A stranger in the house

Shari Lapeña, d1960-

Large print - 2017

A new thriller featuring a suspicious accident, a wife who can't account for herself, and unsettling questions that threaten to tear the couple apart.

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Subjects
Genres
Large type books
Thrillers (Fiction)
Psychological fiction
Suspense fiction
Mystery fiction
Published
[New York] : Random House Large Print [2017]
Language
English
Main Author
Shari Lapeña, d1960- (author)
Item Description
Title from web page.
Physical Description
416 pages (large print) ; 23 cm
ISBN
9780525501312
Contents unavailable.
Review by Publisher's Weekly Review

At the start of this well-plotted if workmanlike thriller from bestseller Lapena (The Couple Next Door), the cops can't figure out what upstate New York housewife and bookkeeper Karen Krupp was doing in the sketchiest part of town before running a red light and smashing her Honda Civic headfirst into a utility pole-and neither can Karen, who comes to in the hospital with no memory of that night beyond an underlying feeling of dread. But with the discovery of a murdered man just blocks from the scene, bells start to sound for detectives Rasbach and Jennings, setting in motion an investigation that quickly threatens to expose some unsavory secrets beneath the cozy suburban life Karen and her husband of two years, Tom, have constructed for themselves-not to mention the downright creepy activities of the couple's intrusive neighbor, Brigid, who's Karen's putative best friend. Though the characters pack all the emotional heft of the glossy shelter magazines Karen collects, plentiful plot twists-through the final page-make this a diverting page-turner. Agent: Helen Heller, Helen Heller Agency (Canada). (Aug.) © Copyright PWxyz, LLC. All rights reserved.

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

After crashing her car, Karen awakens in the hospital with amnesia and the sense of having escaped something terrible. Then a murdered man is found near the scene she fled. Karen IDs the dead man as the abusive husband she escaped by faking death and assuming a new identity. Although stunned by this bombshell, her loving current husband Tom stands by her-even when Karen is arrested for murder. Essentially a whodunit, the plot's machinery is discernible as it buffets listener suspicions between Karen and her neighbor Brigid, both unreliable narrators harboring secrets. Tavia Gilbert clearly distinguishes between the two women's voices and boosts the narrative by kindling listener trust for Karen. VERDICT The author's best-selling The Couple Next Door will stimulate expectations for this unremarkable suburban murder mystery. ["Fast-paced, engrossing": LJ 7/17 starred review of the Pamela Dorman: Dutton hc.]- Judith Robinson, Univ. at Buffalo © Copyright 2017. 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

