What the dead know

Laura Lippman, 1959-

Book - 2007

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MYSTERY/Lippman, Laura
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Subjects
Published
New York : William Morrow 2007.
Language
English
Main Author
Laura Lippman, 1959- (-)
Edition
1st ed
Physical Description
376 p.
ISBN
9780061771354
9780061128851
Contents unavailable.
Review by New York Times Review

IT'S always interesting to see what genre authors will get up to when they take a break from an established mystery series and write what their publishers designate a "stand-alone" book. P. D. James, the queen bee of the classic British detective story, surprised her readers with a futuristic thriller, "The Children of Men." Dennis Lehane wrote "Mystic River," a crime novel of such astonishing emotional depth that it put his career on a whole new track. Anne Perry, with three historical mystery series up and running, undertook a Christmas tale so charming that it led to yet another series. Robert B. Parker came out with a cookbook. Whenever Laura Lippman takes a work break from the lively adventures she's been writing for the past 10 years about a quick-witted Baltimore sleuth named Tess Monaghan, it's more a stretch than a vacation, an opportunity to examine more closely the criminal behaviors and psychological motivations that have to be wrapped up swiftly and neatly in action-oriented procedurals. In particular, there is something about the impact of violent crime on children that obsesses this author, and from time to time she has explored the theme from a child's perspective. In WHAT THE DEAD KNOW (Morrow/ HarperCollins, $24.95), Lippman takes an imaginative leap and exercises a considerable amount of narrative ingenuity to solve the 30-year-old mystery of who abducted the two Bethany sisters from a Baltimore shopping mall - a crime suggested by a true-life event that gripped the city in 1975. All but forgotten when the story opens, the disappearance of 15-year-old Sunny and 11-year-old Heather becomes an active police case when a woman injured in a highway accident claims to be Heather but refuses to explain the circumstances of her kidnapping or why she has returned to town. Laura Lippman Is this infuriatingly reticent stranger the victim of an extended trauma? Could she be an impostor, an accomplice in the crime or even a murderer? The puzzle of her identity becomes more tantalizing because of the oblique manner of the storytelling, a complex pattern of multiple timelines and shifting focuses that keeps expanding the perspective on the central characters by presenting them at various stages in the unfolding plot. But as artful as she is at interweaving disarming scenes of two spirited girls on the day they vanished with painful moments in the lives of their parents - maintaining all the while a thread of continuity in the current-day police investigation - Lippman pulls off something more ambitious than a high-wire act of technical virtuosity. With great thought and compassion, she uses her fractured narrative style to delve into the ways in which every serious crime tears to shreds the lives of its victims. Donald E. Westlake gets the last laugh in his comic mystery WHAT'S SO FUNNY? (Warner, $24.99), with an ending so laden with irony it almost has you thinking that crime doesn't pay. But of course it does pay, in those laughs that land on every page, when the criminals involved are Westlake's congenitally depressed master thief, John Dortmunder, and his merry band of colorful crooks. The gang's new caper is a doozy, but impossible to execute: the theft of a priceless chess set hammered in gold and encrusted with precious gems, an extravagant, if ill-timed, gift to Czar Nicholas II that is now buried in the underground vault of a bank in Midtown Manhattan. The resourceful Dortmunder comes up with a scheme to convince one of the owners of this rare artifact that it should be raised from its vault. To pull off this stunt takes a full cast of bizarre characters and enough plot twists to keep them all tied up in knots. But if the author's inventive mind never fails him in this devious enterprise, neither does his wit; some of the richest humor comes from his droll observations on mundane matters like the proper costume to wear to a party in SoHo and the best highway route for getting out of the city when you're driving a hot van. For a hard-boiled gumshoe who's been on the job since Hector was a pup, Loren D. Estleman's Detroit private eye, Amos Walker, still leads the pack in the brute stamina and inbred survival skills of his species. In AMERICAN DETECTIVE (Forge/Tom Doherty, $24.95), Walker applies his traditional code (honor, valor, muscle) to the case of a former pitcher for the Tigers whose daughter has attracted a fortune hunter who needs to be shooed away. Besides yielding the usual gunplay and fisticuffs, along with choice baseball metaphors ("Most of my hunches pop up into the catcher's mitt"), the well-oiled plot is supple enough to handle the newfangled criminal enterprises that a big-city shamus has to contend with nowadays. But Estleman also delivers some outstanding stuff on the hazards of the profession, including a bone-chilling stakeout on a lonely lake in the dead of night, that could come only from an old pro. I sometimes wonder if foreign mystery authors realize how exotic their work seems to us. Given the candid nature of our own crime fiction, American readers probably won't be shocked by the case of child pornography and devil worship that Helene Tursten's Swedish detective, Inspector Irene Huss of the Goteborg Police Department, investigates in Katarina E. Tucker's translation of THE GLASS DEVIL (Soho, $24). Which is not to say that Tursten doesn't offer here an exciting account of a triple homicide, involving a clerical family living in a remote forested region of southern Sweden. It is just to say that bloody pentagrams and satanic texts seem less piquant than certain customs routinely observed by law enforcement agents, like morning prayers at the station house and the reliance on pastors to help them handle difficult witnesses. No less than Inspector Huss's wide-eyed trips to London, a good foreign crime novel can be a broadening experience. Lippman's novel centers on a 30-year-old mystery; the fictional crime was suggested by a true-life event that happened in Baltimore.

