A measure of darkness A novel

Jonathan Kellerman

Book - 2018

It's been a busy year for Alameda County Coroner's Deputy Clay Edison. He's solved a decades-old crime and redeemed an innocent man--earning himself a suspension in the process. Things are getting serious with his girlfriend. And his brother's fresh out of prison, bringing with him a great big basket of crazy. Then the call comes in the middle of the night. It's a bad one. A party in West Oakland. An argument with the neighbors. A crowd in the street. Two guns, firing at random, spreading chaos and death. Nobody knows the body count yet. What Clay does know is this: it's going to be a long, long night. Longer than he ever could have imagined. Because when the dust settles, there's an extra victim. One who ...can't be accounted for. A young woman, strangled instead of shot, without ID and a stranger to all. She is Jane Doe. She is the Unknown. Clay's journey to give her a name and bring her justice will lead him into the bizarre--a seductive world where innocence and perversity meet and mingle; where right and wrong begin to blur.

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Subjects
Genres
Mystery fiction
Thrillers (Fiction)
Published
New York : Ballantine Books [2018]
Language
English
Main Author
Jonathan Kellerman (author)
Other Authors
Jesse Kellerman (author)
Physical Description
335 pages ; 25 cm
ISBN
9780399594632
Contents unavailable.
Review by New York Times Review

HAVING FUN? FEELIN' GROOVY? A new novel by Lars Kepler will wipe that smile off your face. STALKER (Knopf, $27.95) opens with a gruesome crime scene ("a display of extraordinary brutality," in Neil Smith's blunt translation from the Swedish) and becomes more explicit as it creeps along to its conclusion ("suddenly his head rolls over"). But that's the way it goes with Lars Kepler, a pseudonym for the husband and wife team of Alexandra Coelho Ahndoril and Alexander Ahndoril, who have a taste for the macabre and a surefire recipe for the lurid serial-killer thriller. The essential component of their formula is a worthy villain, someone just like the sieko here, who shoots videos of unsuspecting women to study at his leisure ("He takes his time, enjoys himself"). Once he's whipped himself up into a froth, this merciless madman returns to claim his prey with another horrific murder. The sadistic twist here is that he sends the videos of his future victims to the National Crime headquarters in Stockholm, daring the police to outwit him before he kills again. Margot Silverman, a police expert on serial killers, spree killers and stalkers, is properly worked up by these taunts, which also prods into action Joona Linna, a living legend in crime circles and the heavyweight of the Kepler series. The third member of the team is Erik Maria Bark, a specialist in disaster trauma and an authority in clinical hypnotherapy, who treats us to an impressive example of his skills ("The only thing you're listening to is my voice ... "). This is not a book for anyone on heart medication. Kepler is a virtuoso at delivering scenes of suspense, proving it here with an unnerving sequence in which a woman senses the silent killer who is stalking her. He also loves to drop severed body parts into a story, even when it isn't strictly necessary to advance the plot. But that's the deal with Kepler: If you want the thrills, you've got to expect the chills. PETER ROBINSON writes the kind of mysteries they don't write anymore: smart, civilized whodunits that are intellectually challenging, emotionally engaging and always discreet. Can you imagine a cop who concludes a suspect interview by saying: "Sorry to have bothered you at dinnertime. And I apologize if some of our questions caused you discomfort." That gentlemanly policeman is Alan Banks, a Yorkshire homicide detective who appears in CARELESS LOVE (Morrow/HarperCollins, $26.99), his 25th outing in the series dedicated to his sleuthing. No one expects cops to be au courant with the latest fashions. Nonetheless, Banks knows that a young woman found dead at the scene of an auto accident would not get all dolled up and neglect to take her handbag, and that a man who supposedly fell to his death in a ravine would not have gone for a stroll on Tetchley Moor wearing an expensive suit. The double-sided puzzle, which strikes Banks as "a three-pipe problem," involves, among other things, a sex-trafficking racket. But we also appreciate the well-drawn women, the keen character analysis and, of course, the company of a true gentleman. Wearing red to a wedding reception might seem rude, but wearing red while dead seems downright uncouth. The bride certainly doesn't take it very well when a dead woman in a red dress spoils her big day in THE WEDDING GUEST (Ballantine, $28.99), Jonathan Kellerman's latest mystery featuring Alex Delaware. A child psychologist who is often consulted by the Los Angeles Police Department, Delaware has no children to tend to here, but he does find a lot of childish grownups at the Aura, the former strip joint Brearley and Garrett Burdette whimsically chose for their "Saints and Sinners"-themed party. Although the corpse is admired for her fashion sense - "The dress is Fendi, the shoes are Manolo, and the hair is awesome" - no one seems to know who she is. This means Delaware has a suspect pool of about 100 people, from the mother of the bride ("Botoxed as smooth as a freshly laundered bedsheet") to the busboys. One-on-one interviews are Kellerman's strong suit, so expect some shrewd instant analyses and unwittingly funny observations - like "Destroying a wedding has a personal feeling." "No crazy thoughts allowed," promises the diarist who narrates THE SILENT PATIENT (Celadon, $26.99), a predictable if disturbing first novel by Alex Michaelides. Don't fall for that one; there are plenty of crazy thoughts - and crazier events - in this psychological thriller. The two main characters, both inclined to craziness, are extremely well matched. Alicia Berenson appeared to be a happily married woman when she tied her husband to a chair and shot him five times in the face. Why she did it remains a mystery, because she never spoke again. Theo Faber, her psychotherapist at the institution where she is locked up, seems normal enough at first. And it's obvious that he's giving it his all. But Alicia is a tough nut to crack - "I know all this sounds crazy," she admits in her diary - and therapy increasingly becomes a battle between crazy and crazier. Marilyn STASIO has covered crime fiction for the Book Review since 1988. Her column appears twice a month.