After a terrible car accident, a woman is left without memory of the events, but a dead body at the scene speaks of something sinister.When Karen Krupp crashes her car into a pole after fleeing an abandoned restaurant in a rough part of town in upstate New York, she's left with a bad concussion and no memory of what happened before her accident. Her husband, Tom, doesn't know what to think since she went out without her purse and ID and didn't leave him a note as she usually does, and those are only the first in a string of out-of-character actions for Karen. The shocks keep coming when a dead man is found in the derelict restaurant, shot to death, a pair of distinctive pink rubber gloves left at the scene. Tom is convinced Karen isn't a murderer, but as evidence piles up, he starts to doubt that he ever really knew his wife at all. Karen won't find comfort in her "friend" Brigid Cruikshank, who lives across the street. Poor Brigid hates her marriage to boring Bob, and all she can think about is the hanky-panky she and Tom were up to before he married Karen. Bob is inadequate, but Tom is her dream hubby, and as cracks form in Tom and Karen's marriage, delusional Brigid only sees opportunity. Detectives Rasbach and Jennings smell something fishy and are convinced Karen is hiding something, and as they dig into her past, explosive secrets come to light. Tom is hapless and self-pitying, allowing himself to be manipulated at every turn, and Brigid, at times unintentionally funny, is the quintessential soap-opera villainessshe delights in spying on Tom and Karen through her window while knitting and nursing fantasies about Tom. Readers will guess the obligatory final twist quickly, and Lapena's (The Couple Next Door, 2016, etc.) attempts at creating any sort of suspense are crushed under the weight of predictability. Readers looking for someone, anyone, to root for won't find it among these well-to-do suburbanites behaving badly. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Chapter One On this hot August night, Tom Krupp parks his car-a leased Lexus-in the driveway of his handsome two-story home. The house, complete with a two-car garage, is set behind a generous lawn and framed with beautiful old trees. To the right of the driveway, a flagstone path crosses in front of the porch, with steps leading up to a solid wooden door in the middle of the house. To the right of the front door is a large picture window the width of the living room. The house sits on a gently curving street that ends in a cul-de-sac. The surrounding houses are all equally attractive and well maintained, and relatively similar. People who live here are successful and settled; everyone's a little bit smug. This quiet, prosperous suburb in upstate New York, populated with mostly professional couples and their families, seems oblivious to the problems of the small city that surrounds it, oblivious to the problems of the larger world, as if the American dream has continued to live on here, smooth and unruffled. But the untroubled setting does not match Tom's current state of mind. He cuts the lights and the engine and sits uneasily for a moment in the dark, despising himself. Then, with a start, he notices that his wife's car is not in its usual place in the driveway. He automatically checks his watch: 9:20. He wonders if he's forgotten something. Was she going out? He can't remember her mentioning anything, but he's been so busy lately. Maybe she just went out to run an errand and will be back any minute. She's left the lights on; they give the house a welcoming glow. He gets out of the car into the summer night-it smells of freshly mown grass-swallowing his disappointment. He wanted, rather fervently, to see his wife. He stands for a moment, his hand on the roof of the car, and looks across the street. Then he grabs his briefcase and suit jacket from the passenger seat and tiredly closes the car door. He walks along the path, up the front steps, and opens the door. Something is wrong. He holds his breath. Tom stands completely still in the doorway, his hand resting on the knob. At first he doesn't know what's bothering him. Then he realizes what it is. The door wasn't locked. That in itself isn't unusual-most nights he comes home and opens the door and walks right in, because most nights Karen's home, waiting for him. But she's gone out with her car and forgotten to lock the door. That's very odd for his wife, who's a stickler about locking the doors. He slowly lets out his breath. Maybe she was in a rush and forgot. His eyes quickly take in the living room, a serene rectangle of pale gray and white. It's perfectly quiet; there's obviously no one home. She left the lights on, so she must not have gone out for long. Maybe she went to get some milk. There will probably be a note for him. He tosses his keys onto the small table by the front door and heads straight for the kitchen at the back of the house. He's starving. He wonders if she's already eaten or whether she's been waiting for him. It's obvious that she's been preparing their supper. A salad is almost finished; she has stopped slicing mid-tomato. He looks at the wooden cutting board, at the tomato and the sharp knife lying beside it. There's pasta on the granite counter, ready to be cooked, a large pot of water on the stainless steel gas stove. The stove is off and the water in the pot is cold; he dips a finger in to check. He scans the refrigerator door for a note-there's nothing written on the whiteboard for him. He frowns. He pulls