Death of a Stranger (William Monk Series #13)

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Overview

For the prostitutes of Leather Lane, nurse Hester Monk's clinic is a lifeline, providing medicine, food, and a modicum of peace - especially since lately their ailments have escalated from bruises and fevers to broken bones and knife wounds. At the moment, however, the mysterious death of railway magnate Nolan Baltimore in a sleazy neighborhood brothel overshadows all else. Whether he fell or was pushed, the shocking question in everyone's mind is: What was such a pillar of respectability doing in a seedy place of sin?

Meanwhile, brilliant private investigator William Monk acquires a new client, a mysterious beauty who asks him to ascertain beyond a shadow of a doubt whether or not her fiance, an executive in Nolan Baltimore's thriving railway firm, has become enmeshed in fraudulent practices that could ruin him.

As Hester ventures into violent streets to learn who is responsible for the brutal abuse of her patients, Monk embarks upon a journey into the English countryside, where the last rails are being laid for a new line. But the sight of the tracks stretching into the distance revives memories once stripped from his consciousness by amnesia - as a past almost impossible to bear returns, eerily paralleling a fresh tragedy that has already begun its inexorable unfolding.

Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
As the bestselling author of two Victorian-era mystery series, Anne Perry knows the mannerisms and fine historical details of gaslight England. In her 12th novel featuring investigator William Monk, she continues to entertain with a story that finally reveals her protagonist's amnesia-shrouded past.

Monk is hired by Katrina Harcus to investigate her fiancé, Michael Dolgarno, who is possibly involved with railroad fraud. As soon as he begins his inquiries, Monk is assailed by bits of memory that lead him to believe he, too, may have been a criminal of some sort. Although his marriage to Hester is a stabilizing force in his life, he fears the potential results of his investigation and tries to keep his wife at arm's length. But when a railroad mogul is murdered in a London brothel and three battered ladies of the evening seek help at the clinic operated by Hester, Monk is drawn into yet another puzzle that may have something to do with his former life.

Unlike Perry's other Victorian sleuth, the sociable Thomas Pitt, Monk has always been a tormented individual ultimately alone in the world. Perry should be credited for her slow yet memorable planting of clues across all the previous Monk novels, subtly forming the framework for his past. She adroitly and convincingly manipulates several plot threads to give the reader a startling and remarkable disclosure in this fascinating, powerful entry in the Monk series. Tom Piccirilli

Publishers Weekly
Bestseller Perry's latest novel (after 2001's Funeral in Blue) to feature mid-Victorians William Monk and his wife, Hester, offers an ingenious and baffling plot, compelling characters, both major and minor, plus plenty of courtroom drama, but is something of a diamond in the rough. In London's East End, Hester, a former nurse with Florence Nightingale, has established a shelter for prostitutes where the ill and injured can be treated. One night, a well-known railway magnate is found dead in a nearby brothel, and the police presence in the area grinds the illicit business of the pimps and prostitutes to a halt. William, meanwhile, has undertaken a private investigation into possible fraud. His client, the fianc e of a young executive for the same railway as the murder victim, fears her betrothed may be implicated in the fraud scheme. As William recognizes parallels with the past, memories that he lost in an accident seven years earlier start to haunt him. Unfortunately, the book suffers from hasty execution, as reflected in repetitious phrasing, pronouns with unclear antecedents and confusing narrative transitions between Hester and William and between William in the present and William before his amnesia. The result is a challenging read, though established fans will likely forgive the author her lapses because she tells such a wonderful story. (Oct. 1) Forecast: Perry is also the author of the Thomas Pitt Victorian series, most recently Southampton Row (Forecasts, Jan. 14), which was up to her usual high standard. Pressure to deliver the same quality on the first of her forthcoming WWI quintet may account for the relative weakness of what seems like a wrapup of the Monk series. Nonetheless, this entry should sell well enough. Copyright 2002 Cahners Business Information.
From The Critics
In this novel, Perry takes us back to the Victorian England of William Monk, a private investigator who is working on a new case-one that is awakening disturbing images from his amnesia-shrouded past, and he is not quite sure he wants to revisit that time. Meanwhile, William's wife, Hester, a nurse who works in a free clinic, is beginning to see patients who are from a better class than the usual prostitutes she treats, and their injuries are more severe. When a wealthy railway magnate is found dead in a local brothel, the number of clients and the severity of their injuries increases. The author manages quite a few plot lines at one time, and listeners new to this series might become a bit confused as the story jumps from plot to plot and from William's current life to his amnesiac past. David Colacci gives an animated performance, ably handling the various dialects. Recommended for all public libraries.-Theresa Connors, Arkansas Tech Univ., Russellville Copyright 2003 Reed Business Information.