Copyright (c) The New York Times Company [March 11, 2019]
Review by Booklist Review

It's nice to see Jonathan Kellerman, who's had a long career as a best-selling novelist, teaming up with his son, Jesse. Their novels are different from Jonathan's solo efforts: there's a different flavor, a different style of characterization. In their new collaboration, a follow-up to Crime Scene (2017), Deputy Coroner Clay Edison is determined to discover the identity of a woman whose body was found at a chaotic crime scene involving multiple shooting victims. The woman doesn't appear to have belonged at the party that led to the shootings, and she died by strangulation, not gunshot. Who is Jane Doe, and why was she killed? Edison is an interesting protagonist, a good man for whom finding the truth is more important than anything else, including his own safety. He's gentle and strong, compassionate and ruthless, methodical and impulsive. A strong sequel to Crime Scene that will leave readers wanting to see more of Edison.--David Pitt Copyright 2018 Booklist

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

In bestseller Kellerman and son Jesse's plodding sequel to 2017's Crime Scene, Oakland, Calif., coroner's deputy Clay Edison responds to a multiple shooting, apparently sparked by a dispute about noise from a large party. The victims include a six-year-old boy, who was struck by a stray bullet while sleeping in his bed, and a female pedestrian, seemingly accidentally dragged to her death by a car. Edison diligently reviews the evidence and interviews witnesses as he tries to reconstruct what led to the gunfire and the vehicular homicide, but the complexity of the case confuses more than it intrigues. The plot, unlike in the senior Kellerman's best Alex Delaware books, never gathers much steam, and the characterizations, including Clay's relationship with his troubled brother, fall short of the standard set in Edgar-finalist Jesse's better work. Staccato prose doesn't help ("A bicycle, I'd lose him. I walked faster. The phone shook"). Few readers will welcome a third outing from Clay. Agent: Barney Karpfinger, Karpfinger Agency. (July) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

