Jun 182013
 

Marcia Clark’s third Rachel Knight novel KILLER AMBITION is now on sale in bookstores everywhere! Read on for an excerpt in the novel which the Hartford Books Examiner calls “the best entry yet in a young but exceptionally strong series”  and which caused Booklist to declare, in a starred review:”Legal thrillers don’t get much better than this.”

2

Bailey got off the 405 freeway and headed east on Sunset Boulevard. I was about to ask where we were going when she turned onto Bellagio Road—which led to the heart of Bel Air. If I were a billionaire director I’d live there too.

Bel Air is in the foothills of the Santa Monica Mountains, and it’s the highest of the three legs known as the Platinum Triangle—the other two being Beverly Hills and Holmby Hills. The most expensive homes in the world occupy real estate in that wedge of land, and most of those homes are in Bel Air. The biggest and most lavish are usually closest to Sunset Boulevard, but you’d never know that, because massive trees and dense shrubbery hide all but the gated entries, and even those gates are tough to find, hidden as some are by deliberately overgrown leafy climbers.

Which explains why Bailey was frowning and muttering to herself as she scanned the road for house numbers. But when we reached Bel Air Country Club, she made a U-turn and pulled over. “Do me a favor and look for this number. The navigation says we’re there, but I don’t see a damn thing.” She handed me a scrap of paper with an address and headed back down the road. One minute later I told her to stop and peered closely at a set of massive black iron gates that were almost completely obscured by towering elm and cypress trees. The tops of the gates met in an arc, and there in the apex, woven into the iron scrollwork, was the number.

“This is it.” If I hadn’t been parked in front of it and looking hard, I’d never have seen it.

I pointed out a discreet black metal box mounted on an arm in the brick wall and Bailey pushed the button. A voice that sounded like a British butler’s said, “Yes?” Bailey identified us, and he told us to hold out our badges. I couldn’t see any cameras, but I didn’t imagine he’d have asked us to do that just for giggles, so I held them outside the window, not sure where to aim them. After a couple of seconds the gates swung open, and Bailey steered up the brick-lined road.

Los Angeles has some of the most outrageously opulent manses in the country and Bailey and I had seen our share over the years, but nothing compared to this. The road opened to a bricked-in area that was the size of half a football field, in the middle of which was a massive Italian Renaissance–style fountain, complete with cherubs’ and lions’ heads that spewed water. Towering over the grounds was a palatial two-story Tudor-style house all in that same matching brick. It was tastefully covered in ivy that obediently climbed where it best accented the archways and latticed windows and formed a large L around the perimeter of the front area. Judging just by what I could see from the outside, that “house” was at least thirty-five thousand square feet if it was an inch.

Bailey parked and we both stepped out of the car and took in the view.

“Damn,” said Bailey under her breath.

“A quaint little ‘starter.’”

By the time we’d made it up to the arched brick entry, the door was open and a slender man in his fifties, with thinning hair combed neatly back and dressed in a cardigan and dark slacks, beckoned us in.

“Right this way, please.”

We were eventually ushered into a room that was sectioned off by furniture groupings of leather couches, ottomans, and cherry wood tables. Large wall-mounted flat screens hung on opposite walls. The room was big enough that both could be watched at the same time without anyone suffering noise interference. I supposed it was what the realtors called a “great” room. Cozy.

Several people had gathered and the room buzzed with tension, though no one was moving. It was an odd sensation, as though everyone was vibrating in place. A tall wire whip of a man approached me with a smooth, athletic stride. Something about him looked familiar. I studied the brows that arched expressively over green eyes, the full lips, the faint spray of freckles across the bridge of his nose, and the dampish, freshly showered–looking dark red hair that curled down the sides of his neck. When recognition hit, shock made the name spring from my mouth. “Mattie!”

A brief look of annoyance was quickly replaced by a self-deprecating smile; it got me at first, but there was a too-polished feeling about the expression that said he’d probably been working it from his earliest child-star days. “Right.” He held out his hand, “Though I actually go by Ian Powers.”

I shook his hand and collected myself. “Sorry,” I said. “I just wasn’t expecting—”

Ian Powers held up a hand. “Hey, don’t apologize. At my age, I’m only glad that people can still recognize me.”

It was somewhat remarkable. Though he definitely didn’t look it, Ian Powers had to be in his forties. I knew it’d been at least thirty years since he’d starred as the eight-year-old boy in the sitcom Just the Two of Us, about Mattie, a charming, wise-beyond-his-years boy and his single father. I remembered watching the show when I was a kid, though by then, the show had long since been in reruns. It was weird to see the vestiges of that sweet little-boy face in this fully grown, casually elegant man.

“I take it you two are the detectives?”

“Actually no. I’m Rachel Knight, deputy district attorney.”

“Detective Keller.” Bailey put out her hand. “And your connection…?”

“I’m Russell’s manager.”

Ian led us to the left side of the room, where a short man, no more than an inch taller than myself, dressed in a baseball cap, faded jeans, and a forest green Henley, sat on the arm of a plush burgundy couch. “Russell, this is Detective Bailey Keller and, ah—”

“Deputy District Attorney Rachel Knight,” I filled in. Clearly, I was already making quite the impression.

Russell stood and rocked on his toes—I’d bet so he could look down on me. But he’d have needed a step stool to look down on Bailey, all five feet nine inches of her. He took her in with a sidelong glance that avoided his having to look up at her, and didn’t offer his hand to either one of us. He took a deep breath, expelled it through his nose, then started to dive in. “Got the first message about—”

Bailey held up a hand and looked around the room. “Mr. Antonovich, before you get into it, can you tell me who all these people are and why they need to be here?”

With a pained expression he said, “Russell, okay? Call me Russell.” His tone was peremptory, almost impatient, and his voice was high enough that if I hadn’t been looking at him I’d have thought he was a woman. “They all pretty much live here.” He pointed to a willowy blonde who looked to be in her mid-twenties and easily twenty years his junior. “My wife, Dani. That’s her assistant, Angela,” he said, nodding at a trim young girl with a mop of curly brown hair who was pouring bottled water into a glass for the missus. He pointed to a sturdy-looking girl in overalls and a matching baseball cap. “My assistant, Uma.” I noticed she was the only one in the room who was shorter than Russell. I was sure that was no accident. An older woman came in carrying a tray full of plates bearing finger food. Russell followed my gaze. “That’s Vera, the cook.” No last name—unless you counted “the cook.” In fact, none of these people had a last name. Not as far as Russell was concerned anyway.

“And that…?” I asked, pointing to a young man wearing jeans that sagged below sea level sitting on an ottoman at the other end of the room.

“Jeff, my runner. Assistant too, sometimes.”

And then there was the butler who’d answered the door, and all the others it would take to keep this place going. If we kept taking attendance, we wouldn’t get to the case until sometime next week. Bailey had apparently reached the same conclusion.

“I’ll need a list of everyone who’s been in the house today and who’s in the house now,” Bailey said.

“Right, got it, got it.”

“When did you first realize your daughter had been kidnapped?” Bailey asked.

Russell pulled off his baseball cap, which now showed me it was his substitute for hair. The hem of tight straw-colored curls just above his ears was all that remained. He rubbed his head and then his face. With the cap off, I could see the worry and fear etched in his face. Suddenly the celebrity director was just the frantic, distraught father of a child in danger. And in that moment, the picture of my father’s face filled my memory: the panic and confusion in his eyes, turning to frozen shock when, sobbing and hysterical, I told him of the stranger who’d taken Romy while we were playing in the woods near the house. I brought myself back to the present with a stiff jerk. That was Romy and my father. Not Hayley or Russell. This daughter still had a chance of a safe return.

