Laura Lippman - The Most Dangerous Thing

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One of the most acclaimed novelists in America today, Laura Lippman has greatly expanded the boundaries of mystery fiction and psychological suspense with her Tess Monaghan p.i. series and her New York Times bestselling standalone novels (What the Dead Know, Life Sentences, I'd Know You Anywhere, etc.). With The Most Dangerous Thing, the multiple award winning author – recipient of the Anthony, Edgar®, Shamus, and Agatha Awards, to name but a few – once again demonstrates how storytelling is done to perfection. Set once again in the well-wrought environs of Lippman's beloved Baltimore, it is the shadowy tale of a group of onetime friends forced to confront a dark past they've each tried to bury following the death of one of their number. Rich in the compassion and insight into flawed human nature that has become a Lippman trademark while telling an absolutely gripping story, The Most Dangerous Thing will not be confined by genre restrictions, reaching out instead to captive a wide, diverse audience, from Harlan Coben and Kate Atkinson fans to readers of Jodi Picoult and Kathryn Stockett.

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“Not mine.” That bit of vanity is reserved for her publisher, the moneyman. He pays the bills, which entitles him to a monthly column, rambling on about some safe, boosterish profundity that never angers anyone. Except, perhaps, people who dislike exclamation marks and chamber-of-commerce boosterish crap.

“Still, I feel I have seen you somewhere.”

“You look familiar, too.”

She holds out her hand: “Lori Halloran.”

“Oh my god-the funeral. I’m so sorry.”

Margery has kept moving all this time and is far, far down the aisle. She turns around, makes an impatient hurry-up gesture. But there’s no way to walk away now. Lori Halloran is young, early thirties at most. She was Go-Go’s second wife, Gwen recalls. Estranged at the time of the accident, although she and her daughters were down front in the church, sitting with Tim Junior’s wife and girls, while the brothers flanked their mother. They were the little girls who wouldn’t go up to the casket.

“I’m really sorry,” Gwen repeats. “I’ve known him since he was a little boy, although we had fallen out of touch-”

“He talked about you a lot.”

“Me?” A lot?

“All of you. His brothers, you, a girl named Mickey, although it was a while before I even realized Mickey was a girl. He said that was the best time in his life, playing in the woods.”

“Really?” Before, perhaps. Before Chicken George did whatever he did. Why does Gwen still feel that twinge of guilt she always feels when that memory returns, unbidden? We shouldn’t have left him there. He was hurt. Whatever he did, it wasn’t right to leave him there to die alone.

“I admit, that’s not saying a lot. He wasn’t a very happy guy.”

How much do you know? What did Go-Go tell you?

Gwen chooses her words with care. “We had a lot of freedom. Sometimes I think we were the last generation to live that way. These days, we live near a state park, very pretty and bucolic, and I would never dream of letting my daughter play there, unsupervised.”

The “we” is a lie, used for convenience’s sake but it gives her a pang.

“Gordon was real paranoid about our girls, too. He didn’t even like them to be in our fenced backyard by themselves.”

“I saw them at the funeral. They’re beautiful little girls.” Gwen is not being polite. The girls are beautiful, as is their mother-blue eyes, blond hair, fair skin. Go-Go, for all his rough-and-tumble ways, always liked beauty, respected it. He had high standards, too. He clearly thought Tally Robison exquisite, he loved to look at her, grab her. Gwen, even after her transformation, did not impress him.

“My mother-in-law blames me for his death,” Lori says. Her tone is matter-of-fact, as if commenting on the weather, but she has to know this is a shocking thing to say. Neither Tim nor Sean mentioned it to Gwen. But then-Tim and Sean are a long way past the time when they felt obligated to tell Gwen things.

“Oh, people say all sorts of things when grieving-”

“She’s not entirely wrong.”