CHAPTER 1 Friday, December 21 They were going to have a nice evening together. Hattie had been planning for a week, since Isaiah called to tell her he was home from school. He wanted to know was it okay for him to come by and pay her a visit. Okay? How could it not be? Hattie couldn't remember when she'd last seen her grandson. That distressed her, both the not-­seeing and the not-­remembering. A year? Maybe longer. Too long, at any rate. It got lonely. She didn't get many visitors. People had their own lives. Her children had gone and gotten children for themselves. They'd found places in the world. That alone was proof of a life well lived. It got lonely, though. Curtis--­Isaiah's father, her youngest--­made the drive down once a month or so. You'd think it was a thousand miles instead of forty. Hattie sometimes made up reasons to call him. The kitchen outlets did go bad a lot. Standing at the breaker box, he would remind her again in that weary patient way of his that the whole sub-­panel needed replacing. Her baby boy, graying. It must have happened at some point that she stopped scolding him and it started coming back the other way. There must have been a day. She couldn't remember that, either. The neighborhood's changing he said. She fixed coffee and let him make his case. They were fleeing the city, pouring over the bridge. Computer people. Couldn't be stopped. They wanted to be near the train. Ten minutes to downtown San Francisco. They paid cash. Did she know what she could get for this old place? He took after his own father. Unsentimental. It's too much house for one person he said. And where was she supposed to live, according to this plan? With us. Hattie snorted. I guess you didn't ask Tina how she feels about that. Mom, please. She'd love to have you. He was missing the point. Change was nothing new to her. All her life she'd lived in Oakland, half those years on Almond Street, and never could she remember the scenery standing still. Now he expected her to pick up and run? What from? White folks wielding new countertops? She'd weathered worse. Not to say she wasn't tempted. Most of her friends had left, passed on, or else lost their leases. Curtis wasn't the only one trying to show her the light. Real estate agents kept calling her up, knocking on her door, sliding their slick postcards into her mailbox. Please call me to discuss an exciting opportunity. Once she went to put out the trash, and a young fellow in a jacket and tie appeared at her side. Hattie thought he must have been sitting in his car, waiting for her. Like an eel, darting out from the rocks to snap. He offered to bring the can down to the curb for her. No, thank you, she could manage on her own. He left her with a card (sean godwin, licensed realtor) and a sheet of paper listing recent neighborhood sales. On Almond Street alone there were three, including the big wreck across the street. A ruined beauty, with a cratered roof, blank window frames, walls spray-­painted in wrathful scrawls. Hattie's eyes nearly fell out of her head when she saw the price. She counted the string of zeros and expected bulldozers any day. The buyer was a white lady, with other ideas. Plank by plank, dab by dab, the skeleton knit itself back together, grew flesh, skin, acquired a healthful glow. Hattie monitored the process through her curtains. A crew of Spanish men did the heavy work. Often, though, she saw the lady herself out there, her and her husband, or boyfriend more likely, smoking and laughing as they rolled paint, drove out a horde of raccoons. Or the lady alone, wearing overalls to hang wire for a chicken coop. Planting bamboo that rose to shut out the world. Everything changes, nothing remains. Hattie knew that. She accepted it. Truth be told it excited her a little--­the unexpected. Her husband, God rest him, called her a dreamer. She used to hide her mystery novels under the kitchen sink so he wouldn't lecture her. For this reason, perhaps, she harbored a particular closeness to Isaiah: he was a dreamer, too. I might come by and see you, Grandma. Is that okay? Was it okay. Hattie baked a coconut cake. Isaiah clocked her disappointment as soon as she opened the door. She'd begun moving in for a kiss, freezing as her eye picked out the metal bead snugged in the crease beneath his lower lip, as though it might sting her. He was going to have to take the initiative. He brought her into his arms and held her against him, smelling her scalp, the floral bite of her hairspray. She felt like straw. "Good to see