“I got an e-mail with the photograph of Hayley. It came from Hayley’s phone. She was at my place in the hills—”

“Hollywood Hills?”

Russell nodded. “Sent it to my private cell phone. Only my family has it. Said that photo was proof of life and that the demand would come later. Warned me not to call the cops.”

“You still have that message and the photo?”

“Yeah, of course. Got ’em right here.” He pulled his cell phone out of his hip pocket and handed it to Bailey.

Bailey and I read the message on his phone: I’ve got your daughter. She’ll be safe if you do as I tell you. If you call the police she’ll be killed. I’ll be in touch with my demand.

“Couple hours later, I get an e-mail telling me to bring a million in cash to a place in Fryman Canyon.”

“Could you tell where the e-mail came from?”

“The e-mail address was Hayley’s, but—”

But all the kidnapper had to do was get her password to send from her e-mail address.

“Was there a photo of Hayley in the e-mail?” I asked.

“Yeah. A video of Hayley was attached, telling me just to do what he says.” Russell took off his baseball cap and rubbed his head and then his face. His next words tumbled over each other, half regretful, half defensive. “So I did. I know I should’ve called you guys, but I was afraid to take the chance. Thought if I did what they asked, Hayley’d be back and…”

“And I understand you’ve already delivered the ransom?” Bailey asked.

Russell tried to take a deep breath, but it caught in his throat. He dipped his head. “Yeah.” He could barely choke out the word.

“How did you get your hands on a million dollars that fast?” I asked.

At that, Russell looked up, his expression confused. “See that’s the other thing. Only the family knows I keep that much cash around for emergencies. Hayley had to have told them—”

“And she was supposed to be released within an hour after that?” I asked.

Russell nodded.

“Where exactly?” I asked.

“At the mouth of Fryman Canyon, on the valley side. Told me to go back home and wait for the call.” Russell’s face bunched up and he blew out an exasperated huff. “Look, I already told all this to the captain, so why are you sitting here?”

“We have officers searching Fryman Canyon,” Bailey said. “Unless and until we find someone who can give us more to go on, everything that can be done is being done.”

Bailey turned back to Russell’s cell phone and pulled up the proof-of-life photo. A petite blonde girl with a feminine version of her father’s mouth, dressed in a pink-striped jersey blouse that exposed one fetchingly bare shoulder, stared back at us. Her expression was fixed, serious. I looked across the room at Russell’s wife, Dani. I saw no resemblance. Hayley seemed to be leaning against an iron fence, through which I vaguely made out a hillside thick with greenery.

“Let’s see the ransom demand,” Bailey said.

Russell held out his hand for the cell phone, then scrolled and handed it back to Bailey.

The ransom demand was short and clear:

One million dollars in cash in a duffel bag. Go to Fryman Canyon. Take the small path on the left for fifty yards, then turn right. Walk until you see two trees with white string tied around the trunks. Leave the bag between them. Go home and wait for the call. If you bring in the police, Hayley’s dead.

We watched the video. It was even shorter but no less clear. “Dad, just do what they say and everything will be okay. Please.” It was only a few seconds, and maybe it hit me as hard as it did because I hadn’t expected it, but it was enough to reveal a soulfulness, a pureness of heart in the young girl.

“When was the last time you saw Hayley?” I asked.

“Thursday. Or…was it Friday? Friday, I think. They didn’t have any classes on Friday, so she and Mackenzie wanted to hang out there.” He pointed to the photo of his house in the hills. “I dropped in to check on them, make sure they had food, whatnot.”

“How old is Hayley?” I asked.

“Sixteen.”

That seemed awfully young to be floating around a party house in the Hollywood Hills with a buddy and no supervision.

Russell read my expression. “Her mom doesn’t live far from there.”

Of course. Russell and the mother were divorced. That explained the lack of resemblance to Dani, who I assumed was Wife 3.0.

“So you let Hayley stay there on your custody nights?” I asked.

“We don’t really have custody nights per se, anymore. Hayley pretty much stays where she wants.”

Unfortunately, not tonight.

Marcia Clark is a former Los Angeles deputy district attorney who was the lead prosecutor on the O.J. Simpson murder case. She cowrote the bestselling nonfiction book about the trial, Without a Doubt. Killer Ambition is Clark’s third novel featuring Los Angeles DA Rachel Knight. She’s currently at work on her fourth.

Jun 142013
 

The Shining Girls by Lauren BeukesLauren Beukes is the author of The Shining Girls, a novel about a time-traveling serial killer…who’s being stalked by his sole survivor. The genre-bending thriller has earned raves from Entertainment Weekly, who calls it “a heart-thumping tale,” and The New York Times, who deems it a “strong contender for the role of this summer’s universal beach read.” Below is Beukes’s Top 10 list of movies about serial killers. How many have you seen?

1. The Silence of the Lambs

2. Se7en

3. Zodiac

4. The Pledge

5. Badlands

6. The Brave One

7. WΔZ

8. Natural Born Killers

9. Memories of Murder

10. Fallen

Jun 072013
 

The Shining Girls is a mash-up of a thing: part serial killer thriller, part old-fashioned romantic buddy caper, part time-travel twister. The TV shows and movies that had a major influence on me generally, which I think played into the writing of this book, are:

Memento for its twisty out-of-order storytelling

Memento

True Grit for a young bolshy heroine set on justice

Zodiac, which perfectly captures newspaper journalism, obsessions, and the years-long frustration of hunting a serial killer

Zodiac

The Secret In Their Eyes is a devastating movie about an Argentinian ex-Justice agent writing about a cold case that that leads him to dark places

Se7en as one of the best classic serial killer thrillers

Se7en
Silence of the Lambs for Jodie Foster’s determination in spite of the odds, including facing down sexism in her department

Silence of the Lambs

Angel Heart for its dark noir, fiendish premise and unreliable narrator


Romancing the Stone as an off-kilter high adventure mismatched rom-com

Romancing the Stone

Broadcast News for the buddy love story, hard news and some incredible writing

Broadcast News

Season 5 of The Wire for its insight into journalism and police work

The Wire

Timecrimes (Spanish-language) about an accidental time-traveller who keeps making things worse as he tries to fix things

Boardwalk Empire for its pitch-perfect rendition of 1920s and 30s America

Boardwalk Empire

Carnivale for its depiction of the 1930s Depression and carneys

Carnivale

The Untouchables for 30s gangsterism and policing and some fine detail and, hey, Capone!

The Untouchables

Road To Perdition for incredible period detail and gorgeous storytelling

North By Northwest had lovely 50s Chicago detail

North by Northwest illustration

The Fugitive was great for showing off 90s Chicago

The Fugitive

Now that you’re familiar with Lauren Beukes’s influences, it’s time to go read The Shining Girls! Pick up a copy this weekend at your preferred retailer.

May 162013
 

Angel Baby by Richard Lange
A number of characters die in my new novel, Angel Baby. Ooops! Was that a spoiler? Well, it’ll be the last one, I promise.

Anyway, from the beginning I knew that I wanted one particular death in the book to stand out, to resonate, to hurt. For inspiration, I returned to a few literary “last moments” that had moved me over the years.