Product Details

  • ISBN-13: 9781441835789
  • Publisher: Brilliance Audio
  • Publication date: 3/28/2010
  • Format: CD
  • Edition description: Unabridged, 10 CDs, 11 hrs. 42 min.
  • Sales rank: 1,178,438
  • Series: William Monk Series, #13
  • Product dimensions: 6.50 (w) x 5.40 (h) x 1.10 (d)

Meet the Author

Anne Perry
Anne Perry
Anne Perry is the bestselling author of two acclaimed mystery series set in Victorian England, as well holiday novels and historical fiction set during World War I.

Biography

Born in London in October 1938, Anne Perry was plagued with health problems as a young child. So severe were her illnesses that at age eight she was sent to the Bahamas to live with family friends in the hopes that the warmer climate would improve her health. She returned to her family as a young teenager, but sickness and frequent moves had interrupted her formal education to the extent that she was finally forced to leave school altogether. With the encouragement of her supportive parents, she was able to "fill in the gaps" with voracious reading, and her lack of formal schooling has never held her back.

Although Perry held down many jobs—working at various times as a retail clerk, stewardess, limousine dispatcher, and insurance underwriter—the only thing she ever seriously wanted to do in life was to write. (In her '20s, she started putting together the first draft of Tathea, a fantasy that would not see print until 1999.) At the suggestion of her stepfather, she began writing mysteries set in Victorian London; and in 1979, one of her manuscripts was accepted for publication. The book was The Cater Street Hangman, an ingenious crime novel that introduced a clever, extremely untidy police inspector named Thomas Pitt. In this way an intriguing mystery series was born…along with a successful writing career.

In addition to the Thomas and Charlotte Pitt novels, Perry crafts darker, more layered Victorian mysteries around the character of London police detective William Monk, whose memory has been impaired by a coach accident. (Monk debuted in 1990's The Face of a Stranger.) She also writes historical novels set during the First World War (No Graves as Yet, Shoulder the Sky, etc.) and holiday-themed mysteries (A Christmas Journey, A Christmas Secret, etc), and her short stories have been included in several anthologies.

Good To Know

Some fun and fascinating outtakes from our interview with Anne Perry:

The first time I made any money telling a story I was four and a half years old—golden hair, blue eyes, a pink smocked dress, and neat little socks and shoes. I walked home from school (it was safe then) with my lunchtime sixpence unspent. A large boy, perhaps 12 or 13, stopped me. He was carrying a stick and threatened to hit me if I didn't give him my sixpence. I told him a long, sad story about how poor we were—no food at home, not even enough money for shoes! He gave me his half crown—five times sixpence! It's appalling! I didn't think of it as lying, just escaping with my sixpence. How on earth he could have believed me I have no idea. Perhaps that is the knack of a good story—let your imagination go wild, pile on the emotions—believe it yourself, evidence to the contrary be damned. I am not really proud of that particular example!

I used to live next door to people who had a tame dove. They had rescued it when it broke its wing. The wing healed, but it never learned to fly again. I used to walk a mile or so around the village with the dove. Its little legs were only an inch or two long, so it got tired, then it would ride on my head. Naturally I talked to it. It was a very nice bird. I got some funny looks. Strangers even asked me if I knew there was a bird on my head! Who the heck did they think I was talking to? Of course I knew there was a bird on my head. I'm not stupid—just a writer, and entitled to be a little different. I'm also English, so that gives me a second excuse!

On the other hand I'm not totally scatty. I like maths, and I used to love quadratic equations. One of the most exciting things that happened to me was when someone explained non-Euclidean geometry to me, and I suddenly saw the infinite possibilities in lateral thinking! How could I have been so blind before?

Here are some things I like—and one thing I don't:

  • I love wild places, beech trees, bluebell woods, light on water—whether the light is sunlight, moonlight, or lamplight; and whether the water is ocean, rain, snow, river, mist, or even a puddle.

  • I love the setting sun in autumn over the cornstooks.

  • I love to eat raspberries, pink grapefruit, crusty bread dipped in olive oil.

  • I love gardens where you seem to walk from "room to room," with rambling roses and vines climbing into the trees and sudden vistas when you turn corners.

  • I love white swans and the wild geese flying overhead.

