John Connolly - Every Dead Thing

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“A truly harrowing murder plot… An ambitious foray…deep into Hannibal Lecter territory… The extravagantly gifted Connolly, living up to his title, is never too busy for another flashback to Bird’s violent past en route to his final confrontation with the Traveling Man.” – Kirkus Reviews
“For me, the best thing about an author’s first novel is its untarnished honesty. John Connolly’s EVERY DEAD THING has that reckless intensity. Set against the gritty canvas of a serial killer loose in New York City, John Connolly’s writing is as lilting and refreshing and as tempestuous as an Irish rainstorm. Warning: Don’t start this book unless you have time to finish it.” – Paul Lindsay, former FBI agent and author of Witness to the Truth
“Classic American crime fiction; it’s hard to believe that John Connolly was born and raised on the Emerald Isle.” – amazon.com
“[A] darkly ingenious debut novel… The New Orleanssequence of the novel sing[s]… The rural Virginia town is petty, bitter perfection: no mean feat for a native Dubliner. The prose rings of ’40s L.A. noir, à la Chandler and Hammett, but the grisly deaths, poetic cops, and psychic episodes set this tale apart.” – Publishers Weekly (starred review)
“An ambitious, moral, disturbing tale with a stunning climax… In many ways its terror quotient exceeds that of Thomas Harris’ great work.” – The Times (London)
“Connolly writes with confidence, a swaggering self-assurance that is almost breathtaking in a first novel.” – Dublin Evening Herald (Ireland)
“A debut novel of stunning complexity… The tension starts on the first page and continues right through the last, concluding in a dramatic and ambiguous way that could disturb readers’ thoughts for days. A work of fiction that stays with you long after the book is closed is a rare and beautiful thing. This one goes right up there on the year’s list of the best.” – St. Petersburg Times (FL)
“A nonstop, action-packed tale that also has a warm side where love and loyalty (not DNA) make a person human.” – Barnesandnoble.com
“Shades of The Silence of the Lambs here-but this debut book by Dubliner Connolly also has echoes of James Crumley, Patricia Cornwell, and Lawrence Block… A terrifying finale… Connolly manages to keep the tension simmering right to the very end.” – Express Star (UK)
“Absolutely spellbinding… This is not a book for the timid.” – Naples Daily News (FL)
“A big, meaty, often superbly written novel-astonishing, for a first-time author, in its scope and apparent veracity… A book of sudden, horrifying violence and no-holds-barred explicit scene-of-the-crime detail… A painstakingly researched crime novel, impressive both in terms of its driven central character [and] its scrupulously evoked geography… Impressive, too, is the superior, topflight prose and sheer momentum of the plot.” – Tangled Web (UK)
“[An] exciting, scary, and darkly humorous story that deserves to be a success.” – Irish News
“A highly intelligent and exciting novel, with almost enough action and story for two books. The grim and grisly events are emotionally balanced by the book’s dark humor and Bird’s vulnerability.” – Library Journal
“[A] stunning debut… Painstaking research, superb characterization, and an ability to tell a story that’s chilling and thought-provoking make this a terrific thriller.” – The Mirror (UK)
“Brilliant… While Thomas Harris’ Hannibal is the year’s most anticipated thriller, John Connolly’s EVERY DEAD THING might just be the best… A real adrenaline rush… Simply too good to be missed-or to put down.” – The Clarion-Ledger (Jackson, MS)

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I think now that I had always set out to kill him but that I had hidden the knowledge of what I intended to do in some corner of my mind. I draped it with self-serving justifications and excuses, the sort I had used for so long each time I watched a shot of whiskey poured in front of me, or heard the gassy snap of a bottle cap. Frozen by my own inability and the inability of others to find the killer of Susan and Jennifer, I saw a chance to strike out and I took it. From the moment I packed my gun and gloves and set out for the bus station, Johnny Friday was a dead man.

Friday was a tall, thin black man who looked like a preacher in his trademark dark three-buttoned suits and his collarless shirts fastened at the neck. He would hand out small Bibles and religious pamphlets to the new arrivals and offer them soup from a flask, and as the barbiturates it contained began to take effect, he would lead them from the station and into the back of a waiting van. Then they would disappear, as surely as if they had never arrived, until they turned up on the streets as beaten junkies, whoring for the fix that Johnny supplied at inflated prices while they pulled in the tricks that kept him rich.

His was a hands-on operation, and even in a business not noted for its humanity, Johnny Friday was beyond any kind of redemption. He supplied children to pedophiles, delivering them to the doors of selected safe houses, where they were raped and sodomized before being returned to their owner. If they were rich and depraved enough, Johnny would give them access to “the basement,” in an abandoned warehouse in the garment district. There, for a cash payment of ten thousand dollars, they could take one of Johnny’s stable, boy or girl, child or teen, they could torture, rape, and if they wished, kill, and Johnny would take care of the body. He was noted, in certain circles, for his discretion.

In my search for the killer of my wife and child, I had learned of Johnny Friday. From a former snitch I learned that Johnny sometimes dealt in pictures and videos of sexual torture, that he was a leading source of this material, and that anyone whose tastes ran in that direction would, at some point, come into contact with Johnny Friday or one of his agents.