you, Grandma." "You too, honey." She didn't say a word about the stud. He did catch her staring over dinner, or maybe that was him being paranoid. On the train down, he'd thought about taking it out, but he wasn't supposed to do that for a month or the hole could close up. He was aware of gumming up consonants--­F, V, P, B--­the backing clicking against his teeth. Certain foods presented a challenge. Hattie had prepared enough for ten. Chicken, beans, yams. He didn't dare refuse. He chewed with purpose, seated beneath the portrait of Grandpa William in his starched Navy uniform. "How are your parents?" she said. "Fine." His mother had seen the piercing and sighed. Isaiah. ­Really. "They say hi." "Tell me about school. What classes are you taking?" Structure of the Family, Imagining Ethnography, Comp 2, American Cultural Methodologies. He'd settled on sociology as a major. "Next semester I have a class on interviewing," he said. "I'm gonna call you up." "Me?" She waved him away. "What for?" But he could tell she was pleased. "You've seen some things," he said. "I'm old, you mean." "Grandma." "It's all right," she said. "I am old." She carried his empty plate into the kitchen, returning with a high cake smothered in coconut flakes and thick buttercream frosting. She fetched clean plates and a knife and bent to cut him a huge slice. He was trying to figure out how to decline when from out in the street came a deafening belch of static. "Shit," he said, twisting in his seat. Hattie clucked her tongue at him. He spread his palms on the vinyl tablecloth. His heart was going. "What was that?" She shook her head. He pushed back his chair, went over to the bay window, parted the curtains. The side gate of the mansion across the street was propped, and a portly, bearded white man was unloading a van, dollying a keg up a path toward the backyard. "Someone lives there?" he said. "A lady bought it," Hattie said. "What lady?" "She calls herself an artist." Isaiah studied the house, its windows warm, multicolored lights outlining the eaves. As long as he could remember, the place had served as a lair for junkies and squatters. Growing up--­before his parents dragged him and his sister out to the suburbs--­he had been forbidden from going anywhere near it. A second blast of static made him jump. "She's probably having one of her parties," Hattie said. She tapped the plate with the back of the knife. "Eat up, honey." In the time it took him to consume his dessert there were four more eruptions of noise, a man's amplified voice: Testing, one two, one two. House music boomed. Isaiah set down his fork. "Don't they have any respect?" "It's not that bad," Hattie said. "Are you kidding? It's like a bomb going off." "Since when did you ever hear a bomb?" "You can't sleep with that," he said. "It'll be over by midnight." He goggled at her. "Midnight?" She shrugged. The music cut out a few minutes later, as he was setting his backpack down on the guest room bed. The silence was as startling as the noise, causing him to tense all over, and then to flood with hot relief. He dug out his phone. Tuan had texted him an address. Isaiah replied he'd be there in thirty and went back downstairs, calling, "Yo Grandma." He found her hunched over the sink, skinny arms inside floppy yellow dish gloves. "Yes, honey?" "Hey," he said. Faltering, because she looked so frail. "Why don't I do that for you?" "Guests don't do the dishes." She gestured toward the living room, flinging soapy droplets. "Make yourself comfortable. Jeopardy!'s on. I'll come join you when I'm done." "Yeah, okay. Just," he said, scratching at his neck, "I kind of told some friends I might meet up with them." In the brief interval that followed he watched an unspoken hope of hers crumble. "But I can stay," he said. "Don't be silly. You go have fun. Which friends?" "Jalen." "That's Gladys Coombs's boy." He nodded. He didn't mention Tuan, she wouldn't approve. "It's nice you two keep in touch," Hattie said. "Yeah, for sure." She stripped off the dish gloves and went over to the kitchen table. Taking her pocketbook from her purse, she extracted a ten-­dollar bill. "Here." "That's okay, I'm fine." "Go on. Make an old lady happy." He accepted the money. "Thanks, Grandma." "You're welcome. Get the key off the hook before you go." She presented her cheek. He pursed his lips out far to kiss her, so that she wouldn't feel metal. Excerpted from A Measure of Darkness by Jonathan Kellerman, Jesse Kellerman 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.