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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“It’s a family thing,” he said as I left. Behind me, the door closed with a soft click like the knocking of bones.

After Joe Bones died, we gathered the bodies of the Fontenot dead on the lawn in front of the house. The five men lay side by side, crumpled and torn as only the dead can be. The gates to the plantation were opened and the Dodge, the VW and the pickup sped in. The bodies were loaded gently but quickly into the trunks of the cars, the injured helped into the rear seats. The pirogues were doused in gasoline, set on fire, and left to float down the river.

We drove from the plantation and kept driving until we reached the rendezvous point at Starhill. The three black Explorers I had seen at the Delacroix compound stood waiting, their motors idling, their lights dimmed. As Leon sprayed gasoline into the cars and the pickup, the bodies of the dead were removed, wrapped in tarps, and placed in the backs of two of the jeeps. Louis and I watched it all in silence.

As the jeeps roared into life and Leon threw lighted rags into the discarded vehicles, Lionel Fontenot walked over to us and stood with us as they burned. He took a small green notebook from his pocket, scribbled a number on a sheet, and tore it out.

“This guy will look after your friend’s hand. He’s discreet.”

“He knew who killed Lutice, Lionel,” I said.

He nodded. “Maybe. He wouldn’t tell, not even at the end.” He rubbed his index finger along a raw cut on the palm of his right hand, picking dirt from the wound. “I hear the feds are looking for someone around Baton Rouge, used to work in a hospital in New York.”

I stayed silent and he smiled. “We know his name. Man could hide out in the bayou for a long time, he knew his way around. Feds might not find him, but we will.” He gestured with his hand, like a king displaying his finest troops to his worried subjects. “We’re looking. We find him, it’ll end there.”

Then he turned and climbed into the driver’s seat of the lead jeep, Leon beside him, and they disappeared into the night, the red taillights like falling cigarettes in the darkness, like burning boats floating on black water.

I called Angel as we drove back to New Orleans. At an all-night drugstore I picked up antiseptic and a first-aid kit so we could work on Louis’s hand. There was a sheen of sweat on his face as I drove and the white rags binding his fingers were stained a deep red. When we arrived back at the Flaisance, Angel cleansed the wound with the antiseptic and tried to stitch it with some surgical thread. The knuckle looked bad and Louis’s mouth was stretched tight with pain. Despite his protests, I called the number we had been given. The bleary voice that answered the phone on the fourth ring shook the sleep from its tones when I mentioned Lionel’s name.

Angel drove Louis to the doctor’s office. When they had gone, I stood outside Rachel’s door and debated whether or not to knock. I knew she wasn’t asleep: Angel had spoken to her after I called, and I could sense her wakefulness. Still, I didn’t knock, but as I walked back toward my own room her door opened. She stood in the gap, a white T-shirt reaching almost to her knees, and waited for me. She stood carefully aside to let me enter.

“You’re still in one piece, I see,” she said. She didn’t sound particularly pleased.

I felt tired and sick from the sight of blood. I wanted to plunge my face into a sink of ice-cold water. I wanted a drink so badly my tongue felt swollen inside my mouth and only a bottle of Abita, ice frosting on its rim, and a shot of Redbreast whiskey could restore it to its normal size. My voice sounded like the croak of an old man on his deathbed when I spoke.

“I’m in one piece,” I said. “A lot of others aren’t. Louis took a bullet across the hand and too many people died out at the house. Joe Bones, most of his crew, his woman.”

Rachel turned her back and walked to the balcony window. Only the bedside lamp lit the room, casting shadows over the illustrations that she had kept from Woolrich and that were now restored to their places on the walls. Flayed arms and the face of a woman and a young man emerged from the semidarkness.

“What did you find out, for all that killing?”

It was a good question. As usual with good questions, the answer didn’t live up to it.

“Nothing, except that Joe Bones was happier to die painfully than to tell us what he knew.”

She turned then. “What are you going to do now?”

I was getting tired of questions, especially questions as difficult as these. I knew she was right and I felt disgusted at myself. It felt as if Rachel had become tainted through her contact with me. Maybe I should have told her all of those things then, but I was too tired and too sick and I could smell blood in my nostrils; and, anyway, I think she already knew most of it.

“I’m going to bed,” I said. “After that, I’m winging it.” Then I left her.

47

THE NEXT MORNING I awoke with an ache in my arms from toting the Calico, exacerbated by the lingering pain of the gunshot wound inflicted in Haven. I could smell powder on my fingers, in my hair, and on my discarded clothes. The room stank like the scene of a gunfight, so I opened the window and let the hot New Orleans air slip heavily into the room like a clumsy burglar.

I checked on Louis and Angel. Louis’s hand had been expertly bound after the doctor picked the shards of bone from the wound and padded the knuckle. Louis barely opened his eyes as I exchanged a few quiet words with Angel at the door. I felt guilty for what had happened, although I knew that neither of them blamed me.

I sensed, too, that Angel was anxious now to return to New York. Joe Bones was dead, and the police and the feds were probably closing in on Edward Byron, despite Lionel Fontenot’s doubts. Besides, I didn’t believe that it would take long for Woolrich to connect us to what had happened to Joe Bones, especially if Louis was walking around with a bullet crease on his hand. I told Angel all of this and he agreed that they would leave as soon as I returned, so that Rachel would not be left alone. The whole case seemed to have ground to a kind of halt for me. Elsewhere, the feds and the Fontenots were hunting Edward Byron, a man who still seemed as distant from me as the last emperor of China.

I left a message for Morphy. I wanted to see what his people had on Byron; I wanted to add flesh to the figure. As things stood, he was as shorn of identity as the faceless figures of the slain that the feds believed he had left behind. The feds might well have been right. With the local police, they could conduct a better search than a bunch of visitors from New York with delusions of adequacy. I had hoped to work my way toward him from a different direction, but with the death of Joe Bones that path seemed to have come to an end in a tangle of dark undergrowth.

I took my phone and my book of Ralegh’s writings and headed for Mother’s on Poydras Street, where I drank too many cups of coffee and picked at some bacon and brown toast. When you reach one of life’s dead ends, Ralegh is good company. “Go soul…since I needs must die / And give the world the lie.” Ralegh knew enough to take a stoical attitude to adversity, although he didn’t know enough to avoid getting his head cut off.

Beside me, a man ate ham and eggs with the concentrated effort of a bad lover, yellow egg yolk tingeing his chin like sunlight reflected from a buttercup. Someone whistled a snatch of “What’s New?” then lost his thread in the complicated chord changes of the song. The air was filled with the buzz of late morning conversation, a radio station easing into neutral with a bland rock song and the low, aggravated hum of distant, slow-moving traffic. Outside, it was another humid New Orleans day, the kind of day that leads lovers to fight and makes children sullen and grim.

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