Copyright (c) The New York Times Company [October 27, 2009]
Review by Booklist Review

In 1975, the abduction of the teenage Bethany sisters rattled residents of Baltimore. Now, some 30 years later, a woman who flees the scene of a hit-and-run accident claims to be Heather, the younger of the two sisters. Could this mysterious blonde really be the missing teen, or is she pulling some sort of clever, unspeakably cruel con? Detective Kevin Infante is assigned to the case and must tiptoe around Heather, who is prickly, smart, and clearly conflicted about cooperating with authorities. In this stirring stand-alone, Lippman, the critically acclaimed author of the Tess Monaghan series, deftly shifts between present and past, intertwining Detective Infante's investigation with the narrative perspectives of individuals irrevocably changed by that fateful spring day. Of particular interest is the girls' adoptive mother, who has since relocated to Mexico in hopes of leaving the past behind. Lippman has received the Edgar, Shamus, and Nero Wolfe awards, among others. Though her ending is a bit of a stretch in this latest offering, the compelling plot and vivid characters prove the author well worthy of honors bestowed. --Allison Block Copyright 2007 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Edgar-winner Lippman, author of the Tess Monaghan mystery series (No Good Deeds, etc.), shows she's as good as Peter Abrahams and other A-list thriller writers with this outstanding stand-alone. A driver who flees a car accident on a Maryland highway breathes new life into a 30-year-old mystery-the disappearance of the young Bethany sisters at a shopping mall-after she later tells the police she's one of the missing girls. As soon as the mystery woman drops that bombshell, she clams up, placing the new lead detective, Kevin Infante, in a bind, as he struggles to gain her trust while exploring the odd holes in her story. Deftly moving between past and present, Lippman presents the last day both sisters, Sunny and Heather, were seen alive from a variety of perspectives. Subtle clues point to the surprising but plausible solution of the crime and the identity of the mystery woman. Lippman, who has also won Shamus, Agatha, Anthony and Nero Wolfe awards, should gain many new fans with this superb effort. 9-city author tour. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Baltimore County's Det. Kevin Infante (who partnered Sergeant Lenhardt in Lippman's To the Power of Three) investigates a hit-and-run in which the driver claims to be one of two sisters who had gone missing in 1975 and were presumed dead. Tight-lipped about what happened and where she's been, the woman is willing only to reveal bits and pieces of her story, none of which rings true to Infante, who must decide whether she is protecting herself because she's a victim or because she's a criminal. Told piecemeal and from multiple perspectives, Lippman's story crisscrosses time as she describes the Bethany sisters' abduction and its aftermath. Astute readers may ferret out the truth about the woman's claims before the big reveal, but this book is still well done. This standalone mystery featuring recurring characters is as heavy on the portrait of one Baltimore family as it is on the whodunit. Lippman fans are most likely to be pleased; recommended for all public libraries.--Amy Brozio-Andrews, Albany P.L., NY (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by School Library Journal Review

Adult/High School-After fleeing a car accident, a middle-aged woman with no ID is questioned by both the police and hospital administration. Refusing to reveal her identity (and proof of health insurance), she instead hints that she is the younger of two sisters, Heather and Sunny Bethany, who disappeared the day before Easter in 1975. This gets everyone's attention. She knows both too much and not enough about the case, leading Baltimore police on wild goose chases to Pennsylvania and Georgia, saying just enough to stay out of jail and keep them interested, albeit suspicious. The narrative threads unravel into the various accounts of that Saturday's events, the aftermath of the disappearance, the investigation, and Heather's own increasingly desperate attempts to evade further disclosure. This novel is a page-turner. Tantalizing revelations are dropped at chapter ends before veering into another part of the narrative, back and forth in time. Characters are well defined and varied, each with a different perspective on the nature of grief. Ultimately, after all of the half-truths and deceptions are played out, unexpected but moving forgiveness wins out.-Jenny Gasset, Orange County Public Library, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