Savage Night by Jim ThompsonSavage Night by Jim Thompson
Probably my favorite Thompson novel. The final chapters are particularly hair-raising and, at the same time, heart-rending.

The darkness and myself. Everything else was gone. And the little that was left of me was going, faster and faster.

I began to crawl. I crawled and rolled and inched my way along; and I missed it the first time – the place I was looking for.

I circled the room twice before I found it, and there was hardly any of me then but it was enough. I crawled up over the pile of bottles, and went crashing down the other side.

And she was there, of course.

Death was there.

Warlock by Oakley HallWarlock by Oakley Hall
A “literary Western,” if you’re one of those who must label. I think it’s just a great damn book, period, and Tom Morgan’s last gasp is one of the reasons why.

He fell forward into the dust. It received him gently. One arm felt a little cramped, and he managed to move it out from under his body. In his eyes there was only dust, which was soft, and strangely wet beneath him. ‘Tom!’ He heard it dimly. ‘Tom!’ He felt a hand upon his back. It caught his shoulder and tried to turn him, Kate’s hand, and he heard Kate sobbing through the swell of a vast singing in his ears. He tried to speak to her, but he choked on blood. The dust pulled him away, and he sank through it gratefully; still he could laugh, but now he could weep as well.

The last words of Dutch Schultz
The Murder Inc. hit man who gunned down the infamous mobster used rusty bullets in the hope of giving him a fatal infection if he somehow survived the shooting. Following unsuccessful surgery to save his life, Schultz ranted and raved for 22 hours while a police stenographer took down every word. This fascinating and strangely moving final ramble was the basis for an unproduced screenplay by William Burroughs. The final portion of the transcript is below, and here’s a short animated film based on Dutch’s deathbed soliloquy:

Detective: Control yourself.
Schultz: But I am dying.
Detective: No, you are not.
Schultz: Come on, mama. All right, dear, you have to get it.
At this point, Schultz’s wife, Frances, was brought to his bedside. She spoke.
Mrs. Schultz: This is Frances.
Schultz: Then pull me out. I am half crazy. They won’t let me get up. They dyed my shoes. Open those shoes. Give me something. I am so sick. Give me some water, the only thing that I want. Open this up and break it so I can touch you. Danny, please get me in the car.
At this point Mrs. Schultz left the room.
Sergeant Conlon: Who shot you?
Schultz: I don’t know. I didn’t even get a look. I don’t know who can have done it. Anybody. Kindly take my shoes off. (He was told that they were off.) No. There is a handcuff on them. The Baron says these things. I know what I am doing here with my collection of papers. It isn’t worth a nickel to two guys like you or me but to a collector it is worth a fortune. It is priceless. I am going to turn it over to… Turn your back to me, please, Henry. I am so sick now. The police are getting many complaints. Look out. I want that G-note. Look out for Jimmy Valentine, for he is an old pal of mine. Come on, come on, Jim. Ok, ok, I am all through. Can’t do another thing. Look out, mama, look out for her. You can’t beat him. Police, mama, Helen, mother, please take me out. I will settle the indictment. Come on, open the soap duckets. The chimney sweeps. Talk to the sword. Shut up. You got a big mouth! Please help me up, Henry. Max, come over here. French-Canadian bean soup. I want to pay. Let them leave me alone.

Samuel BeckettAnything by Samuel Beckett
The sound of Tom Waits’ voice singing a ballad immediately brings tears to my eyes, and Beckett’s writing affects me in the same way. There is something so profoundly sad, hopeless, and hatefully true in the Irish writer’s meditations on loneliness, regret, and death. I believe in a universal melancholy, and Beckett has come closest to getting it down on paper. Here’s the last bit of a play called “That Time.”

A: back down to the wharf with the nightbag and the old green greatcoat your father left you trailing the ground and the white hair pouring out down from under the hat till that time came on down neither right nor left not a curse for the old scenes the old names not a thought in your head only get back on board and away to hell out of it and never come back or was that another time all that another time was there ever any other time but that time away to hell out of it all and never come back
C: not a sound only the old breath and the leaves turning and then suddenly this dust whole place suddenly full of dust when you opened your eyes from floor to ceiling nothing only dust and not a sound only what was it it said come and gone was that it something like that come and gone come and gone no one come and gone in no time gone in no time

Richard Lange is the author of the story collection Dead Boys, which received an award from the American Academy of Arts and Letters, and the novel This Wicked World. He is the recipient of a Guggenheim Fellowship, and his fiction has appeared in Best American Mystery Stories 2004 and 2011. He lives in Los Angeles. Read more about his new novel, Angel Baby.

May 152013
 

In my new novel, Angel Baby, Luz, the beautiful, young wife of a Mexican drug lord, makes a mad dash for freedom that takes her from Tijuana, Mexico to Compton, CA. The story unfolds in actual locations, and I’ve called out some of the more interesting sites on the map below. Body armor recommended if you’re visiting some of them.

(Tip: Zoom out on the map to view the pins. Click on the pins for Lange’s descriptions.)


View Richard Lange’s Angel Baby in a larger map

May 142013
 

Happy publication day to Richard Lange’s ANGEL BABY! In Guggenheim Fellowship recipient Lange’s explosive new thriller, a woman on the run, a brutal crime lord, and three desperate men collide. Praised in Mystery Scene as  “a truly great read [with] the momentum of rolling thunder,” raved in Kirkus as “sharply calibrated and affecting,” and hailed by Ron Rash as “suspenseful and surprisingly moving,” Lange’s newest is a major step forward for the already much-lauded author. But don’t take our word for it–take a sneak peek at the opening pages of ANGEL BABY below…

1

Luz didn’t think things through the first time she tried to get away. It was a spur-of-the-moment decision. One night Rolando beat her so badly that she peed blood, and the next morning, as soon as he and his bodyguards left the house, she limped downstairs and out the front door, across the yard, and through the gate in the high concrete fence that surrounded the property.

Barefoot and wearing only panties and a black silk robe, she stumbled down the street, trying to hail a taxi. The drivers slowed and stared, but none would stop. Tears of frustration blurred her vision. She tripped and fell but got quickly back to her feet. Scraped knees and skinned palms wouldn’t keep her from Isabel’s third birthday party. She was determined to be there, no matter what. She’d appear at the front door with a giant pink cake and an armful of gifts and, oh, wouldn’t Isabel be surprised to see her?

Maria, the housekeeper, stuck her head out of the gate and shouted for her to stop. Luz tried to run, but the pills that got her through the day back then made her feel like she was slogging through mud. Maria caught up to her before she reached the corner and grabbed her by the hair. Luz fought back, kicking and clawing, but then El Toro, the house guard, was there too.

“Help me,” Luz called to a man on a bicycle. “Please,” to a woman pushing a stroller, but they, like the taxi drivers, ignored her. This was Tijuana, see, and if you valued your life and the lives of your family, you minded your own business. El Toro and Maria dragged her back to the house. They locked her in her room and laughed at her vows to get even.

Rolando killed her dog when they told him that she’d run away. He stormed into the bedroom and yanked Pepito from her arms, placed the heel of his boot on the toy poodle’s head, and crushed its skull. Then he forced Luz to the floor, twisted her arms up behind her back, and raped her there on the white shag carpet.

“Why do you make me do these things?” he screamed at her when he finished. “Why do you make me hate myself?”

