Death of the Black-Haired Girl

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Overview


A New York Times Book Review Editors’ Choice

“Fast-paced [and] riveting . . . Stone is one of our transcendently great American novelists.” — Madison Smartt Bell

“Brilliant.” — Washington Post

At an elite college in a once-decaying New England city, Steven Brookman has come to a decision. A brilliant but careless professor, he has determined that for the sake of his marriage, and his soul, he must end his relationship with Maud Stack, his ...

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Overview


A New York Times Book Review Editors’ Choice

“Fast-paced [and] riveting . . . Stone is one of our transcendently great American novelists.” — Madison Smartt Bell

“Brilliant.” — Washington Post

At an elite college in a once-decaying New England city, Steven Brookman has come to a decision. A brilliant but careless professor, he has determined that for the sake of his marriage, and his soul, he must end his relationship with Maud Stack, his electrifying student, whose papers are always late yet always incandescent. But Maud is a young woman whose passions are not easily curtailed, and their union will quickly yield tragic and far-reaching consequences.

Death of the Black-Haired Girl is an irresistible tale of infidelity, accountability, the allure of youth, the promise of absolution, and the notion that madness is everywhere, in plain sight.

“At once unsparing and generous in its vision of humanity, by turns propulsive and poetic, Death of the Black-Haired Girl is wise, brave, and beautifully just.” — Boston Globe

“Unsettling and tightly wrought—and a worthy cautionary tale about capital-C consequences.” — Entertainment Weekly

“A taut, forceful, lacerating novel, full of beautifully crafted language.” — Los Angeles Review of Books

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Editorial Reviews

The New York Times - Michiko Kakutani
…takes as its presiding muse not Conrad or Graham Greene, but Nathaniel Hawthorne. What Black-Haired Girl [has] in common with the rest of Mr. Stone's work is a fascination with the existential and religious yearnings of the human heart, and with what Melville called Hawthorne's fascination with the "great power of blackness" rooted in man's capacity for sin…Black-Haired Girl…marks…a retooling of [Mr. Stone's] voice for the purposes of creating a taut novel of psychological suspense…his gift for orchestrating suspense and dramatic scenes…is deployed here with efficiency and élan. As is his talent for charting his characters' psychological and spiritual longings…The result is at once a Hawthorne-like allegory and a sure-footed psychological thriller.
Publishers Weekly - Audio
02/24/2014
In Stone’s novel, set in a New England college town, brilliant, beautiful andraven-haired student Maud Stack, afterhaving been told by professor Steven Brookmanthat their affair washistory, wanders carelessly and fatally into the path of an oncoming car. Was it an accident, a suicide, or something darker? Colacci’s handling of the characters is spot on from the start. He adds a subtle touch of passivity to Brookman’s speech, while Maud’s father is gruff and wheezy, as might be expected of an aging, fatally ill ex-copfromNew York City. But there’s more to Colacci’s interpretation; he perfectly captures the mournful moan of a father’s sorrow and the growl of a man on a deadly mission. Other characters are rendered with similar care, including Maud, whose initial ebulliencequickly turns topetulance and edgy angerafterBrookman’s rejection. A Houghton Mifflin Harcourt hardcover. (Nov.)
Publishers Weekly
In Stone’s latest bulletin from the dark side of the human condition, brilliant college student Maud Stack is having an affair with her English advisor, Steve Brookman, whose wife, Ellie, is expecting their second child. When Steve tries to distance himself from Maud, it leads to tragedy. The book is not so much a whodunit as an expressionistic collage of how others in this New England college town deal with the tragic event. They include college counselor Jo Carr, a former nun in South America who is haunted by clashes between people stuck in a “struggle toward mutual extermination”; Maud’s widower father, Eddie, a Queens detective; Lou Salmone, the local cop who has to make sense of the senseless; and Shell Magoffin, Maud’s roommate, who is being stalked by her ex. A “thuggish” academic, Steve may not be the most believable character, and Ellie’s response to his infidelity might not be the most credible. But Stone (Damascus Gate) imbues his characters with a rare depth that makes each one worthy of his or her own novel. With its atmosphere of dread starting on page one, this story will haunt readers for some time. Agent: Neil Olson, Donadio & Olson. (Nov.)
From the Publisher
A New York Times Book Review Editor's Choice
Winner, 2014 Paterson Fiction Prize

"A taut novel of psychological suspense… The result is at once a Hawthorne-like allegory and a sure-footed psychological thriller."
—Michiko Kakutani, New York Times Book Review 