A hit-and-run on the Beltway forces the Baltimore County police to reopen a 30-year-old kidnapping. No one thought trust-fund brat Chet Willoughby would make a good cop, but in the 20 years before he retired to care for his ailing wife, Evelyn, he cleared every case but one. Willoughby never learned why or how someone abducted Sunny Bethany, 15, and her sister Heather, 12, from the Security Square Mall, despite his dogged legwork and a burgeoning friendship with the parents: countercultural Dave, whose craft shop struggled until the unwanted publicity brought an embarrassment of customers, and his beguiling wife, Miriam, an Ottawa transplant whose alibi was an illicit liaison with her boss. Now a middle-aged hit-and-run driver is claiming to be Heather. Detective Kevin Infante has to evaluate that claim while dealing with ball-busting attorney Gloria Bustamante, the increasing reticence of her client and the demons of his own failed marriages. Social-worker Kay Sullivan gives the alleged victim the benefit of the doubt, but Kevin remains skeptical, even when his former partner Nancy Porter finds what could be corroboration in her cold-case files. The key to the case lies in the tortured memory of the victim, if she can just be persuaded to unlock it. Lippman (To the Power of Three, 2005, etc.) crafts a tale that resonates long after the last page is turned. Copyright ©Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

What the Dead Know A Novel Chapter One Her stomach clutched at the sight of the water tower hovering above the still, bare trees, a spaceship come to earth. The water tower had been a key landmark in the old family game, although not the landmark. Once you spotted the white disk on its spindly legs, you knew it was time to prepare, like a runner crouched in blocks. On your mark, get set, I see -- It hadn't started as a game. Spotting the department store nestled in this bend of the Beltway had been a private contest with herself, a way to relieve the tedium of the two-day drive home from Florida. As far back as she could remember, they had made the trip every winter break, although no one in the family enjoyed this visit to Grandmother's house. Her Orlando apartment was cramped and smelly, her dogs mean, her meals inedible. Everyone was miserable, even their father, especially their father, although he pretended not to be and took great offense if anyone suggested that his mother was any of the things that she undeniably was--stingy, strange, unkind. Still, even he couldn't hide his relief as home drew nearer and he sang out each state line as they crossed. Georgia , he growled in a Ray Charles moan. They spent the night there, in a no-name motor court, and left before sunrise, quickly reaching South Carolina--"Nothing could be finah!"--followed by the long, slow teases of North Carolina and Virginia, where the only points of interest were, respectively, the lunch stop in Durham and the dancing cigarette packs on the billboards outside Richmond. Then finally Maryland, wonderful Maryland, home sweet home Maryland, which asked for only fifty miles or so, barely an hour back then. Today she had needed almost twice that much time to crawl up the parkway, but traffic was thinning now, up to normal speeds. I see -- Hutzler's had been the city's grandest department store, and it marked the Christmas season by setting up an enormous fake chimney with a Santa poised on its ledge, caught in a perpetual straddle. Was he coming or going? She could never decide. She had taught herself to watch for that flash of red, the promise that home was near, the way certain birds told a sea captain that the shore was within reach. It had been a clandestine ritual, not unlike counting the broken stripes as they disappeared under the front wheels of the car, a practice that quelled the motion sickness she never quite outgrew. Even then, she was tight-lipped when it came to certain information about herself, clear about the distinction between eccentricities that might be interesting and compulsive habits that would mark her as odd as, say, her grandmother. Or, to be absolutely truthful, her father. But the phrase had popped out one day, joyful and unbidden, another secret dialogue with herself escaping into the world: "I see Hutzler's." Her father had gotten the significance instantly, unlike her mother and sister. Her father always seemed to understand the layers beneath what she said, which was comforting when she was really little, intimidating as she got older. The problem was that he insisted on turning her private homecoming salute into a game, a contest, and what had once been hers alone then had to be shared with the entire family. Her father was big on sharing, on taking what was private and making it communal. He believed in long, rambling family discussions, which he called "rap sessions" in the language of the day, and unlocked doors and casual seminudity, although their mother had broken him of that habit. If you tried to keep something for yourself--whether it was a bag of candy purchased with your own money or a feeling you didn't want to express--he accused you of hoarding. He sat you down, looked straight into your eyes, and told you that families didn't work that way. A family was a team, a unit, a country unto itself, the one part of her identity that would remain constant the rest of her life. "We lock our front door against strangers," he said, "but never against each other." So he seized "I see Hutzler's" for the family good and encouraged everyone to vie for the right to say it first. Once the rest of the family decided to play, that last