It will be different this time. In the year since she last made a run for it, Luz has been putting together a plan, and now, finally, she’s ready. Isabel turns four next Tuesday, and Mommy will be there to watch her blow out the candles on her birthday cake, or Mommy will die trying.

*

She pretends to be asleep when Rolando comes out of the bathroom. He squeezes her foot through the sheet.

“Hey, Sleepy, time for breakfast.”

“Mmmmm,” Luz says. “Give me a minute.”

He’s dressed for business in a dark suit, white shirt, and shiny black cowboy boots. Luz has consulted the calendar on his desk and committed today’s schedule to memory: An 11 a.m. meeting at Las Rocas Resort with Mr. Volkers from San Diego to talk about opening another KFC franchise. Lunch at the same place with Alvarez, his attorney, then on to Ensenada to see Flaco. Though it says on the calendar that they’ll be discussing horses, the real topic will be a shipment of heroin from Apatzingán. Luz has been listening closely to her husband over the last year and has learned all of his nicknames and code words. So Flaco and the dope, and afterward dinner with the whore he keeps down there. This means he won’t be home until at least nine.

When he goes downstairs, Luz crawls out of bed and walks into the bathroom to wash her face. The room still reeks of his shit. She brushes her long black hair until it shines, lifting it off the back of her neck to glance at the words tattooed there, Angel Baby. She convinced Rolando to let her get the tattoo by telling him it was her pet name for him. In reality, it’s the title of a song she used to sing to Isabel during the year they had together. She’s been careful never to let Rolando find out about the little girl because she knows he’d use anything she loved as a weapon against her or a chain to bind her more tightly to him.

Wrapping herself in a white robe, she leaves the bedroom. Her footsteps echo in the two-story foyer as she walks down the marble staircase. On the street Rolando is known as El Príncipe, the Prince, and this is his palace. A four-thousand-square-foot house with five bedrooms, six bathrooms, faux granite and gold leaf everywhere, leather and stainless steel. Everything is expensive but nothing goes with anything else. Rolando decorated by pointing at pictures in magazines. A fake Picasso hangs above a scorpion made of rusted iron. A $10,000 couch from Milan sits between two La-Z-Boy recliners with massage motors and heated cushions. And the house itself is so poorly constructed, new cracks appear in the walls every day. It’s a stucco-and-laminate fantasy that won’t last much longer than Rolando does.

He stands and pulls out a chair for her when she enters the dining room. Such a gentleman this morning. It’s because she let him fuck her last night and even went to the trouble of thrashing and moaning as if she were enjoying it. She wants him to think  everything is perfect between the two of them when he leaves today. She fumbles with her napkin, yawns, and looks somewhat confused about exactly where she is, playing the stoned princess to the hilt. It’s an act she’s perfected in the six months since she managed to wean herself off the pills, the Xanax and Valium, Vicodin and Oxycontin, that used to keep her from adding up her sins and hanging herself in the shower.

She threw away the dope because she needed a clear head to plan her escape and because she didn’t want to be strung out when she finally got free, but she’s kept Rolando thinking that she’s using. He’d become suspicious if he discovered she’d stopped, and besides, he likes her high. It makes him feel superior.

He returns to his chair across the table from her, and she smiles and asks in a sleepy baby voice when he’s going to take her shopping for the shoes she showed him on TV the other night.

“Shoes?” he says. “You think I have time to think about shoes?”

She plays the game, scrunching her face into a pout and whining, “But you said, Papi. You said I could have them.”

“I did?”

“You know you did. But when?”

“How about when we fly to Acapulco this weekend?”

“Acapulco!” Luz exclaims and claps her hands.

It wasn’t easy quitting the drugs. In fact, to this day there are moments like this when her mind and body beg for the distance they provided. When this happens, she conjures the face of her daughter and prays to it as fervently as a primitive supplicating the only star in a pitch-black sky.

Maria bustles in from the kitchen carrying a platter of pan dulce and a bowl of fruit salad.

“Good morning, señora,” she says to Luz, sweet as can be. They’ve made peace since Luz tried to walk away, or at least Maria thinks they have. Luz has done her best to convince the housekeeper that she barely remembers that day, but she still can’t tell if she’s bought it. The woman is hard to read.

Maria lifts the carafe from the table and fills Luz’s cup with coffee. The sleeve of her blouse slides up to reveal a scar on her arm. It’s from an injury she got in prison, where she did time for fencing stolen goods. She was the mother of one of Rolando’s boyhood friends, a kid named Gato who was killed early in Rolando’s rise. Gato made Rolando swear he’d take care of his mother if anything happened to him, and Rolando kept the promise by hiring the woman to oversee his household.

“Do you need anything else, señora?” Maria asks Luz.

“No, gracias,” Luz replies.

“Señor?”

“No, Maria. Gracias,” Rolando says.

The woman returns to the kitchen, and Rolando spoons fruit salad onto a plate and hands the plate to Luz. One of the parrots he keeps caged in the living room squawks, “My name is Gladiator! My name is Gladiator!”

“Where are you going, all dressed up?” Luz says.

“To fight a bull, what do you think,” Rolando says, then bites into a pastry.

Luz pokes at her fruit. Her stomach is tight with anticipation and worry, but she manages to swallow a piece of pineapple, makes sure Rolando sees her eating.

“And you?” he says with food in his mouth, the fucking pig. “Let me guess: a massage? A manicure?”

“Both,” Luz says with a laugh. “Why not?”

“It’s a good life, no?”

“A good life,” Luz says, the words burning her tongue. She reaches across the table and takes one of Rolando’s hands in both of hers.

Rolando lifts a red rose from the vase on the table and slips it into her hair above her ear. He smiles and starts to say something tender, but then his phone rings, and his eyes go ice-cold. The human thing is all an act. He can turn it on and off like that. What he is inside is a monster, a shark, something soulless and ravenous. He stands and walks out of the room, barks “Qué?” into the phone.

El Toro, the guard who helped drag Luz back last year, lumbers in and grabs a sugary concha off the plate of pastries. Luz can feel the man’s contempt for her, the boss’s dope-fiend whore of a wife, has always felt it.

“Tell El Príncipe the car is ready,” he says before walking back to the kitchen.

Luz passes the message on to Rolando when he finishes the call. He kisses her on the forehead and leaves without another word. She watches from the window as he climbs into the Escalade with Ozzy and Esteban. El Toro opens the heavy iron gate and gives a quick wave as the truck drives out.

And, so, it’s time.

*

Her first stop is the bedroom, where she turns on the television and crawls between the sheets again like she does every morning. Today, though, her fists are clenched and sweaty, her legs tensed to run.

At 10:15 there’s a knock at the door.

“Yes,” she croaks, making her voice froggy.

Maria pokes her head in. “Any laundry, señora?”

Luz motions to the bathroom without looking away from the TV and ignores Maria as she walks in and empties the hamper into a plastic bag and walks out again. She begins counting to thirty after the housekeeper closes the door but only gets to ten before she can’t stand it anymore and pops out of bed.

She has fifteen minutes to make her escape. She knows Maria’s and El Toro’s schedules as well as she knows Rolando’s: Maria will be in the laundry room at the back of the house, and El Toro sneaks off to the garage every day from 10 to 10:30 to watch a soap opera on a little TV he keeps out there.

