Jeffery Deaver - The Empty Chair

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The Barnes Noble Review
May 2000
The Empty Chair is the third – or, if you count a guest appearance in the millennial thriller The Devil's Teardrop, the fourth – novel to feature Lincoln Rhyme, the irascible forensic genius who became a quadriplegic when a cave-in at a crime scene damaged his spinal cord beyond repair. The series began in 1997 with The Bone Collector, which was recently made into a so-so film starring Denzel Washington. Every Rhyme novel to date has been characterized by authentic forensic detail and wild, even extravagant plotting, and the latest entry is no exception. The Empty Chair may, in fact, be the single trickiest suspense novel published so far this year.
Unlike earlier volumes, The Empty Chair takes place outside of New York City in the bucolic but sinister environs of Paquenoke County, North Carolina. Rhyme – accompanied by his long-suffering physical therapist, Thom, and his beloved forensic assistant, Amelia Sachs – has just been accepted as a patient at the Medical Center of the University of North Carolina, where he is scheduled to undergo an experimental procedure that might increase the range of his mobility but might, on the other hand, result in his death. Shortly after his arrival, Lincoln 's plans are disrupted by an unforeseen emergency. Jim Bell, Paquenoke County sheriff, has trouble on his hands and needs Lincoln 's expertise.
According to Bell, a disturbed teenager – known, for reasons that become graphically clear, as the Insect Boy – has murdered a local football hero and abductedtwoyoung women. Convinced that the women have only hours to live, Bell asks Lincoln to examine the trace evidence found at the abduction site in the faint hope of pinpointing the kidnapper's location. Though he knows nothing about the physical composition of the surrounding area – he and Sachs, as he repeatedly comments, are "fish out of water" in the American South – Rhyme agrees to help. Once again using Amelia Sachs as his eyes and legs, he sets up an ad hoc forensic lab in a borrowed corner of the local Sheriff's office and goes to work.
This sort of scenario – a crazed killer, a race against time, a scattered handful of clues – offers more than enough drama to fuel any number of traditional suspense novels. In The Empty Chair, however, this same scenario is merely the first level of a complex, multitiered mystery that constantly confounds our most fundamental expectations. The first indication that The Empty Chair contains unexpected depths comes when Lincoln, flawlessly interpreting his disparate bits of evidence, locates both the Insect Boy (Garrett Hanlon) and his most recent victim (an oncology nurse named Lydia Johannsen) within the first 150 pages. At that point, Deaver throws away the rulebook.
After talking with Garrett Hanlon in the Paquenoke County jail, Amelia develops the instinctive sense that Garrett might, as he continually claims, be a victim, and that another unidentified killer might still be at large. In a moment of intuitive – and reckless – empathy, Amelia abandons her professional principles and escapes with Garrett, determined both to prove the boy's innocence and rescue the remaining victim, a local history student named Mary Beth McConnell. From this point forward, almost nothing that happens in The Empty Chair is even remotely predictable.
It would spoil too many of the carefully constructed surprises to reveal the plot in any more detail. Suffice it to say that the narrative – which seems, at first, a simple but effective chase story – broadens and deepens to become something stranger and infinitely more complex. Throwing a varied assortment of people and elements into the mix – a trio of Deliverance-style rednecks, an emotionally scarred cancer survivor, a revisionist account of the Lost Colony of Roanoke, an apparently deranged deputy sheriff, a pair of incipient rapists, the hidden motivations of a wealthy industrialist, and the tragic history of Tanner's Corner, a "town without children" – Deaver constructs an artful, entertaining melodrama that has much to say about the destructive consequences of uncontrolled greed.
If The Empty Chair has a besetting weakness, it is Deaver's relentless determination to dazzle the reader with his narrative sleight of hand, piling on an endless, constantly escalating series of shocks, surprises, and unexpected twists that might, in a lesser writer's hands, have become just a bit too much. But Deaver, as usual, is a consummate professional, and he holds it all together with the ease and assurance of a natural storyteller. Readers familiar with the earlier adventures of Lincoln Rhyme will be lining up for this one, which seems likely to attract a substantial number of new readers, as well. The Empty Chair is Jeffery Deaver at his best and most devious and is recommended, without reservation, to anyone in search of intelligent, high-adrenaline entertainment.
– Bill Sheehan

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"Look there!" he cried.

"What?"

He was pointing to something she couldn't see. He stared at a spot near the shore, lost in whatever tiny drama was being played out on the water. All Sachs could see was some bug skipping over the surface.

"Water strider," he told her then sat back as they eased past. His face grew serious. "Insects're, like, a lot more important than us. I mean, when it comes to keeping the planet going. See – I read this someplace – if all the people on earth disappeared tomorrow the world'd keep going just fine. But if the insects all went away then life'd be over with way fast – like, one generation. The plants'd die then the animals and the earth'd turn into this big rock again."

Despite his adolescent vernacular Garrett spoke with the authority of a professor and the verve of a revivalist. He continued, "Yeah, some insects're a pain in the ass. But that's only a few of them, like one or two percent." His face grew animated and he said proudly, "And the ones that eat crops and stuff, well, I have this idea. It's pretty cool. I want to breed this special kind of golden lacewing to control the bad ones, instead of poisons – so the good insects and other animals don't die. The lacewing'd be the best. Nobody's done that yet."

"You think you can, Garrett?"

"I don't exactly know how yet. But I'm gonna learn."