mile of Beltway had been unbearable in its suspense. The sisters craned their necks, leaning forward in the old lap seat belts, the ones worn only on long trips. That's how things were back then--seat belts for long trips only, no bicycle helmets ever, skateboards made from splintery planks of wood and old roller skates. Pinned by her seat belt, she felt her stomach flip and her pulse race, and for what? For the hollow honor of being the first to say out loud what she had always been the first to think. As with all her father's contests, there was no prize, no point. Since she could no longer be guaranteed victory, she did what she always did: She pretended not to care. Yet here she was again, alone, guaranteed the win if she wanted it, hollow as that victory would be, and her stomach still flipped, unaware that the store was long gone, that everything around the once-familiar cloverleaf had changed. Changed and, yes, cheapened. The placid dowager that had been Hutzler's was now a tacky Value City. Opposite, on the south side of the highway, the Quality Inn had morphed into one of those storage places. It wasn't possible from this vantage point to see if Howard Johnson's, home of the family's weekly fish-fry suppers, remained at the intersection, but she somehow doubted it. Did Howard Johnson's exist anywhere anymore? Did she? Yes and no. What happened next transpired in seconds. Everything does, if you think about it. She would say that later, under questioning. The Ice Age happened in a matter of seconds; there were just a lot of them. Oh, she could make people love her if absolutely necessary, and although the tactic was less essential to her survival now, the habit was hard to break. Her interrogators pretended exasperation, but she could tell she was having the desired effect on most of them. By then her description of the accident was breathlessly vivid, a polished routine. She had glanced to the right, eastward, trying to recall all her childhood landmarks, forgetting the old admonition Bridges may freeze first , and felt a strange sensation, almost as if the steering wheel were slipping from her grasp, but the car was actually separating from the road, losing traction, although the sleet had not started and the pavement looked bone dry. It was oil, not ice, she would learn later, left from an earlier accident. How could one control for a coating of oil, invisible in the March twilight, for the inactions or incomplete actions of a crew of men she had never met, would never know? Somewhere in Baltimore, a man sat down to supper that night, unaware that he had destroyed someone else's life, and she envied him his ignorance. She clutched the steering wheel and pounded on the pedals, but the car ignored her. The boxy sedan slid to the left, moving like the needle on a haywire tachometer. She bounced off the Jersey wall, spun around, slid to the other side of the highway. For a moment it seemed as if she were the only one driving, as if all the other cars and their drivers had frozen in deference and awe. The old Valiant--the name had seemed a good omen, a reminder of Prince Valiant and all that he stood for, back in the Sunday comics--moved swiftly and gracefully, a dancer among the stolid, earthbound commuters at the tail end of rush hour. And then, just when she seemed to have the Valiant under control, when the tires once again connected to the pavement, she felt a soft thump to her right. She had sideswiped a white SUV, and although her car was so much smaller, the SUV seemed to reel from the touch, an elephant felled by a peashooter. She glimpsed a girl's face, or thought she did, a face with an expression not so much frightened as surprised by the realization that anything could collide with one's neat, well-ordered life at any time. The girl wore a ski jacket and large, cruelly unflattering glasses, made worse somehow by white fur earmuffs. Her mouth was round, a red gate of wonder. She was twelve, maybe eleven, and eleven was the same age when--and then the white SUV began its lazy flip-flops down the embankment. I'm sorry, I'm sorry, I'm sorry , she thought. She knew she should slow down, stop, check on the SUV, but a chorus of honks and squealing brakes rose up behind her, a phalanx of sound that pushed her forward in spite of herself. It wasn't my fault! Everyone should know by now that SUVs were prone to tip. Her mild little nudge could never have caused that dramatic-looking accident. Besides, it had been such a long day and she was so close. Her exit was the next one, not even a mile ahead. She could still merge into the I-70 traffic and continue west to her destination. But once on the long straightaway toward I-70, she found herself veering right instead of left, toward the sign that read Local Traffic Only, to that strange, unfinished road that her family had always called the highway to nowhere. How they had gloried in giving directions to their house. "Take the interstate east, to where it ends." "How can an interstate end?" And her father would triumphantly tell the tale of the protests, the citizens who had united across Baltimore to preserve the park and the wildlife and the then-modest rowhouses that ringed the harbor. It was one of her father's few successes in life, although he had been a minor player--just another signer of petitions, a marcher in demonstrations. He was never tapped to speak at the public rallies, much as he longed for that role. The Valiant was making a terrible sound, the right rear wheel scraping against what must be a crushed fender. In her agitated state, it made perfect sense to park on the shoulder and