She dresses quickly in jeans, a T-shirt, and tennis shoes. No makeup, no jewelry. A fleece jacket and a pink baseball cap, nothing more, go into a zebra-striped backpack, something a child would carry to school. She’s traveling fast and light. Anything else she needs she can pick up when she reaches the U.S. Heart pounding, she opens the door and checks the hall, then quietly descends the stairs. A radio plays in the room where Maria is sorting clothes, the DJ telling a dirty joke.

When she reaches the ground floor, she hurries to Rolando’s office and slips inside. On the walls are shelves of books the man has never read, the heads of animals somebody else shot, and paintings of sailing ships and knights in armor bought in bulk by a decorator. The only personal addition is a large framed photograph of a dark-haired woman lying nude on a bed, legs spread wide. Rolando likes to tell people that it reminds him of Luz.

As soon as the door closes behind her, Luz relaxes a bit. She’s been in here on numerous dry runs during the past few months, and now it’s only a matter of following her plan. She goes to the big wooden desk and picks up the letter opener, a German World War II dagger with a swastika engraved on the handle, and uses it to pry open the lock on the top drawer. Inside is a fluorescent green Post-it with the name Angelina and a phone number scrawled on it. Angelina is the name Rolando’s mother gave to a daughter who died more than twenty years ago, the one the whole family now reveres as a stillborn saint, and the number, entered backward, is the combination to the wall safe, which is hidden behind a painting of a wolf hunt: men with fur hats riding in sleds, rifles, bloody snow.

Luz sets the painting on the floor and punches the numbers into the safe’s keypad. The lock clicks, and the safe swings open. Inside are stacks and stacks of rubber-banded U.S. currency, hundreds and twenties, and a shiny silver gun, Rolando’s custom-engraved, silver-plated Colt .45. Snakes twine around skulls on the barrel, and an image of Santa Muerte is carved in ivory on the grip. Luz transfers the money, all of it, to the backpack and lays the gun on top. Bowing her head, she murmurs a childhood prayer, and God’s name is still on her lips as she grabs the pack, stands, and opens the office door.

“You dropped this, señora,” Maria says, holding out the rose that Rolando stuck in Luz’s hair at breakfast. “Out here, in the hallway.”

El Toro stands behind the woman, a mean grin on his ugly face. He’s looking forward to hurting her. Both of them are. And then Rolando will finish the job.

Luz backs up and reaches into the pack for the .45. Rolando taught her how to use it on the house’s basement firing range. At first he had to force her, because she couldn’t stand the sound and the thump in her chest when the gun went off, but over the past year, thinking it was a skill that might come in handy during her escape, she’s practiced whenever she could and become a pretty decent shot.

She racks the slide and points the .45 with both hands, doesn’t flinch at the BOOM BOOM BOOM when she squeezes the trigger. Maria flies backward into El Toro, a jagged black hole under her left eye, a bloody volcano erupting out of the back of her head. The other two rounds hit El Toro in the chest and throat. He and the housekeeper go down together, tangled in death.

The horror of what she’s just done paralyzes Luz for an instant, like an icy hand suddenly gripping her neck. When she can move again, she drops the gun into the backpack and steps over the bodies, being careful not to look down at them. There’s only one thought in her head: Isabel. When the big front door doesn’t open on the first try, she panics and jerks the knob a few times before realizing that the deadbolt is engaged. A second later she’s on the porch. Four seconds later she’s out the gate and on the street. Ten seconds later she’s gone, another scrap swept up in the noisy, stinking whirl of the city.

Richard Lange is the author of the story collection Dead Boys, which received the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, and the novel This Wicked World. He is the recipient of a Guggenheim Fellowship, and his fiction has appeared in the Best American Mystery Stories 2004 and 2011. He lives in Los Angeles.

May 092013
 

David Morrell’s Victorian thriller MURDER AS A FINE ART features Thomas De Quincey and his irrepressible daughter, Emily, matching wits with a killer the likes of which London has never before seen. With less than a week on sale, Morrell’s newest has been raking in amazing reviews.

Tina Jordan raved of the book in Entertainment Weekly: “MURDER AS A FINE ART is masterful . . . brilliantly plotted . . . evokes 1854 London with such finesse that you’ll hear the hooves clattering on cobblestones, the racket of dustmen, and the shrill call of vendors.” Janet Maslin of the New York Times Book Review remarked of the book: “Morrell writes action scenes like nobody’s business.” And in a rave Associated Press review that ran far and wide, Waka Tsunoda praises the novel as “shockingly real…Morrell’s thorough and erudite research of the people and culture of the British Empire’s heyday informs every page. A literary thriller that pushes the envelope of fear.”

For more MURDER AS A FINE ART, check out the lushly rendered book trailer below, created from original artwork by Tomislav Tikulen, an interview with Morrell on the writing of his Victorian thriller, and an illuminating conversation between Morrell and De Quincey biographer Robert Morrison. You’ll doubtless encounter more great reviews—and in the meantime, visit Morrell’s website to find out when the author will be reading near you!

Apr 302013
 

The day has finally come–the long-awaited conclusion to the Charlie Hardie series, POINT & SHOOT, is now on sale in bookstores everywhere. Can’t wait until the workday ends to get your fix? Take a sneak peek at the opening pages of the award-winning Hardie trilogy’s slam-bang final chapter. Then go pick up a copy already!

1

This isn’t going to have a happy ending.

Morgan Freeman, Se7en

Near Brokenland Parkway, Columbia, Maryland—Seven Months Ago

A twenty-three-year-old hungover intern with a broken heart saved the day.

The intern’s name was Warren Arbona, and he was in a stuffy warehouse along with five other interns scanning endless pieces of paper and turning them into PDFs that nobody would ever, ever fucking read. The whole operation was strictly cover-your-ass. The interns’ bosses wanted to be able to tell their government liaisons that, yes, every page of the flood of declassified documents they released had been carefully read and scanned by an experienced member of their legal team.

“Experienced” = interns who’d been on the job for at least two months.

The new president had made a big deal about declassifying everything, the shining light of freedom blasting through the deceptions of the previous administration. A democracy requires accountability, he said, and accountability requires transparency. Which sounded awesome.

But before the PDFs could be uploaded, the president’s intelligence advisers insisted that no sensitive secrets harmful to the security of the United States would be leaked to the general public. This still was the real world.

So a white-shoe law firm specializing in government intelligence was retained to painstakingly review every line on every scrap of paper.

Nobody in the firm wanted to deal with that bullshit, so they put the interns on it.

And Warren Arbona, the intern in question, wouldn’t have noticed a thing if it hadn’t been for his cunt ex-girlfriend. He couldn’t help it. The name just jumped out at him.

He stopped the scan and looked at the paper again. Were his eyes playing tricks on him?

Nope. There it was.

Charlie Hardie.

No, it wasn’t Christy’s dad. Her dad was named Bruce or some such shit. Balding. Big asshole. Deviated septum and beady eyes. But this Charlie guy was an uncle, maybe? Some other relative? Warren had no idea.

And really, who the fuck cared. Christy didn’t matter anymore; he’d do best to put her out of his head and finish up with this scanning so he could go home and get good and drunk again.

They were all working inside the abandoned warehouse set of a canceled television show, Baltimore Homicide. The rent was absurdly cheap, and the set already had the delightful bonus of real desks and working electrical outlets, thanks to a subplot featuring a fake daily newspaper office.