And so I watched him for five hours from an Au Bon Pain in the station, and when he went to the washroom, I followed him. It was divided into sections, the first mirrored, with sinks, the second lined with urinals along the end wall and two sets of stalls opposite, divided by a central aisle. An old man in a stained uniform sat in a small, glass-lined cubicle beside the sinks but he was engrossed in a magazine when I entered behind Johnny Friday. Two men were washing their hands at the sinks, two were standing at the urinals, and three of the stalls were occupied, two in the section to the left, one in the section to the right. Piped music was playing, some unrecognizable tune.

Johnny Friday walked, hips swinging, to the urinal at the far right of the wall. I stood two urinals away from him as I waited for the other men to finish. As soon as they had finished I moved behind Johnny Friday, clasping my hand on his mouth and pressing the Smith & Wesson into the soft skin beneath his chin as I pushed him into the end stall, the farthest away from the other occupied stall on that side.

“Hey, don’t, man, don’t,” he whispered, his eyes wide. I brought my knee up hard into his groin and he fell down heavily on his knees as I locked the door behind us. He tried weakly to rise and I hit him hard in the face. I brought the gun close to his head again.

“Don’t say a word. Turn your back to me.”

“Please, man, don’t.”

“Shut up. Turn.”

He inched slowly round on his knees. I pulled his jacket down over his arms and then cuffed him. From my other pocket I took a rag and a roll of duct tape. I stuffed the rag in his mouth and wrapped the tape around his head two or three times. Then I pulled him to his feet and pushed him down on to the toilet. His right foot came up and caught me hard on the shin and he tried to push himself up, but he was off balance and I hit him again. This time he stayed down. I held the gun on him and listened for a moment in case anyone came to see what the noise was. There was only the sound of a toilet flushing. No one came.

I told Johnny Friday what I wanted. His eyes narrowed as he realized who I was. Sweat poured from his forehead and he tried to blink it from his eyes. His nose was bleeding slightly and a thin trickle of red ran from beneath the duct tape and rolled down his chin. His nostrils flared as he breathed heavily through them.

“I want names, Johnny. Names of customers. You’re going to give them to me.”

He snorted in disdain and blood bubbled from a nostril. His eyes were cold now. He looked like a long, black snake with his slicked-back hair and slitted, reptilian eyes. When I broke his nose they widened in shock and pain.

I hit him again, once, twice, hard blows to the stomach and head. Then I pulled the tape down hard and dragged the bloodied rag from his mouth.

“Give me names.”

He spat a tooth from his mouth.

“Fuck you,” he said. “Fuck you and your dead bitches.”

What happened after is still not clear to me. I remember hitting him again and again, feeling bone crunch and ribs break and watching my gloves darken with his blood. There was a black cloud in my mind and streaks of red ran through it like strange lightning.

When I stopped, Johnny Friday’s features seemed to have melted into a bloody blur. I held his jaw in my hands as blood bubbled from his lips.

“Tell me,” I hissed. His eyes rolled toward me, and like a vision of some craggy entrance to Hell, his broken teeth showed behind his lips as he managed one last smile. His body arched and spasmed once, twice. Thick black blood rolled from his nose and mouth and ears, and then he died.

I stood back, breathing heavily. I wiped my blood-spattered face as best I could and cleaned some of the blood from the front of my jacket, although it hardly showed against the black leather and my black jeans. I took the gloves from my hands, stuffed them in my pocket, and then flushed the toilet before peering carefully out and pulling the door closed behind me as I left. Blood was already seeping out of the stall and pooling in the cracks between the tiles.

I realized that the noise of Johnny Friday’s dying must have echoed around the washroom but I didn’t care. As I left I passed only an elderly black man at the urinals and he, like a good citizen who knows when to mind his own business, didn’t even glance at me. There were other men at the sinks, who gave me a cursory look in the mirror. But I noticed that the old man was gone from his glass cubicle and I ducked into an empty departure gate as two cops came running toward the washroom from the upper level. I made my way to the street through the ranks of buses beneath the station.

Perhaps Johnny Friday deserved to die. Certainly no one mourned his passing and the police made little more than a cursory effort to find his killer. But there were rumors, for Walter, I think, had heard them.

But I live with the death of Johnny Friday as I live with the deaths of Susan and Jennifer. If he did deserve to die, if what he got was no more than he merited, yet it was not for me to act as his judge and executioner. “In the next life we get justice,” someone once wrote. “In this one we have the law.” In Johnny Friday’s last minutes there was no law and only a kind of vicious justice that was not for me to give.

I did not believe that my wife and child were the first to die at the hands of the Traveling Man, if that was who he was. I still believed that somewhere in a Louisiana swamp lay another and in her identity was the clue that would open up the world of this man who believed he was not a man. She was part of a grim tradition in human history, a parade of victims stretching back to ancient times, back to the time of Christ and before that, back to a time when men sacrificed those around them to placate gods who knew no mercy and whose natures they both created and imitated in their actions.

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