  • I dislike rigidity, prejudice, ill-temper, and perhaps above all, self-righteousness.

  • I love laughter, mercy, courage, hope. I think that probably makes me pretty much like most people. But that isn't bad.
      1. Also Known As:
        Juliet Hulme
      2. Hometown:
        Portmahomack, Ross-shire, U.K
      1. Date of Birth:
        October 28, 1938
      2. Place of Birth:
        Blackheath, London England

    Read an Excerpt

    There was a noise outside the women's clinic in Coldbath Square.
    Hester was on night duty. She turned from the stove as the street
    door opened, the wood still in her hand. Three women stood in the
    entrance, half supporting each other. Their cheap clothes were torn
    and splattered with blood, their faces streaked with it, skin yellow
    in the light from the gas lamp on the wall. One of them, her fair
    hair coming loose from an untidy knot, held her left hand as if she
    feared the wrist were broken.

    The middle woman was taller, her dark hair loose, and she
    was gasping, finding it difficult to get her breath. There was blood
    on the torn front of her satin dress and smeared across her high
    cheekbones.

    The third woman was older, well into her thirties, and there
    were bruises purpling on her arms, her neck, and her jaw.

    "Hey, missus!" she said, urging the others inside, into the warmth
    of the long room with its scrubbed board floor and whitewashed
    walls. "Mrs. Monk, yer gotter give us an 'and again. Kitty 'ere's in a
    right mess. An' me, an' all. An' I think as Lizzie's broke 'er wrist."

    Hester put down the wood and came forward, glancing only
    once behind her to make sure that Margaret was already getting hot
    water, cloths, bandages, and the herbs to steep, which would make
    cleaning the wounds easier and less painful. It was the purpose of
    this place to care for women of the streets who were injured or
    ill, but who could not pay a doctor and would be turned away
    from more respectable charities. It had been the idea of her friend
    Callandra Daviot, and Callandra had provided the initial funds before
    events in her personal life had taken her out of London. It was
    through her also that Hester had met Margaret Ballinger, desperate
    to escape a respectable but uninteresting proposal of marriage. Her
    undertaking work like this had alarmed the gentleman in question
    so much he had at the last moment balked at making the offer, to
    Margaret's relief and her mother's chagrin.

    Now Hester guided the first woman to one of the chairs in the
    center of the floor beside the table. "Come in, Nell," she urged. "Sit
    down." She shook her head. "Did Willie beat you again? Surely you
    could find a better man?" She looked at the bruises on Nell's arms,
    plainly made by a gripping hand.

    "At my age?" Nell said bitterly, easing herself into the chair.
    "C'mon, Mrs. Monk! Yer mean well, I daresay, but yer feet in't on
    the ground. Not unless yer offerin' that nice-lookin' ol' man o'
    yours?" She leered ruefully. "Then I might take yer up one day. 'E's
    got an air about 'im as 'e could be summat real special. Kind o'
    mean but fun, if yer know wot I'm sayin'?" She gave a guffaw of
    laughter which turned into a racking cough, and she bent double
    over her knees as the paroxysm shook her.

    Without being asked, Margaret poured a little whiskey out of a
    bottle, replaced the cork, and added hot water from the kettle.
    Wordlessly she held it until Nell had controlled herself sufficiently
    to take it, the tears still streaming down her face. She struggled
    for breath, sipped some of the whiskey, gagged, and then took a
    deeper gulp.

    Hester turned to the woman called Kitty and found her staring
    with wide, horrified eyes, her body tense, muscles so tight her
    shoulders all but tore the thin fabric of her bodice.

    "Mrs. Monk?" she whispered huskily. "Your husband . . ."

    "He's not here," Hester assured her. "There's no one here who
    will hurt you. Where are you injured?"

    Kitty did not reply. She was shuddering so violently her teeth
    chattered.

    "Go on, yer silly cow!" Lizzie said impatiently. "She won't 'urt
    yer, an' she won't tell no one nuffin'. Nell's only goin' on 'cos she
    fancies 'er ol' man. Proper gent, 'e is. Smart as a whip. Dresses like
    the tailor owed 'im, not t'other way 'round." She nursed her broken
    wrist, wincing with pain. "Get on wiv it, then. You may 'ave got all
    night--I in't."

    Kitty looked once at the iron beds, five along each side of the
    room, the stone sinks at the far end, and the buckets and ewers of
    water drawn from the well at the corner of the square. Then she
    faced Hester, making an intense effort to control herself.

