Karin Slaughter - Fractured

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‘No one does American small-town evil more chillingly… Slaughter tells a dark story that grips and doesn't let go' – The Times
‘Without doubt an accomplished, compelling and complex tale, with page-turning power aplenty' – Daily Express
‘Slaughter deftly turns all assumptions on their head… Her ability to make you buy into one reality, then another, means that the surprises – and the violent scenes – keep coming' – Time Out
‘A great read… crime fiction at its finest' – MICHAEL CONNELLY
‘A fast-paced and unsettling story… A compelling and fluid read' – Daily Telegraph
‘Criminally spectacular' – OK!
‘Slaughter knows exactly when to ratchet up the menace, and when to loiter on the more personal and emotional aspects of the victims. Thoroughly gripping, yet thoroughly gruesome stuff' – Daily Mirror
‘Slaughter's plotting is relentless, piling on surprises and twists… A good read that should come with a psychological health warning' – Guardian
‘The writing is lean and mean, and the climax will blow you away' – Independent
‘Karin Slaughter is a fearless writer. She takes us to the deep, dark places other novelists don't dare to go… one of the boldest thriller writers working today' – Tess Gerritsen
‘Confirms her at the summit of the school of writers specialising in forensic medicine and terror… Slaughter's characters talk in believable dialogue. She's excellent at portraying the undertones and claustrophobia of communities where everyone knows everyone else's business, and even better at creating an atmosphere of lurking evil' – The Times
‘Brilliantly chilling' – heat
‘A salutary reminder that Slaughter is one of the most riveting writers in the field today' – Sunday Express
‘Don't read this alone. Don't read this after dark. But do read it' – Daily Mirror
‘With Blindsighted, Karin Slaughter left a great many mystery writers looking anxiously over their shoulders. With Kisscut, she leaves most of them behind' – JOHN CONNOLLY
‘Brilliant plotting and subtle characterisation make for a gruesomely gripping read' – Woman Home
‘Unsparing, exciting, genuinely alarming… excellent handling of densely woven plot, rich in interactions, well characterised and as subtle as it is shrewd' – Literary Review
‘Energetic, suspenseful writing from Slaughter, who spares no detail in this bloody account of violent sexual crime but also brings compassion and righteous anger to it' – Manchester Evening News
‘It's not easy to transcend a model like Patricia Cornwell, but Slaughter does so in a thriller whose breakneck plotting and not-for-the-squeamish forensics provide grim manifestations of a deeper evil her mystery trumpets without ever quite containing' – Kirkus Reviews
‘Slaughter has created a ferociously taut and terrifying story which is, at the same time, compassionate and real. I defy anyone to read it in more than three sittings' – DENISE MINA
‘Wildly readable… [Slaughter] has been compared to Thomas Harris and Patricia Cornwell, and for once the hype is justified…deftly crafted, damnably suspenseful and, in the end, deadly serious. Slaughter's plotting is brilliant, her suspense relentless' – Washington Post
‘Taut, mean, nasty and bloody well written. She conveys a sense of time and place with clarity and definite menace – the finely tuned juxtaposition of sleepy Southern town and urgent, gut-wrenching terror' – STELLA DUFFY

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"You need to eat," Beatrice told her. "You want to be strong when Emma comes home."

Abigail shook her head, not wanting to think about food. Her mother had been speaking in these sorts of declarative statements since she'd arrived yesterday afternoon. Emma was the fulcrum to everything, whether it was coaxing Abigail to get out of bed or making her comb her hair for the press conference.

Beatrice addressed Hamish. "Young man, would you like something to eat?"

"No, thank you, ma'am." He kept his head down, checking his computer equipment again. Bless his heart, the man was terrified of Beatrice and her desire to put everything in order. From the moment she started straightening, Hamish had stationed himself in the kitchen, hovering over his equipment for fear she would touch something. When the other technician came to relieve him for the night, Hamish had told the man to go away. Abigail wanted to think his actions were out of concern for his computer equipment rather than any indication that the situation had escalated.

She shuddered, the mechanical voice on the phone coming back to her.

Is this the mother?

The ransom call had changed everything. The whispers between Paul and her father had increased. They had talked about the money, the logistics of putting their hands on the cash, as if the kidnapper had asked for billions instead of one million. Abigail knew for a fact that they had at least a million and a half in their money market account. Barring that, her father could have the sum couriered to his doorstep with just a phone call. Something was going on- something that they didn't want to tell Abigail about. She was at turns furious and relieved that they weren't involving her.

"Now," Beatrice said, sitting on the opposite side of the couch. She was on the edge of the cushion, her knees pressed together, legs slanted to the side. Abigail could not remember ever seeing her mother slump against anything. She seemed to have a spine made of titanium. "We need to talk about what you are doing to yourself."