So all the law firm had to do was arrange for the reams of paper—nearly three trucks’ worth—to be backed into the building, plug in a bunch of laptops and scanners, and then set the interns loose. See you in September, motherfuckers.

The working conditions were less than ideal. While an industrial AC unit blasted 60,000 BTUs of arctic air into the fake office via ringed funnels, the warehouse itself had diddly-squat in the way of climate management. So every time you left to drag in another set of files, you baked and sweated in the stifling summer heat. And then when you returned, your sweat was flash-frozen on your body. No wonder everybody was sick.

Warren had been fighting a cold since May, when he first started scanning the documents. He believed that if he polluted his body with enough tequila, the cold virus would give up and abandon ship. So far, it hadn’t worked.

But the tequila also helped him forget about Christy Hardie.

Almost.

Now the name popped up, and Warren couldn’t help but be curious. He started to read the document, which was a deposition.

Seems Charlie Hardie was an ex–police consultant turned drunk house sitter who was later accused of snuffing a junkie actress named Lane Madden.

Warren kind of wished someone had snuffed Christy after she confessed that she’d been blowing his best friend for, oh, the entire first year of law school.

Anyway, Warren remembered the Lane Madden story from a bunch of years ago. Apparently she’d been raped and killed by this house sitter guy who used to be a cop and kind of lost his mind. But the rest of the deposition was kind of boring, so Warren stopped reading and fed the pages into the scanner. Yes, they were all supposed to eyeball each page—even the partners weren’t foolish enough to tell the interns to actually read them. But Warren and his colleagues dispensed with the eyeballing crap somewhere in late May. If fingers touched a page, it was considered read. Osmosis, they decided.

Warren looked at the clock. Just two more hours until his brain went south of the border.

But at fifteen minutes until closing, something strange happened.

Warren saw the name again, in another deposition, from another year.

Charlie Hardie.

The same fucking dude!

But a totally different file!

To have the same name pop up…with the same surname as his skanky cunt ex-girlfriend…well, that was too big a goocher to ignore.

There wasn’t time to read it all, so Warren broke a series of federal laws by stuffing the relevant pages into his North Face backpack and slipped out of the building a few minutes early. He made his Jose Cuervo run, put his feet up on a wobbly Ikea coffee table that was improperly assembled, and settled in for an evening of reading.

Now when Warren had started the scanning project, the partners had told him to look out for anything “unusual.” Like what, Warren had asked.

You know, they’d said. Unusual.

This seemed to qualify.

Charlie Hardie, it seemed, had also been involved in a top-secret military project years before he’d been accused of killing that actress. And not just your usual creepy top-secret military project. This one messed around you with at a genetic level and resulted in…well, that was the frightening part. Few survived, and the project was shut down. Dumb fucking luck? Not likely. Warren didn’t believe in synchronicity. Exhibit A seemed pretty clearly linked to Exhibit B.

This made Warren’s night, because all summer he’d been dreading the idea of not reporting a single thing to the partners. This would prove he hadn’t been dicking around all summer (even though he had). This was a genuine catch. This was justification for his summer. For his entire life.

The next morning he pushed the scanner aside and wrote a short memo, including his thoughts on the Charlie Hardie depositions, then copied it and Fed Exed it to the partners.

The partners, also happy to be able to report something to their friends in intelligence, passed it along.

This document would later be known as the Arbona Memorandum. Its shock waves would be felt around the globe.

But at first, it started with a brutal mass slaughter in Philadelphia.

*

One Mile Outside Philadelphia—Now

Of all the shocks Kendra Hardie had endured over the past few hours—the dropped call from her son, the chilling messages on the alarm keypad, the thudding footfalls on the roof, the wrenching sounds in the very guts of her house, the missing gun, and the awful realization of how quickly her situation had become hopeless—none of that compared to the shock of hearing that voice on the other end of the phone line:

“It’s me.”

Kendra’s mind froze. There was a moment of temporal dislocation, distant memory colliding with the present.

Me.

Could that really be…you?

It sounds like you, but…

No.

Can’t be you.

But then how do I know, deep in my soul, that it is you?

“Are you there? Listen to me, Kendra, I know this is going to sound crazy, but you have to listen to me. You and the boy are in serious danger. You need to get out of the house now and just start driving. Drive anywhere. Don’t tell me where, because they’re definitely listening, but just go, go as fast as you can. I’ll find you guys when it’s safe.”

Kendra swallowed hard, looked at the face of the satellite TV receiver. Three thirteen a.m. A little more than four hours since she’d stepped into own home and into a living nightmare. Eighteen hours since she’d last seen her son. And almost eight years since she’d last heard her ex-husband’s voice. Yet there it was on the line, at the very nexus of the nightmare.

“Kendra? Are you there? Can you hear me?”

“I’m here, Charlie. But I can’t leave.”

“You have to leave, Kendra, please just trust me on this…”

“I can’t leave because they’ve already called, and told me I can’t leave.”

*

Earlier in the evening Kendra had been out with a friend downtown, at a Cuban restaurant on Second Street in Old City, but found that she wasn’t really into the food, didn’t want to finish her mojito, and was tired of hearing about her friend’s first-world problems, such as arguments with interior decorators and the headache of maintaining three vacation homes on the Delaware shore. Kendra excused herself and just…left. Paid for half of the tab and split, handed the valet her stub, and drove back to the northern suburbs, leaving poor Derek to complain to somebody else about having too much money. Maybe one of the Cuban exile waiters would give a shit.

It had been that kind of listless, annoyance-filled week, and Kendra now felt foolish for thinking that a night of moderate drinking and inane conversation could turn that around.

During the drive home her son, CJ, called. He told her he was just calling to check in—which was just about as unusual as the president of the United States dropping you an email to see how everything was going. CJ didn’t check in, ever. As CJ grew to manhood, he became increasingly like his father, complete with the delightful ability to cut off all emotional circuitry with the flick of an invisible switch. All the abuse her son had been dishing out over the years hardened her into exactly the kind of mother she’d vowed never to become. The kind of mother who said things like:

“Cut the shit, CJ. What happened?”

“Nothing, Mom. I just…”

Mom. Oooh, that was another red flag. CJ hadn’t called her Mom in…months? CJ barely spoke to her, and when he did, it was little more than a grunt.

Now a tiny ball of worry began to form in Kendra’s stomach. Was he hurt? Was he calling from a hospital or police station? Her body tensed, and she prepared to change direction and gun the accelerator.

“Where are you?”

“I’m at home, everything’s fine. Look, Mom, I know this is going to sound weird, but…what did you do with Dad’s old stuff?”

“What? Why are you asking me about that?’

First Mom, now…Dad!? For the past seven years, CJ hadn’t referred to his father as anything but “asshole” or “cocksucker” or “psycho.” Before Kendra had a chance to hear CJ’s answer, the phone beeped and went dead. no service.

Kendra continued in the same direction but gunned the accelerator just the same, all the way up the Schuylkill Expressway, then the endless traffic lights up Broad Street and finally the hills and curves of Old York Road out to the fringes of Abington Township. Home. She didn’t bother pulling the car into the garage, leaving it parked out on the street. Something in CJ’s voice…no, everything about CJ’s voice was completely wrong. Dad’s old stuff? What was that about? Why did he suddenly want to see the few possessions his father had left behind? The thought that CJ might be drinking crossed Kendra’s mind, but his voice wasn’t slurred. If anything, it was completely clear and focused, in stark contrast to the moody grunts she usually received.