She recalled what she'd read in his book, E. O. Wilson's term, biofilia – the affection people have for other types of life on the planet. And as she listened to him telling her this trivia – all proof of a love of nature and learning – foremost in her thoughts was this: anyone who could be so fascinated by living creatures and, in his odd way, could love them couldn't possibly be a rapist and killer.

Amelia Sachs held on tightly to this thought and it sustained her as they navigated the Paquenoke, escaping from Lucy Kerr and from the mysterious man in the tan overalls and from the simple, troubled town of Tanner 's Corner.

Escaping from Lincoln Rhyme too. And from his impending operation and the terrible consequences it might have for both of them.

The narrow boat eased through the tributaries, no longer black water but golden, camouflaged – reflecting the low sunlight – just like that French cricket Garrett had told her about. Finally the boy steered out of the back routes and into the main channel of the river, hugging the shore. Sachs looked behind them, to the east, to see if there were police boats in pursuit. She saw nothing except one of the big Davett Industries barges, headed upstream – away from them. Garrett throttled back on the motor and eased into a little cove. He peered through an overhanging willow branch, looking west toward a bridge that ran across the Paquenoke.

"We have to go under it," he said. "We can't get around." He studied the span. "You see anybody?"

Sachs looked. She saw a few flashes of light. "Maybe. I can't tell. There's too much glare."

"That's where the assholes'd be waiting for us," he said uneasily. "I always worry about the bridge. People looking for you."

Always?

Garrett beached the boat and shut the motor off. He climbed out and unscrewed a turn-bolt securing the outboard, which he pulled off and hid in the grass, along with the gas tank.

"What're you doing?" she asked.

"Can't take a chance of getting spotted."

Garrett took the cooler and the water jugs out of the boat and lashed the oars to the seats with two pieces of greasy rope. He poured the water out of a half-dozen of the jugs and recapped them, set them aside. He nodded toward the bottles. "Too bad about the water. Mary Beth doesn't have any. She'll need some. But I can get some for her from this pond near the cabin." Then he waded into the river and gripped the boat by the side. "Help me," he said. "We've got to capsize it."

"We're going to sink it?"

"No. Just turn her upside down. We'll put the jugs underneath. She'll float fine."

"Upside down?"

"Sure."

Sachs realized what Garrett had in mind. They'd get up underneath the boat and float past the bridge. The dark hull, low in the water, would be almost impossible to see from the bridge. Once they were past they could right the boat and row the rest of the way to where Mary Beth was.

He opened the cooler and found a plastic bag. "We can put our things in it that we don't want to get wet." He dropped his book, The Miniature World , inside it. Sachs added her wallet and the gun. She tucked her T-shirt into her jeans and slipped the bag down the front of her shirt.

Garrett said, "Can you take my cuffs off?" He held his hands out.

She hesitated.

"I don't want to drown," he said, eyes imploring.

I'm scared. Make him stop!

"I won't do anything bad. I promise."

Reluctantly Sachs fished the key from her pocket and undid the cuffs.

• • •

The Weapemeoc Indians, native to what is now North Carolina, were, linguistically, part of the Algonquin nation and were related to the Powhatans, the Chowans and the Pamlico tribes in the Mid-Atlantic portion of the United States.

They were excellent farmers and were envied among their fellow Native Americans for their fishing prowess. They were peaceful to an extreme and had little interest in arms. Three hundred years ago the British scientist Thomas Harriot wrote, "Those weapons that they have, are onlie bowes made of Witch hazle, and arrows of reeds; neither have they anything to defend themselves but targets made of barcks; and some armours made of sticks wickered together with thread."

It took British colonists to turn these people militant and they did so quite efficiently by, simultaneously, threatening them with God's wrath if they didn't convert immediately to Christianity, decimating the population by importing influenza and smallpox, demanding food and shelter they were too lazy to provide for themselves and murdering one of the tribe's favorite chiefs, Wingina, who, the colonists were convinced, erroneously, as it happened, was plotting an attack on the British settlements.

To the colonists' indignant surprise, rather than accepting the Lord Jesus Christ into their hearts, the Indians declared allegiance to their own deities – spirits called Manitous – and then war against the British, the opening action of which (according to history as writ by young Mary Beth McConnell) was the assault on the Lost Colonists at Roanoke Island.

After the settlers fled, the tribe – anticipating British reinforcements – took a new look at weaponry and began to use copper, which had been used only for decoration, in making arms. Metal arrowheads were much sharper than flint and easier to make. However, unlike in the movies, an arrow fired by an unpulleyed bow usually won't penetrate very far into the skin and is rarely fatal. To finish off his wounded adversary the Weapemeoc warrior would apply the coup de grace – a blow to the head with a club called, appropriately, a "coup stick," which the tribe became very talented in making.

A coup stick is nothing more than a large, rounded rock bound into the split end of a stick and lashed into place with a leather thong. It's a very efficient weapon, and the one that Mary Beth McConnell was now making, based on her knowledge of Native American archaeology, was surely as deadly as the ones that – in her theory – had crushed the skulls and snapped the spines of the Roanoke settlers as they fought their last battle on the shores of the Paquenoke at what was now called Blackwater Landing.

She'd made hers out of two curved support rods from the old dinner table chair in the cabin. The rock was the one that Tom, the Missionary's friend, had flung at her. She'd mounted it in between the two rods and bound it with long strips of denim torn from her shirttail. The weapon was heavy – six or seven pounds – but it wasn't too heavy for Mary Beth, who regularly lifted thirty- and forty-pound rocks at archaeological digs.

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