Abigail glanced back at Hamish, who was studying something on his computer screen. "Do we need to have this conversation now, Mother?"

"Yes, we do."

She wanted to roll her eyes. She wanted to flounce. How easily she fell back into that rebellious pattern when Abigail could plainly see that all her mother was doing was trying to help her. Why was it so much easier with her father? Why was it that Hoyt had persuaded her to eat a piece of cheese toast and change into a fresh set of clothes? Why was it so much easier to cry on his shoulder than to take comfort from her mother?

Beatrice took her hand. "You're crying again."

"Am I allowed to do that?" Abigail stared at the stack of newspapers on the coffee table, the printouts from the Washington Post and the Seattle Intelligencer . Paul had downloaded every story he could find, scouring the reports for some detail that he was certain the police were withholding from them. He was paranoid about everything, quizzing Abigail about crime-scene details the press had made up, conjecture they'd put out as real news. Three years ago, Adam Humphrey had been cautioned for driving without proof of insurance. Did that point to a darker side the police weren't talking about? Kayla had been kicked out of her last school for smoking on campus. Did that mean she was doing harder drugs? Did her drug dealer bring this insanity into their lives? Was there some thug out there who was pumping Emma full of dope right now?

Making matters worse, Paul's temper was more uncontrollable than ever. Abigail had pressed him for details about the fight with Will Trent yesterday and he had gotten so angry with her that she'd left the room rather than hear his tirade. She wanted to say that she didn't even know him anymore, but that wasn't true. This was exactly the Paul she had always known was there. Tragedy just brought out the finer points, and, frankly, their privileged lives had made character flaws easier to overlook.

They were used to living in eight thousand square feet of space-plenty of room to get away from each other. The carriage house, with its cozy kitchen/living room and single bedroom, was too small for them now. They were tripping over each other, constantly in each other's way. Abigail thought that she was just as much a prisoner of this space as Emma was-wherever that may be.

What she really wanted to do was grab him, punch him, do something to punish him for letting this terrible thing happen to Emma. Paul had broken their silent deal and she was furious with him for his transgression. He could fuck around with his women and spoil their daughter to within an inch of her life, but at the end of the day, the only thing Abigail wanted from him, the only thing she expected from him, was to keep their family safe.

And he had failed miserably. Everything had gone so horribly wrong.

Beatrice stroked Abigail's hand. "You need to be strong."

"I killed someone, Mother." She knew she wasn't supposed to talk about it in front of Hamish, but the words flowed. "I strangled him with my bare hands. Adam Humphrey was the only person here who tried to help Emma, the only person who could tell us what really happened, and I killed him."

"Shh," she hushed, stroking Abigail's hand. "You can't change that now."

"I can feel remorse," she said. "I can feel anger, and helplessness and fury." She gulped for air, her emotions overwhelming her. How could they expect her to go on camera today, to expose herself to the world? They weren't even going to let her speak, a fact that had made Paul furious but had secretly relieved Abigail.

The thought of opening her mouth, begging some unseen stranger for the return of her child, made Abigail feel physically ill. What if she said the wrong thing? What if she answered a question the wrong way? What if she came across as cold? What if she came across as hard? What if she sounded too harsh or too needy or too pathetic?

The irony was that it was other women-other mothers-she was worried about. The ones who so easily passed judgment on their own sex, as if sharing certain biological characteristics made them experts on the subject. Abigail knew this mind-set because she had shared it back when she had the luxury of her safe and perfect life. She had read the stories about Madeleine McCann and JonBenet Ramsey, following every detail of the cases, judging the mothers just as harshly as everyone else. She had seen Susan Smith pleading to the media and read about Diane Downs's despicable violence against her own children. It had been so easy to pass judgment on these women-these mothers-to sit back on the couch, sip her coffee, and pronounce them too cold or too hard or too guilty, simply because she had caught five seconds of their faces on the news or in People magazine. And now, in the ultimate karmic payback of all time, Abigail would be the one on the cameras. She would be the one in the magazines. Her friends and neighbors, worst of all, complete strangers, would be sitting on their own couches making snap judgments about Abigail's actions.

Beatrice said, "It's all right."

"It's not all right." Abigail stood up from the couch, snatching her hand away from her mother. "I'm sick of everyone walking around on eggshells. Somebody needs to mourn Adam. Somebody needs to acknowledge that I fucked everything up!"

Beatrice was silent, and Abigail turned around to look at her mother. The harsh light did her skin no favors, picking out every crevice, every wrinkle that the makeup could not hide. Her mother had had work done-a lift of the brow, a sharpening of the chin- but the effect was not drastic, more a softening of time's ravages so that she looked young for her age rather than like a silicon-lipped, plastic figurine.

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