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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As soon as her “husband” was found, Rochelle Hines vanished with her son and a small quantity of jewelry and cash before anyone could come after them. She resurfaced one year later in the area that would come to be called Desire, where a half sister rented a property. The death of Sal had destroyed her: she was an alcoholic and had become addicted to morphine.

It was here, among the rising projects, that Joe Bones grew up, paler yet than his mother, and made his stand against both blacks and whites since neither group would accept him as its own. There was a rage inside Joe Bones and he turned it on the world around him. By 1990, ten years after his mother’s death in a filthy cot in the projects, Joe Bones owned more bars than his father had thirty years before, and each month, planeloads of cocaine flew in from Mexico, bound for the streets of New Orleans and points north, east, and west.

“Now Joe Bones calls himself a white man, and don’t nobody differ with him,” said Morphy. “Anyway, how’s a man gonna talk with his balls in his mouth? Joe got no time for the brothers now.” He laughed quietly. “Ain’t nothin’ worse than a man who can’t get on with his in-laws.”

We stopped at a gas station and Morphy filled the tank, then came back with two sodas. We sipped them by the pumps, watching the cars go by.

“Now there’s another crew, the Fontenots, and they got their eyes on the projects too. Two brothers, David and Lionel. Family was out of Lafayette originally, I think-still got ties there-but came to New Orleans in the twenties. The Fontenots are ambitious, violent, and they think maybe Bonanno’s time has come. All of this has been coming to a head for about a year now, and maybe the Fontenots have a piece of work planned for Joe Bones.”

The Fontenots were not young men-they were both in their forties-but they had gradually established themselves in Louisiana and now operated out of a compound in Delacroix guarded by wire and dogs and armed men, including a hardcore of Cajuns from back in Acadiana. They were into gambling, prostitution, some drugs. They owned bars in Baton Rouge, one or two others in Lafayette. If they could take out Joe Bones, it was likely that they would muscle in on the drugs market in a big way.

“You know anything about the Cajuns?” asked Morphy.

“No, not beyond their music.”

“They’re a persecuted minority in this state and in Texas. During the oil boom, they couldn’t get any work because the Texans refused to employ coon asses. Most of them did what we all do when times are tough: they knuckled down and made the best of things. There were clashes with the blacks, because the blacks and the Cajuns were competing for the same few jobs, and some bad things went down, but most people just did what they could to keep body and soul together without breaking too many laws.

“Roland Fontenot-that’s the grandfather-he left all that behind when he came to New Orleans, following some other obscure branch of the family. But the boys, they never forgot their roots. When things were bad in the seventies, they gathered a pretty disaffected bunch around them-a lot of young Cajuns, some blacks-and somehow kept the mixture from blowing up in their faces.” Morphy drummed his fingers on the dashboard. “Sometimes I think maybe we’re all responsible for the Fontenots. They’re a visitation on us, because of the way their people were treated. I think maybe Joe Bones is a visitation too, a reminder of what happens when you grind a section of the population into the dirt.”

Joe Bones had a vicious streak, said Morphy. He once killed a man by slowly burning him with acid over the space of an afternoon and was thought by some to be missing part of his brain, the part that controlled unreasonable actions in most men. The Fontenots were different. They killed, but they killed like businessmen closing down an unprofitable or unsatisfactory operation. They killed joylessly, but professionally. In Morphy’s view, the Fontenots and Joe Bones were all bad. They just had different ways of expressing it.

I finished my soda and trashed the can. Morphy wasn’t the type to spin a yarn for its own sake. All of this was leading up to something.

“What’s the point, Morphy?” I asked.

“The point is, the fingerprint that was found at Tante Marie’s belongs to Tony Remarr. He’s one of Joe Bones’s men.” I thought about that as he started the car and pulled into the street, trying to match the name to any incident that might have occurred back in New York, anything that might connect me to Remarr. I found nothing.

“You think he did it?” Morphy asked.

“Do you?”

“No, no way. At first I thought, yeah, maybe. You know, the old woman, she owned that land. Wouldn’t have taken much drainage work to make something of it.”

“If a man was considering opening a big hotel and building a leisure center.”

“Exactly, or if he wanted to convince someone he was serious enough about it to dump some bricks there. I mean, swamp’s swamp. Assuming he could get permission to build, who wants to share the warm evening air with critters even God regrets making?

“Anyway, the old woman wouldn’t sell. She was shrewd. Her people have been buried out there for generations. The original landowner, an old Southern type who traced his ancestry back to the Bourbons, died in sixty-nine. He stipulated in his will that the land should be offered for sale at a reasonable rate to the existing tenants.

“Now most of the tenants were Aguillards and they bought that land with all the money they had. The old woman, she made all the decisions for them. Their ancestors are there and they have a history with that land going back to the time when they wore chains around their ankles and dug channels through the dirt with their bare hands.”

“So Bonanno had been putting pressure on her to sell up, but she wouldn’t, so he decided to take things a step further,” I said.

Morphy nodded. “I figure maybe Remarr was sent out to put more than pressure on her-maybe he’s going to threaten the girl or some of the children, maybe even kill one of them-but when he arrives she’s already dead. And maybe Remarr gets careless from the shock, thinks he hasn’t left any traces, and heads off into the night.”

“Does Woolrich know all this?”

“Most of it, yeah.”

“You bringing Bonanno in?”

“Brought him in last night and let him go an hour later, accompanied by a fancy lawyer called Rufus Thibodeaux. He ain’t movin’, says he ain’t seen Remarr for three or four days. Says he wants to find Remarr as much as anyone, something about money from some deal out in West Baton Rouge. It’s bullshit, but he’s sticking with the story. I think Woolrich is going to try to put some pressure on his operations through Anti-Racketeering and Narcotics, put the squeeze on him to see if he can change his mind.”

“That could take time.”

“You got a better idea?”

I shrugged. “Maybe.”

Morphy’s eyes narrowed. “You don’t be fuckin’ with Joe Bones, now, y’hear? Joe ain’t like your boys back in New York, sittin’ in social clubs in Little Italy with their fingers curled around the handles of espresso cups, dreaming about the days when everyone respected them. Joe don’t got no time for that. Joe don’t want folks to respect him; Joe wants folks to be scared to death of him.”

We turned onto Esplanade. Morphy signaled and pulled in about two blocks from the Flaisance. He stared out the window, tapping the index finger of his right hand against the steering wheel to some internal rhythm in his head. I sensed he had something more to say. I decided to let him say it in his own time.

“You’ve spoken to this guy, the guy who took your wife and kid, right?”

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