"The novel is unsettling and tightly wrought—and a worthy cautionary tale about capital-C consequences."—Entertainment Weekly

“A compressed story with the swift metabolism of a thriller”
—Alexandra Alter, Wall Street Journal

"Anyone who loves fine fiction has no choice but to read this novel now."
San Francisco Chronicle

"In his fiction, Robert Stone is immersed no less profoundly in envisioning the drama of human evil in action than was the great French Catholic novelist and Nobel Laureate, Francois Mauriac. Not only with his brilliant new novel, Death of the Black-Haired Girl but from the early novels such as Dog Soldiers and A Flag at Sunrise down to later books like Damascus Gate and Bay of Souls, he has demonstrated again and again that he is no less a master than Mauriac of the tragic novel—of depicting the fatal inner workings of revenge, hatred, betrayal, and zealotry—and that, like Mauriac, he is the pitiless guardian of a cast of sufferers on whose tribulations he manages to bestow a kind of shattered mercy."
—Philip Roth

"The death of a star student at an upper-crust university unsettles friends, faculty and family in a piercing novel from veteran novelist Stone… A critique of tribalism of all sorts—religious, academic, police—…[Death of the Black-Haired Girl is] an unusual but poised mix of noir and town-and-gown novel, bolstered by Stone’s well-honed observational skills."
Kirkus (starred review)

"Robert Stone is one of our transcendently great American novelists. In Death of the Black-Haired Girl he turns an unflinching gaze into the darkest crevices of the human psyche, where glimmers of redemption are extremely hard-won. This fast-paced, riveting novel reflects a vivid and unforgettable image of what we have made of ourselves, in this country, at the turn of 21st century so far."
—Madison Smartt Bell

"Robert Stone is a vastly intelligent and entertaining writer, a divinely troubled holy terror ever in pursuit of an absconded God and His purported love. Stone’s superb work with its gallery of remarkable characters is further enhanced here by his repellently smug professor, Steve Brookman, and the black-haired girl’s hopelessly grieving father, Eddie Stack."
—Joy Williams

"Stone (Damascus Gate) imbues his characters with a rare depth that makes each one worthy of his or her own novel. With its atmosphere of dread starting on page one, this story will haunt readers for some time."—Publishers Weekly

Library Journal
★ 09/01/2013
Stone's latest novel takes place on the campus of an elite college in Connecticut. The dark-haired girl of the title is Maud Stack—beautiful, talented, and hopelessly in love with her married professor, Steven Brookman, with whom she has been having an affair. His newly pregnant wife and daughter are returning from an extended trip, and Steven is looking to extricate himself from the affair and renew his connection with his family. As their relationship crumbles, Maud begins drinking heavily, makes a scene in the street, and is killed by a hit-and-run driver. The question of whether her death was accidental leads to the police becoming involved, even as Maud's father, Eddie Stack, a retired police officer in New York City, begins an unofficial investigation. The novel builds to a confrontation between the father, in failing health, and the professor, who feels remorse but is prepared to defend himself and his family. VERDICT Stone (Dog Soldiers; Damascus Gate) is a major literary figure, and this novel is readable, tense, and stimulating. Vivid scenes with razor-sharp dialog are plentiful; a powerful work. [See Prepub Alert, 5/13/13.]—James Coan, SUNY at Oneonta Lib.
Kirkus Reviews
★ 2013-09-01
The death of a star student at an upper-crust university unsettles friends, faculty and family in a piercing novel from veteran novelist Stone (Fun With Problems, 2010, etc.). Stone's eighth novel introduces student Maud Stack as a privileged young woman enveloped by a cloud of danger and collapse. The manicured, Ivy-ish campus is rife with halfway-house residents, mentally ill homeless people and addicts--that last group a class that includes plenty of students, too. Maud has her own issues with drinking, but her biggest problems are the ongoing affair she's pursued with Steven, a married professor, and a column she's written for the campus paper mocking anti-abortion protesters at a nearby hospital. Just as Maud's writing grabs attention and her relationship with Steven falls apart, she's killed in a car accident. The novel isn't halfway done by then, and what follows isn't an easy morality play about abortion rhetoric or teacher-student relationships. Rather, Stone pursues a close study of how Maud's death has undone many of the certainties of those around her. The incident drives her father back to drinking and pondering past corruptions. An adviser recalls her own history as a protester and reconsiders her faith. And Steven, who was arguing with a drunken Maud before her death, reckons with his own complicity. Stone gives this story the rough shape of a police procedural--Steven is the main person of interest--which gives the prose some snap and avoids sodden, moralizing lectures. What emerges from Stone's crisp storytelling is a critique of tribalism of all sorts--religious, academic, police--that doesn't damn those institutions but reveals how they work to protect their own interests at the expense of those of others. An unusual but poised mix of noir and town-and-gown novel, bolstered by Stone's well-honed observational skills.
The Barnes & Noble Review
Characters who have the misfortune of landing in a Robert Stone novel inevitably find themselves, through acts of their own free will, passing through the fragile membrane that separates an apparently ordered universe from a damned one. Among such unfortunates are Owen Browne in Outerbridge Reach, radioing back phony positions for a supposed solo voyage across the Atlantic while he is in a personal hell aboard his little vessel, sailing in circles and losing his mind. Another is Christopher Lucas in Damascus Gate, arriving in Jerusalem as an inquiring skeptic with only the slightest tropism toward religious belief, inebriated by competing versions of the "Jerusalem Syndrome." Now here are Steven Brookman and Maud Stack, two fresh victims of their own actions, their melancholy fates unfurling in Stone's eighth novel, Death of the Black-Haired Girl.