    "I got in a fight," she said quietly. "It's not that bad. I daresay I
    was frightened as much as anything." Her voice was surprising: it
    was low and a trifle husky, and her diction was clear. At one time
    she must have had some education. It struck in Hester a note of
    pity so sharp that for a moment it was all she could think of. She
    tried not to let it show in her expression. The woman did not want
    the intrusion of pity. She would be only too aware of her own fall
    from grace without anyone else's notice of it.

    "Those are bad bruises on your neck." Hester looked at them
    more closely. It appeared as if someone had held her by the throat,
    and there was a deep graze across the front of her breastbone, as
    though a hard fingernail had scored it deliberately. "Is that blood
    yours?" Hester asked, indicating the splatters across the front of
    Kitty's bodice.

    Kitty gave a shuddering sigh. "No. No! I . . . I reckon I caught
    his nose when I hit him back. It's not mine. I'll be all right. Nell's
    bleeding. You should see to that. And Lizzie broke her wrist, or
    somebody did." She spoke generously, but she was still shivering,
    and Hester was certain she was far from well enough to leave. She
    would have liked to know what bruises were hidden under her
    clothes, or what beatings she had endured in the past, but she did
    not ask questions. It was one of the rules; they had all agreed that
    no one pressed for personal information or repeated what they
    overheard or deduced. The whole purpose of the house was simply
    to offer such medical help as lay within their skill, or that of
    Mr. Lockhart, who called by every so often and could be reached
    easily enough in an emergency. He had failed his medical exams at
    the very end of his training through a weakness for drink rather
    than ignorance or inability. He was happy enough to help in return
    for company, a little kindness, and the feeling that he belonged
    somewhere.

    He liked to talk, to share food he had been given rather than
    paid for, and when he was short of funds he slept on one of the beds.
    Margaret offered Kitty a hot whiskey and water, and Hester
    turned to look at Nell's deep gash.

    "That'll have to be stitched," she advised.

    Nell winced. She had experienced Hester's needlework before.

    "Otherwise it will take a long time to heal," Hester warned.

    Nell pulled a face. "If yer stitchin's still like yer stitched me
    'and, they'd throw yer out of a bleedin' sweatshop," she said good-humoredly.
    "All it wants is buttons on it!" She drew in her breath
    between her teeth as Hester pulled the cloth away from the wound
    and it started to bleed again. "Jeez!" Nell said, her face white. "Be
    careful, can't yer? Yer got 'ands like a damn navvy!"

    Hester was accustomed to the mild abuse and knew it was only
    Nell's way of covering her fear and her pain. This was the fourth
    time she had been there in the month and a half since the house
    had been open.

    "Yer'd think since yer'd looked arter soldiers in the Crimea wi'
    Florence Nightingale an' all, yer'd be a bit gentler, wouldn't yer?"
    Nell went on. "I bet yer snuffed as many o' our boys as the fightin'
    ever did. 'Oo paid yer then? The Russkies?" She looked at the needle
    Margaret had threaded with gut for Hester. Her face went gray
    and she swiveled her head to avoid seeing the point go through her
    flesh.

    "Keep looking at the door," Hester advised. "I'll be as quick as I
    can."

    "That supposed ter make me feel better?" Nell demanded. "Yer
    got that bleedin' fat leech comin' in 'ere again."

    "I beg your pardon?"

    "Jessop!" Nell said with stinging contempt as the street door
    closed again and a large, portly man in a frock coat and brocade
    waistcoat stood just inside, stamping his feet as if to force water off
    them, although in fact it was a perfectly dry night.

    "Good evening, Mrs. Monk," he said unctuously. "Miss Ballinger."
    His eyes flickered over the other three women, his lips
    slightly curled. He made no comment, but in his face was his superiority,
    his comfortable amusement, the ripple of interest in them
    which he resented, and would have denied hotly. He looked Hester
    up and down. "You are a very inconvenient woman to find, ma'am.
    I don't care for having to walk the streets at this time of night in order
    to meet with you. I can tell you that with total honesty."

    Hester made a very careful stitch in Nell's arm. "I hope you tell
    me everything with total honesty, Mr. Jessop," she said coldly and
    without looking up at him.

    Nell shifted slightly and sniggered, then turned it into a yell as
    she felt the thread of gut pulling through her flesh.

