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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He did not laugh at her observation.

She bought furniture, ordered bed linens, spent so much money online that the credit card companies called to make sure her identity had not been stolen. Everyone else seemed to be getting back to normal, or what Abigail thought of as the "new normal." Beatrice was back in Italy. Hoyt had returned to his mistress. His wife was safely ensconced in the Puerto Rico house. Abigail was certain there was another mistress in there somewhere. Her father had been talking an awful lot about London lately.

Even the press had finally moved on. People magazine and the television producers had dropped out early on when it was made clear that the Campano family had no desire to share their story with the world. There were the requisite self-proclaimed friends who came out of the woodwork to talk about Emma, and the ex-friends who talked about Abigail and Paul. Worse were the tabloids. They stood on the other side of the gate at the end of the driveway, screaming at anyone who left the house. "Hey, killer!" they would say, spotting Abigail. "Killer, how does it feel to know you murdered someone?"

Abigail would keep her face neutral, her back to the vultures as much as she could, then go into the house and collapse in tears. They called her cold one day, then praised her as a savage mother bear protecting her cubs the next. They asked her what she thought of Evan Bernard, the man who had brought all of this misery to their door.

Every time Bernard opened his mouth, a news team was there, reporting live from the jail where he was being kept. If coverage started to die down, he made statements, gave surprise jailhouse interviews and presented exclusive documents from his troubled past. Then the analysts would have their field day, expert after expert dissecting every nuance of Bernard's life: where he had gone wrong, how many kids he had helped during his career. Women came forward, so many young women. They all insisted that despite the tape, despite the video evidence, he was innocent. The Evan Bernard they knew was a kind man, a gentle man. Abigail itched to be alone with the bastard, to wrap her hands around his kind and gentle neck and watch the pathetic life drain from his beady black eyes.

Listening to it all was maddening, and Abigail and Paul had gotten into the habit of turning off the news, skipping the talk shows, because they could not contribute any more to Bernard's celebrity. They had been doing this anyway whenever Emma walked into the room. The truth was that it had made Abigail feel dirty, as if she was reading her daughter's diary behind her back. Paul had even canceled his subscription to the morning paper. Dispatch had failed to get the notice. There were so many wet bags of newsprint clumped at the end of the driveway that the woman from the neighborhood association had left a letter in their mailbox.

I regret your misfortunes, but Druid Hills is an historical district, and as such, there are rules.

" An historical district," Abigail had mimicked, thinking the woman had an historic stick up her ass. She had written a furious letter in response, full of condescension and vitriol. "Do you know what it's like to know an animal raped your child?" she had demanded. "Do you think I give a rat's ass about your fucking rules?"

The screed had turned into a journal of sorts, page after page filled with all the horrible things that Abigail had kept choked in the back of her throat. She hadn't even bothered to read it before tearing it to shreds and burning it in the fireplace.

"Bit warm for a fire," Paul had said.

"I'm cold," she had told him, and that was that.

It wasn't until recently that they could even go to the mailbox without having a reporter document their every step. Even the last, desperate tabloids had moved on when, a few weeks ago, a pregnant woman in Arizona had gone missing and her husband had started to look awfully suspicious. Abigail had secretly watched the television down in the gym, studying pictures of the twenty-six-year-old brunette, thinking, jealously, that Emma was much prettier than the mother-to-be. Then the woman had shown up dead in a vacant lot and she had felt petty and small.

With the reporters gone, they were all alone. There was nothing in their lives to complain about but each other, and that was patently forbidden. Emma had only left the house once a week since they had moved here. Paul literally brought the rest of the world to her doorstep. She was homeschooled. Her yoga instructor came to the house. The hairdresser paid a monthly visit. Occasionally, a girl would show up to do her nails. Kayla Alexander and Adam Humphrey had been Emma's only close friends, so there were no other teenagers knocking on her door. The only person Paul could not bribe to come see her was her therapist. The woman's office was less than a mile up the road and Paul drove Emma there every Thursday, sitting outside the door, ready to rush in if she called for him.

Father and daughter were closer than ever now, and Abigail was hard-pressed to think of reasons why he should not give Emma everything she wanted. The irony was that she wanted so little now. She didn't ask for clothes or money or new gadgets. She just wanted her father by her side.

Paul had started working five days a week rather than his usual six. He ate breakfast with them every morning and supper every evening. There were no business trips or late-night dinners. He had turned into the perfect husband and father, but at what cost? He was not the same anymore. Sometimes Abigail would find him alone in his office or sitting in front of the muted television. The look on his face was painful to see. It was, she knew, the exact look she must have during unguarded moments.

And then there was Emma. Often, Abigail would stand in the open doorway of her daughter's room just to watch her sleep. This was her angel of old. Her face was smooth, the worry lines on her forehead erased. Her mouth was not tense, her eyes not filled with darkness. Then there were times Abigail went into the room and Emma was already awake. She would be sitting in the window seat, staring blankly out the window. She was there in the house, sitting not less than ten feet from where Abigail stood, but it felt as if somehow time had fractured, and Emma was no longer in her room but a million miles away.

For years, Abigail had worried that her daughter would turn out exactly like her mother. Now she worried that she would not turn out at all.

How could this have happened to them? How could they survive? Paul wouldn't argue about it anymore. He got up and went to work. He drove Emma to her appointment. He made phone calls that kept their lives moving. They had sex more frequently, but it seemed utilitarian more than anything else. When she noticed there was a pattern, that Paul seemed to be interested in her exclusively on Wednesday and Saturday nights, she felt relieved rather than insulted. She wrote X's in her calendar, marking out the days. It was something to plan for, something that she knew would happen.

Abigail found herself looking for more patterns in her life, more things she could rely on. Because of therapy, Emma was crankier on Thursdays, so Abigail started making pancakes for breakfast. On Fridays, she seemed sad, so movie night was instituted. Tuesdays were the worst. All the bad things had happened on a Tuesday. None of them talked much those days. The house was quiet. The stereo in Emma's room was not turned on. The television was kept low. The dog no longer barked. The phone seldom rang.

This was the new normal, then-the little tricks they all learned to cope with what had happened to them. Abigail supposed it wasn't so far removed from how things were before. She met with decorators, she spent money on things for their new home. Paul still had his secrets, though this time there was no other woman involved. Emma was still lying to them about where she went during the day, even though she never left the house. "I'm fine," she would say, even though just seconds before she had been a million miles away. They would believe her because the truth hurt more than the lie.

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