The story is set in a New England college. Once a sheltered arena of culture and order, its motto is Lux in umbras procedet: this I translate as "Light will go forth into shadows," which accords with the college's original mission of bringing Christian enlightenment to the world outside -- or, to give it Stone's darkly ironic spin, "The phrase referred to the college's ancient determination to confront Algonquians with the prospect of eternal fire." In fact, the college has, with a brief, instructive lapse in the sixties, shown as much concern with keeping the world out as with going forth. In that respect the history of the place is a microcosm of the history of privileged America:
Ever since the first Indian hatchet lodged its blade into the college's single stout oak door during the Seven Years' War, doors and access within had been significant there. For years the place rested behind no more bolts than the resort of young gentry required in any rough-handed New England mill town. Then the sixties struck, with coeducation and power to the people -- all sorts of people?and there was the Throwing Open of the Gates, the Unbolting of the Great Doors, the Opening to the Community. What ensued, drug-wise, crime-wise and in terms of bitterness between the college and the town, was brief but ugly. The opening forth was followed by a locking up, down and sideways that had locksmiths laboring day and night, and now there were three or four doors for everything.
Steven Brookman is a travel and adventure writer who has gained a position as professor at this decidedly top-drawer institution through luck and personal charm, the two combining in a careless nature. Though married to a woman he loves deeply and with whom he has a ten-year-old daughter, he cheerfully indulges in extramarital affairs; he had restricted himself to the academically fair game of faculty wives until a year or so ago, when he took up with a student whose adviser he is. This is Maud Stack; the daughter of a retired New York cop, she is young and beautiful, with the reckless arrogance of both. She is also high-strung and urgent, and not the sort of person with whom breaking up will be pleasant. Though still fascinated by her freshness, vitality, and quick intelligence, Steven is intent on doing just that: his wife is pregnant again, and he wants to preserve and protect "the contoured life he had made himself, the devotions and sacred loyalties within it."

Meanwhile, outside the college gates, homeless people of the decayed city rumble and menace, and a threatening cordon of anti-abortion activists with placards depicting aborted fetuses has assembled outside the doors of the medical center. This gets under Maud's very thin skin, and she decides to give them a dose of their own medicine by composing a scathing, condescending diatribe that is published in the college newspaper. The illustrations of deformed live births with which she ornamented the screed are not included, but they do make their way onto the Internet. Maud had given this inflammatory piece to Steven to vet, but he, weary of her carryings-on, didn't even bother to look at it. The publication of this confrontational blast of righteousness inflames hatred and madness, and draws violent threats down upon Maud from its targets outside the college. Too late, Steven ponders Maud's rashness: "She's a policeman's daughter, he thought; does she not know what's out there? Does she expect nothing but cheers from all directions?"

The book's title pretty much announces the next development; and, naturally as these things go, when Steven's sexual liaison and negligence become known, his disgrace seeps into the careers of the college president and the dean, "the smoothest operator ever to package a denial of college liability in a letter of condolence."

But who really did kill Maud Stack? That is the question that makes the novel a little like a crime thriller, though one informed by a vision of hell -- which is another way of saying Robert Stone wrote it. Was the perpetrator an anti-abortionist? Or Maud's roommate's crazed ex-husband? This man is now under the influence of one Dr. Russell Fumes -- in whose name alone we detect a whiff of brimstone. Or was it, just to touch on the signal example of twenty-first-century iniquity, someone delivering payback for the organized looting that occurred after 9/11? That cataclysm and "the fire coming down" had unloosed an ancient evil, "criminal conspiracies that had been, so to speak, present in the pilings under the river, the shafts, the salt-encrusted drowned alleys and bricked-up tunnels, with the eels' nests and the wrecked rope walks -- that had been there in spirit since the first white men, with their bindles and kit, and before them."