An older woman jostles Gwen to get to Lori’s bags, but that is the point of the craft fair, after all. She paws the little bags, snaps them open, runs the zippers up and down, fingers the lining. The bags deserve kinder hands, but if the woman is a buyer, Gwen doesn’t want to come between Lori and a sale. Lord knows if Go-Go had a life insurance policy, or if it paid off, given the uncertain circumstances of his death. Gwen digs through her own shoulder bag and finds her card, adds her cell and the landline for her father’s house.

“If you want to talk,” she says. “About anything.”

She assumes, hopes, Lori won’t follow up. Go-Go’s secrets are, in part, Gwen’s, although she likes to think she is the least guilty of the five, the sole bystander. All Gwen did was agree to go along, to let Sean be the spokesman and not insist on including the troubling details that might complicate their story when they told their parents. No, Lori will think better of it, decide she doesn’t want to talk, not to a virtual stranger. But if Lori does confide in Gwen, is Gwen obligated to tell her there are all sorts of reasons why Go-Go might have driven into that concrete barrier, none of which have anything to do with his second wife kicking him out? No need to worry. Lori won’t call. Even if she does, Gwen owes her nothing.

Yet several hours later, when Gwen places her cell phone by her girlhood bed, there is a text from Lori staring up at her.

I REALLY WOULD LIKE TO TALK TO YOU. SOON?

It’s the question mark-unsure, pleading-that makes the request impossible to ignore.

Chapter Twenty-six

It has taken several days, many promises, and a few threats, but Tim has finally corralled all three daughters and taken them to his mother’s house for Sunday lunch. “What about Mass?” his mother asked when told of the plan. He couldn’t bear to let her know her oldest two granddaughters are basically heathens, so he made up a story about the SATs and a sleepover and sent Arlene to Mass with his mother as the family’s sacrificial lamb. In old age, which seems to have fallen on Doris suddenly and even a little precociously-she’s barely in her sixties-she is as distractible as a baby.

The house on Sekots Lane was a desired destination when the girls were younger, a place they clamored to visit. It had a doll’s house feel to them-smaller in scale than the houses in their Stoneleigh neighborhood, and full of wonders. The carpet sweeper, a waist-high freezer in the basement stocked with Good Humor bars, Grandma’s “goodie jar,” the dogs. But the house and its inhabitants long ago ceased to entertain the girls. Lunch finished, the three sisters slump on the sofa in the downstairs rec room, watching the flat-screen television, a gift from Tim and Sean, connected to cable, a bill that Tim pays monthly, dismissing Doris’s protestations that she doesn’t need it. If not for cable television, the girls would never come here, but he doesn’t want to spell that out for his mother.

Yet even the television barely holds their interest. The older two are bent over their phones, texting, texting, texting, while the baby, as he still thinks of eight-year-old Karen, twirls her hair and watches them covetously. She has been told she can have a phone at age twelve, a decision she challenges daily, sometimes with fresh arguments, more often with mere petulance. Yesterday she told Tim she should have a phone because it would keep her safe from child molesters.

Only if you see them coming from a long way off, sweetheart.

What could the older girls be texting about on a Sunday afternoon? And to whom? Only last week, Lisa left her phone unattended and Tim seized the chance to read every text still in it, rationalizing that he was right to violate her privacy because of the Dani/joint incident. Yet the conversation, such as it was, revealed almost nothing. The only topics were location (at mall/at McDonald’s/at skate park) and mood. Everything is lame. Everyone is lame. Parents, friends, school, any activity. The jokes of the other texter are lame. Lord, is it any wonder that zombies are enjoying a resurgence in pop culture? This generation is the new walking dead, except they lumber away from brains, disdainful of anything that requires thought, passion, participation. He imagines his daughters vacant-eyed, arms stretched in front of them, tottering down the street moaning: “No brains, no brains.” But still texting, all the while.

“Some help with the dishes?” He tries to make it sound like a suggestion, yet one that cannot be ignored.

“Sure,” Michelle says.

“In a minute,” Lisa says.

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