    "For goodness sake be quiet, woman!" Jessop snapped, but his
    eyes followed the needle with fascination. "Be grateful that you are
    being assisted. It is more than most decent folk would do for you."
    He forced his attention away. "Now, Mrs. Monk, I dislike having to
    discuss my affairs in front of these unfortunates, but I cannot wait
    around for you to have time to spare." He put his thumbs in the
    pockets of his red brocade waistcoat.

    "As I am sure you are aware, it is quarter to one in the morning
    and I have a home to go to. We need to reconsider our arrangements."
    He freed one hand and flicked it at the room in general.
    "This is not the best use of property, you know. I am doing you a
    considerable service in allowing you to rent these premises at such a
    low rate." He rocked very slightly back and forth on the balls of his
    feet. "As I say, we must reconsider our arrangement."

    Hester held the needle motionless and looked at him. "No, Mr.
    Jessop, we must keep precisely to our arrangement. It was made and
    witnessed by the lawyers. It stands."

    "I have my reputation to consider," he went on, his eyes moving
    for a moment to each of the women, then back to Hester.

    Excerpted from Death of a Stranger by Anne PerryCopyright 2002 by Anne Perry. Excerpted by permission of Ballantine Books, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

    Table of Contents

    Customer Reviews
    Average Rating 4.5
    ( 8 )

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    • Anonymous

      Posted July 24, 2003

      Wonderful book!

      Anne Perry does it again with this newest entry in the Monk series. Scandal and intrigue happen when Monk's wife Hester, tends to several prostitutes in her clinic. Monk has problems of his own when his latest client, Katrin Harcus, asks him to look into a possible case of fraud. Wonderful period piece for fans of AP.

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    • Anonymous

      Posted October 18, 2002

      good...

      Death of a Stranger, Anne Perry's latest installment in the William Monk series, is not as slapdash as the critic's review above suggests, but it could have used a little more meat on its bones. As Hester works in a charity medical clinic in the slums and investigates the beatings of prostitutes, and as Monk looks into the possibility of railroad fraud for a woman who is afraid for her finacee, Monk finds that, though he can't discover any current fraud, he fears that in his past life he had less than honorable dealings in another railroad fraud sixteen years ago. His fear of finding that he had been involved in something illegal or immoral estranges him from Hester, and Hester is uncertain what to do about it. As the action accelerates, though, that part of the story is neglected, leaving one wishing for more character-oriented material. The two storylines, Hester's doings in Coldbath Fields and Monk's railway investigation, do not intersect enough, and at times one must assume a conversation relaying important information between them took place. Also, whether or not (or, if he does, how) Monk confides his fears (and certain events) to Hester, we are not told, and since much of the first half of the book deals with that issue, it's strange that their interactions all but cease in the last 120 pages. There are three reasons to read a Perry novel, the fine mysteries she cooks up, the descriptions of Victorian England, and the new information and insights into her characters. Unfortunately, the third element is not as srong as could be; I missed the richness of Hester and Monk's relationship that's more evident in earlier installments. An opportunity for Hester and Monk to face a real problem in their marriage is missed, and it shows. However, the unexpected (and unexpectedly action-packed) denoument is top-notch. Other positives include a practically laugh-out-loud funny sequence in which Rathbone helps Hester uncover the prostitutes' persecutor and the (re)introduction of spunky young Margaret, a well-to-do young woman who helps Hester in her clinic. Followers of the series will enjoy this latest book, and with its revelations about Monk's past, it's not to be missed.

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    • Posted December 9, 2008

      more from this reviewer

      vivid picture of mid-nineteenth century England

      William Monk considers himself very lucky that Hester loves him as much as he loves her. Their marriage is a good one despite the fact that William still suffers from amnesia and much of his past remains a blank. As an enquiry agent, William takes on various cases that his clients don¿t want the police to know about, such as the one with Katrina Harcus

      Katrina wants Monk to find out if her suitor, Michael Dolgarno, a junior partner in a company building railroads, is involved in illegal activities, possibly land fraud. The deeper Monk digs into the case, old memories begin to reawaken and the enquiry agent is afraid that at one time he may have been involved in something illegal. Unable to turn for comfort to Hester, Monk is determined to find out the truth about his past once and for all and though he knows his client is a fool he starts making inquiries.

      Fans of this series will be delighted to know that the tortured hero finally regains a good chunk of his memory and with it a measure of peace. The story line is fascinating with a climax so shocking that readers will remember it in the years to come and wonder how Anne Perry will top this vivid picture of what it means to be poor in the mid-eighteenth century England.

      Harriet Klausner

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