.' Elena Ferrante In Naples, a new kind of gang rules the streets: the `Paranze', the `Children's Gangs', groups of teenage boys who divide their time between Facebook or playing Call of Duty on their PlayStations and patrolling the streets armed with pistols and AK-47s, terrorizing local residents in order to mark out the territories of their Mafia bosses. Roberto Saviano's eye-opening novel The Piranhas tells the story of the rise of one such gang and its leader, Nicolas - known to his friends and enemies as the `Maharajah'. But Nicolas's ambitions reach far beyond doing other men's bidding: he wants to be the one giving orders, calling the shots, and ruling the city. But the violence he is accustomed to wielding and witnessing soon spirals out of his control . . .