And whenever CJ did go on a binge, his heart filled with raw hate for this father, not fuzzy nostalgia.

“CJ?”

The alarm unit on the wall to the left of the door beeped insistently until Kendra keyed in the code. She closed the door behind her, locked it, then reengaged the system. It beeped again. All set.

“CJ, answer me!”

And then began the nightmare.

No CJ, not anywhere. No trace of him in his room, no tell-tale glasses or dishes in the sink. The house was exactly as Kendra had left it when she left for Old City earlier in the evening. Had CJ even called from home? The call had come from his cell, so he could be anywhere right now.

Not knowing what else to do, Kendra tried him again on her phone, but still—NO SERVICE. What was that about? She could understand a dropped call when speeding down the Schuylkill, as if a guardian angel had interfered with the signal to prevent you from sparking a twelve-car pile-up on the most dangerous road in Philadelphia. But in her own home?

Maybe she could get a better signal outside. Kendra went back to the front door and keyed in the code. Two digits in, however, her finger stopped, and hung in midair before the 6 key.

The digital readout, which usually delivered straightforward messages such as SYSTEM ENGAGED or PLEASE ENTER ACCESS CODE, now told her something else:

STAY RIGHT WHERE YOU ARE

“The fuck?” Kendra muttered, then lowered her finger for a second before blinking hard and stabbing the 6 button anyway, followed by the 2. Which should have disengaged the system. This time, however, there was no reassuring beep. There was nothing at all, except:

KENDRA, THAT WON’T HELP.

Then:

DON’T MAKE A SOUND.

DON’T MOVE.

NOT UNTIL WE CALL YOU.

And Kendra, much to her own disgust, did exactly as she was told, staying perfectly still and silent…

…for about two seconds, before realizing fuck this and grabbing the handle of her front door. She twisted the knob, pulled. The door didn’t move, as if it had been cemented in place. What? She hadn’t put the deadbolts on when she’d come in just a minute ago…

The phone in her hand buzzed to life. There was SERVICE, suddenly. The name on the display: INCOMING CALL / CJ.

Oh thank God. She thumbed the Accept button, expecting to hear her son’s voice, maybe even hoping he’d call her Mom again.

But instead, it was someone else.

*

Now, four agonizing hours later, during which Kendra heard the sounds of her own house being turned against her…she was listening to the voice of her ex-husband—an accused murderer long thought to be dead. And he had the audacity to be grilling her!

“Who told you that? Who told you were dead?”

“They called me and said if I left the house I was dead.”

“Did you call the police? Anyone at all?”

“They told me not to call anyone, or do anything else except wait.”

“Wait for what?”

There was a burst of static on the line, and then another voice came on the line. The one who’d called four hours earlier, from CJ’s phone.

The evil icy-voiced bitch queen who had her son and who claimed to have the house surrounded.

“Hey, Charlie! It’s your old pal Mann here. So good to hear your voice after all this time. Well, that magical day has finally arrived. In about thirty seconds we’re going to kill the phones, and the power, and everything else in your wife’s house. We’ve got her surrounded; I know every square inch of every house in a five-block radius. You, of all people, know how thorough we are.”

Charlie ignored the other voice.

“Kendra, where’s the boy? Where’s Seej?”

Seej: Charlie’s old nickname for CJ—See. Jay. Over time, shortened to Seej.

“Shhhh, now, Charlie, it’s rude to interrupt. You’re wasting precious seconds. Now I know what you’re going to say. You’re going to tell me that if I touch one hair on your family’s head, you’ll rip me apart one limb at a time…or maybe some other colorful metaphor? Well, you know, that’s just not gonna happen. Because you lost this one, Chuck. There’s not going to be any cavalry rushing in, no last-minute saves, no magic escapes. And you know what’s going to happen next?”

*

What should have been going through Kendra’s mind at this moment was something along the lines of:

Charlie, where the hell have you been, and why have you surfaced now? The last time we spoke it was stupid and petty conversation about a late credit card bill and I think the last word I spoke to you before disconnecting was whatever.

Or maybe:

Charlie, why didn’t you call me before tonight? Do you know how many late nights I stared at the ceiling, trying to physically will you to call me? Not to change anything or explain anything, but just to tell me what happened? Do you know how hard the not knowing was? How much it consumed me over the years, digging in deep, way past the regret and guilt and into the very core of me?

But instead Kendra thought:

Goddamn you, Charlie.

Goddamn you for doing this to us.

*

“What’s going to happen next is,” the ice bitch queen continued, “your family’s going to die. And there’s not a fucking thing you can do to stop me.”

If Kendra had any doubts that the voice on the other end of the line belonged to her husband, they vanished when he spoke again. Because his words were infused with a rock-hard defiance that had once been familiar to her, over a decade ago.

Charlie Hardie told the ice bitch queen, “I can stop you.”

Apr 292013
 

S.
A NOVEL
Written by Doug Dorst, based on a story by J.J. Abrams
J.J. Abrams and Doug Dorst

J.J. Abrams has created, written, produced, or directed groundbreaking television shows such as the Emmy and Golden Globe Award–winning Lost and Alias, and Felicity and blockbuster films such as Star Trek, Cloverfield, Super 8, and Mission: Impossible. His work is renowned for its sense of wonder and invention, and for helping reshape what’s possible in film and television today.

S., conceived of and developed by Abrams and written by award-winning author Doug Dorst, is Abrams’s first foray into publishing and will be released by Mulholland Books/Little, Brown and Company on October 29, 2013. At the core of this multilayered literary puzzle of love and adventure is a book of mysterious provenance. In the margins, another tale unfolds—through the hand-scribbled notes, questions, and confrontations of two readers. Between the pages, online, and in the real world, you’ll find evidence of their interaction, ephemera that bring this tale vividly to life.

“We are thrilled to be publishing J.J. Abrams, in partnership with someone as critically acclaimed as Doug Dorst,” says Mulholland Books editorial director Josh Kendall. “S. will be a literary event, and is truly a love letter to the printed word.”

Abrams’ production company, Bad Robot, will be promoting the book leading up to and at publication time.

The cover of S. will be released at a later date.

J.J. Abrams is a multiple Emmy Award–winning producer, writer, and director. Doug Dorst is the award-winning author of Alive in Necropolis and The Surf Guru, as well as a former Jeopardy champion, one of only two novelists in the show’s long history.

Preorder S.: Amazon | Barnes & Noble | Other Retailers

Apr 292013
 

Murder as a Fine Art

Robert Morrison: I love the idea behind Murder as a Fine Art. John Williams commits a series of sensational killings in 1811. Thomas De Quincey writes his most powerful essay about the killings in 1854. Somebody reads De Quincey on Williams and decides to produce his own version of the killings, far exceeding them in terror. How did this idea come to you?

David Morrell: Robert, coming from a De Quincey scholar, your enthusiasm means a lot to me. I studied De Quincey years ago when I was an undergraduate English student. My professor treated him as a footnote in 1800s literature, giving him importance only because De Quincey was the first to write about drug addiction in his notorious Confessions of an English Opium-Eater. I forgot about him until I happened to watch a movie about Charles Darwin, Creation, which dramatizes the nervous breakdown Darwin suffered while writing On the Origin of Species. In the movie, someone says to Darwin, “You know, Charles, people such as De Quincey believe that we’re controlled by elements in our mind that we’re not aware of.”