continue on foot, although the sleet had now started and she became aware with each step that something was wrong. Her ribs hurt so that each breath was like a jab with a tiny knife, and it was hard to carry her purse as she had always been instructed--close to the body, not dangling from her wrist, a temptation for muggers and thieves. She hadn't been wearing her seat belt, and she had bounced around inside the Valiant, hitting the steering wheel and door. There was blood on her face, but she wasn't sure where it was coming from. Mouth? Forehead? She was warm, she was cold, she saw black stars. No, not stars. More like triangles twisting and turning, strung from the wires of an invisible mobile. She had been walking no more than ten minutes when a patrol car stopped alongside her, lights flashing. "That your Valiant back there?" the patrolman called out to her, lowering the window on the passenger side but not venturing from the car. Was it? The question was more complicated than the young officer could know. Still, she nodded. "You got any ID?" "Sure," she said, digging into her purse but not finding her wallet. Why, that -- She started to laugh, realizing how perfect that was. Of course she had no ID. She had no identity, not really. "Sorry. No. I--" She couldn't stop laughing. "It's gone." He got out of the patrol car and attempted to take the purse to look for himself. Her scream shocked her even more than it did him. There was a fiery pain in her left forearm when he tried to slide the purse past her elbow. The patrolman spoke into his shoulder, calling for assistance. He pocketed her keys from her purse, walked back to her car, and poked around inside, then returned and stood with her in the sleeting rain that had finally started. He mumbled some familiar words to her but was otherwise silent. "Is it bad?" she asked him. "That's for a doctor to say when we get you to the ER." "No, not me. Back there." The distant whir of a helicopter answered her question. I'm sorry, I'm sorry, I'm sorry. But it wasn't her fault. "It wasn't my fault. I couldn't control it--but still, I really didn't do anything--" "I've read you your rights," he said. "The things you're saying--they count. Not that there's much doubt you left the scene of an accident." "I was going to get help." "This road dead-ends into a park-and-ride. If you really wanted to help them, you'd have pulled over back there or taken the Security Boulevard exit." "There's the old Windsor Hills Pharmacy at Forest Park and Windsor Mill. I thought I could call from there." She could tell that caught him off guard, her use of precise names, her familiarity with the area. "I don't know of any pharmacy, although there's a gas station there, but-- Don't you have a cell phone?" "Not for my personal use, although I carry one at work. I don't buy things until they work properly, until they're perfected. Cell phones lose their connections and people have to yell into them half the time, so you can't safeguard your privacy. When cells work as well as landlines, I'll buy one." She heard her father's echo. All these years later, he was in her head, his pronouncements as definitive as ever. Don't be the first to purchase any kind of technology. Keep your knives sharp. Eat tomatoes only when they're in season. Be kind to your sister. One day your mother and I will be gone, and you'll be all that each other has. The young patrol officer regarded her gravely, the kind of awed inspection that good children reserve for those who have misbehaved. It was ludicrous that he could be so skeptical of her. In this light, in these clothes, the rain flattening her short, spiky curls, she probably looked younger than she was. People were always placing her at a full decade below her real age, even on those rare occasions when she dressed up. Cutting her long hair last year had only made her look younger still. It was funny about her hair, how stubbornly blond it remained at an age when most women needed chemicals to achieve this light, variable hue. It was as if her hair resented its years of forced imprisonment under those home applications of Nice'n Easy Sassy Chestnut. Her hair could hold a grudge as well as she could. "Bethany," she said. "I'm one of the Bethany girls." "What?" "You don't know?" she asked him. "You don't remember? But then I guess you're all of, what--twenty-four? Twenty-five?" "I'll be twenty-six next week," he said. She tried not to smile, but he was so much like a toddler claiming two and a half instead of two. At what age do we stop wishing to be older than we are, stop nudging the number up? Around thirty for most, she assumed, although it had happened to her far earlier. By eighteen she would have done anything to renounce adulthood and be given another chance at childhood. "So you weren't even born when-- And you're probably not from here either, so no, the name wouldn't mean anything to you." "Registration in the car says it belongs to Penelope Jackson, from Asheville, North Carolina. That you? Car didn't come up stolen when I called the tag in." She shook her head. Her story would be wasted on him. She'd wait for someone who could appreciate it, who would understand the full import of what she was trying to tell him. Already she was making the calculations that had long been second nature. Who was on her side, who would take care of her? Who was against her, who would betray her? What the Dead Know A Novel . Copyright © by Laura Lippman. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold. Excerpted from What the Dead Know by Laura Lippman All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.