his cell phone out of his pants pocket and checks to see if there's any message from her that he might have missed. Nothing. Now he's mildly annoyed. She might have told him. Tom opens the door to the refrigerator and stands there for a minute, staring sightlessly at its contents, then grabs an imported beer and decides to start the pasta. He's sure she'll be home any minute. He looks around curiously to see what they might have run out of. They have milk, bread, pasta sauce, wine, parmesan cheese. He checks the bathroom-there's plenty of toilet paper. He can't think of anything else that might be urgent. While he waits for the water to come to a boil, he calls her cell, but she doesn't pick up. Fifteen minutes later, the pasta is ready, but there is no sign of his wife. Tom leaves the pasta in the strainer in the sink, turns off the burner under the pot of tomato sauce, and wanders restlessly into the living room, his hunger forgotten. He looks out the large picture window across the lawn to the street beyond. Where the hell is she? He's starting to get anxious now. He calls her cell again and hears a faint vibration coming from behind him. He whips his head toward the sound and sees her cell phone, vibrating against the back of the sofa. Shit. She forgot her phone. How can he reach her now? He starts looking around the house for clues as to where she might have gone. Upstairs, in their bedroom, he's surprised to find her bag sitting on her bedside table. He opens it with clumsy fingers, faintly guilty about going through his wife's purse. It feels private. But this is an emergency. He dumps the contents onto the middle of their neatly made bed. Her wallet is there, her change purse, lipstick, pen, a tissue packet-it's all there. Not an errand then. Maybe she stepped out to help a friend? An emergency of some kind? Still, she would have taken her purse with her if she was driving the car. And wouldn't she have called him by now if she could? She could borrow someone else's phone. It's not like her to be thoughtless. Tom sits on the edge of the bed, quietly unraveling. His heart is beating too fast. Something is wrong. He thinks that maybe he should call the police. He considers how that might go. My wife went out and I don't know where she is. She left without her phone and her purse. She forgot to lock the door. It's completely unlike her. They probably won't take him seriously if she's been gone such a short time. He hasn't seen any sign of a struggle. Nothing is out of place. Suddenly he gets up off the bed and rapidly searches the entire house. But he finds nothing alarming-no phone knocked off the hook, no broken window, no smear of blood on the floor. Even so, he's breathing as anxiously as if he had. He hesitates. Perhaps the police will think they've had an argument. It won't matter if he tells them there was no argument, if he tells them they almost never argue. That theirs is an almost perfect marriage. Instead of calling the police, he runs back into the kitchen, where Karen keeps a list of phone numbers, and starts calling her friends. - Looking at the wreckage in front of him, Officer Kirton shakes his head in resignation. People and cars. He's seen things to make his stomach empty itself on the spot. It wasn't that bad this time. There'd been no identification on the crash victim, a woman, probably early thirties. No purse, no wallet. But the vehicle registration and insurance had been in the glove compartment. The car is registered to a Karen Krupp, at 24 Dogwood Drive. She'll have some explaining to do. And some charges to face. For now, she's been taken by ambulance to the nearest hospital. As far as he can figure, and according to witnesses, she was traveling like a bat out of hell. She ran a red light and smashed the red Honda Civic right into a pole. It's a miracle no one else was hurt. She was probably high, Kirton thinks. They would get a tox screen on her. He wonders if the car was stolen. Easy enough to find out. Thing was, she didn't look like a car thief or a druggie. She looked like a housewife. As far as he could tell through all that blood. - Tom Krupp has called the people he knows Karen sees most often. If they don't know where she might be, then he isn't waiting any longer. He's calling the police. His hand trembles as he picks up the phone again. He feels sick with fear. A voice comes on the line, "911. Where's your emergency?" As soon as he opens the door and sees the cop on his doorstep, his face serious, Tom knows something very bad has happened. He is filled with a nauseating dread. "I'm Officer Fleming," the cop says, showing his badge. "May I come in?" he asks respectfully, in a low voice. "You got here fast," Tom says. "I just called 911 a few minutes ago." He feels as if he might be going into shock. "I'm not here because of a 911 call," the officer says. Tom leads him into the living room and collapses onto the large white sofa as if his legs have given out, not looking at the officer's face. He wants to delay the moment of truth for as long as possible. But that moment has come. He finds that he can hardly breathe. "Put your head down," Officer Fleming says, and places his hand gently on Tom's shoulder. Tom leans his head toward his lap, feeling like he's going to pass out. He fears that his world is coming to an end. After a moment he looks up. He has no idea what's coming next, but he knows it can't be good. Excerpted from A Stranger in the House by Shari Lapena 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.