Robert: It sounds like Freud.

David: Yes. But Freud didn’t publish until half a century later. In fact, because De Quincey invented the word “subconscious,” Freud may have been influenced by him. Anyway, I took down my old college textbook, started reading De Quincey, and became spellbound. I read more and more of his work. Then I got to his blood-soaked essay about the terrifying Ratcliffe Highway murders, “On Murder Considered as One of the Fine Arts.” The idea came to me that someone would read the essay and, for complicated reasons, replicate the murders on a more horrifying scale. De Quincey, the Opium-Eater who was obsessed about murder, would then be the logical suspect. You wrote a terrific biography about De Quincey, The English Opium-Eater. What caused your own interest in this brilliant author?

The English Opium-Eater

Robert: I first heard of De Quincey many years ago when I was a graduate student at Oxford. My tutor was Jonathan Wordsworth, the great, great, great nephew of the poet.

David: What an experience that must have been.

Robert: For one of my tutorial assignments, Jonathan asked me to read De Quincey’s Confessions. I had no idea what to expect, and certainly no idea that I was going to spend the next thirty years “hooked” on him. Of course I found the drugs and addiction part of the narrative very interesting. But what really grabbed me was how well De Quincey wrote. He could be, by turns, humorous, conversational, elaborate, or impassioned. And this great ability as a stylist made it possible for him to chart his experience with remarkable depth and energy. After that, and like you, I just kept reading. One of the wonderful things about Murder as a Fine Art is how vividly it brings De Quincey to life, and how compellingly it exploits his fascination with dreams, violence, memory, and addiction. It’s not only a superb thriller, but it also packs an intellectual punch. How did you bring these two elements together so successfully?

David: A reviewer once called me “the mild-mannered professor with the bloody-minded visions.”

Robert: Ha!

David: Yes, it makes me laugh too. I was a literature professor for many years, one of several things that you and I share in common. When I was in college, I worked in factories to pay my tuition. Some of my fellow workers read thrillers during their breaks, and I started wondering if it was possible to write a thriller that would appeal to two kinds of readers—those in my factory life and those in my college life. The former wanted an exciting story to distract them from their jobs and the latter wanted a story to have what literature professors call “subtext.” From the start, with First Blood, I followed that approach, but with De Quincey, I felt like I’d struck the mother lode. On the one hand, he writes in blood-soaked detail about the Ratcliffe Highway murders. On the other hand, he layers the killings with amazingly complex perceptions. The two elements—visceral and intellectual—came together. Your biography of De Quincey was a big help to me. Did you have any scholar adventures as you researched it, any discoveries and revelations?

Thomas De Quincey

Robert: Writing the biography was definitely an adventure. As you’re aware, the most well-known modern derivative of opium is heroin, and while working on the book I had long discussions with two heroin addicts, one of whom was still using, and another of whom was in his third “recovery.” I asked them to read the sections in the biography where I talk specifically about De Quincey and drugs, and their comments really gave me a much better understanding of what it is like to live with opiates. They also helped me to realize that De Quincey must have been an alcoholic as well as an opium addict, for he ingested opium as “laudanum” (opium dissolved in alcohol), which means that he was consuming vast quantities of both substances.

David: Vast quantities indeed. At his peak of addiction, De Quincey drank sixteen ounces of laudanum each day. The alcohol alone would have affected him, not to mention the opium. Yet somehow he was able to write some of the most brilliant prose of the 1800s.

Robert: My biggest adventure in writing the biography came six days after I finished it, when I was casually leafing through a London bookseller’s catalogue and saw the following item for sale: “119 Autograph Letters by De Quincey’s Three Daughters: A Significant New Source for the Author’s Life.” David, I fell out of my chair. A “New Source”? I had finished my biography less than a week earlier, and it was already out of date!! Needless to say, I phoned my publisher, hollered “Stop the Presses,” flew to London two days later, and then had the exhilarating experience of reading through the 119 letters.

David: It sounds like a scene from a literary thriller. Your heart must have been pounding.

Robert: The letters gave me all sorts of new information about De Quincey, and led me to revise the biography in 21 places, most noticeably when it came to De Quincey’s relationship with his three daughters, Margaret, Florence, and Emily. In Murder as a Fine Art, Emily De Quincey is of pivotal importance. What intrigued you about her? How and why did you make her such a vital part of the action?

Emily and Thomas De Quincey

David: When I decided to bring De Quincey to 1854 London, I needed to give him a companion.

Robert: Your own version of Dr. Watson to Sherlock Holmes.

David: The comparison is apt. De Quincey inspired Edgar Allan Poe, who in turned inspired Sir Arthur Conan Doyle to create Sherlock Holmes, so when I chose De Quincey as the hero of this thriller, I was definitely thinking about the origins of the detective genre. Anyway, one of De Quincey’s daughters was the likely candidate. Margaret and Florence had established their own families by then, so that left Emily, who was twenty-one and offered all sorts of possibilities.

Robert: Because not much is known about her?

David: Exactly. With De Quincey, I needed to be scrupulously loyal to the facts, but with Emily, I had more latitude. De Quincey used his children to help him evade his numerous debt collectors. They would sneak over fences, through holes in walls, and into windows, bringing food and writing supplies to wherever he was hiding. Then they would take his manuscripts to his publishers in the same clandestine way and sneak money back to him. After he took a small amount of money for his basic needs, he told the children to deliver the rest to their mother.

Robert: So you had evidence that Emily was street-smart and athletic—all those fences and windows.

David: I was reading between the lines of your biography of him. His daughters grew up in an intellectual household and had independent attitudes because of the radical-thinking people he knew. Thus in my novel Emily became not only De Quincey’s spy but also a delightfully outspoken woman whose advanced ideas make people in the novel gape. As one example, Emily refuses to wear the awkward, thirty-seven-pound, hooped dresses of the period and instead prefers a loose dress with trousers underneath, a garment known as a bloomer dress that was named after an early feminist named Amelia Bloomer. She constantly outsmarts constables, undertakers, and even England’s home secretary. I always smiled when I wrote a scene that Emily dominated. It occurs to me that we’re in a long-overdue De Quincey renaissance. Tell me about the various De Quincey publications that you’re editing.

Confessions of an English Opium-Eater

Robert: A renaissance indeed. It’s gratifying to think that we’re part of it. Murder as a Fine Art will reach a wide audience and play a major role in furthering interest in De Quincey’s life and writings. On my side, my new edition of Confessions of an English Opium-Eater was recently published by Oxford University Press. I’m really excited about it. I thought I knew the Confessions pretty well, and yet when I sat down to edit his memoir, I discovered all sorts of things that I hadn’t noticed before, especially in the magnificent dream sequence at the end. Right now, I’m working on a much longer selection of De Quincey that will be published in the 21-Century Oxford Authors series. The edition will contain all of De Quincey’s finest work, including his great essays on murder and his articles about his friends Wordsworth, Coleridge, and other literary stars of the time. I think of it as equivalent to a “De Quincey’s Greatest Hits” album.

David: De Quincey was so cool that if he were alive today, I think he’d approve of the metaphor. His prose can be so vivid that sometimes I think he is still alive. I read his thousands of pages so often that after a while I felt that I was channeling him. One of my own adventures in writing Murder as a Fine Art was the chance to become friends with you and to share our enthusiasm for all things De Quincey. Thanks, Robert.

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