The image is Stone's, the suggestion of payback that of Charlie Kinsella, Eddie Stack's ex-brother-in-law, a slick ex-cop who, unwelcomed, appears dressed in fine clothes whose provenance was, most likely, a tailor shop adjacent to Ground Zero. Eddie was innocent of all this malfeasance: his reward was emphysema. But he had, in his weakness, allowed his daughter to receive funds for college expenses from that source.

Eddie's sadly complicated life is an element in this novel: an alcoholic, he is filled with self-loathing and somehow, in the reverse alchemy that frame of mind generates, blames himself, existentially at least, for Maud's death: "It seemed to him he had been poisoned by anger long before he had any right to it; it must be in his blood, he thought, the anger. He had known honor and pretended to despise it, to dread hope, fear light, laugh off dreams of justice, laugh it off. Those were the reasons she was dead." Also treading the novel's fiery path is an ex-nun, Jo, now a counselor at the college; she is forced to confront intolerable memories of revolutionary savagery in South America when she encounters a man she believes is the charismatic instigator of village massacres.

Stone's deftness in conflating his vision of damnation with the steady movement of spiritual and ethical dissonance in America is present throughout. His characters make their way through worlds that are meticulously described in material and geographic detail, but they are worlds, nonetheless, in which everyday activity is only a bustle over a darker reality of anger and madness.

Katherine A. Powers reviews books widely and has been a finalist for the Nona Balakian Citation for Excellence in Reviewing from the National Book Critics Circle. She is the editor of Suitable Accommodations: An Autobiographical Story of Family Life: The Letters of J. F. Powers, 1942–1963.
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Product Details

  • ISBN-13: 9781480505155
  • Publisher: Brilliance Audio
  • Publication date: 11/12/2013
  • Format: MP3 on CD
  • Edition description: Unabridged
  • Sales rank: 1,286,135
  • Product dimensions: 5.37 (w) x 7.50 (h) x 0.50 (d)

Meet the Author

Robert Stone

ROBERT STONE is the acclaimed author of seven novels and two story collections, including Dog Soldiers, winner of the National Book Award, and Bear and His Daughter, a finalist for the Pulitzer Prize. His memoir, Prime Green, was published in 2006.

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Read an Excerpt

1


“You look like a white captive,” Shelby said to Maud.
   Maud saw herself in a mirror on the bathroom door, winter pale, wrapped in a Salish blanket. She pulled the blanket tighter around her thighs and shoulders. Her skin was very fair but rosy after her shower.
   “You think?”
   “Totally,” her roommate said.
   Maud huddled beside a bay window of her suite, shivering deliciously in the drafts of ice-edged wind that filtered through the plaster and old stone of the building. Cheerless dawn lit the pinnacles and tracery of the Gothic towers across the Common. One by one, southeast by northwest, the trunks of the elms along the walks lightened to gray. All at once, the street lamps died together.
   It was all so bleak and beautiful and she was happy to be there. She loved the morning, loved warming herself against the venerable drafts of Cross Inn, safe from the steely street outside. She wrapped the blanket more tightly, tossed her hair from side to side. Maud’s hair was silky and black as could be; it dazzled against her pale skin, high color and her bluest of eyes. She had always worn it long and would not dream of playing geek with it, uglifying herself with streaks and punky cuts. Sometimes she used an iron on it the way girls in the sixties had. Beautiful was a word Maud heard too often and too early in life. Once, in high school, she had tried to steal an art book from the Metropolitan Museum of Art gift shop because one of her teachers said there was a Whistler painting of a girl who looked like her.
   They had stopped her at the top of the steps outside. The store manager herself had followed Maud across the crowded lobby and blocked her escape on the top step and then stood by, trembling with satisfaction, while an officer made her produce the bag from under her parka. Maud had obliged the ugly old bitch by crying, and even five years later she remembered every moment of that mortification, right down to the spring weather and the faces of the dumb tourists who stood nudging each other at the museum doors. She had worried about losing her National Merit Scholarship and about her father finding out, but nothing came of it.
   Still attending her mirror, Maud bent her head forward and let her hair hang down in front. She had considered art history as a major but then changed it to English with a writing concentration. She straightened up for the glass. Her neck was shapely and strong.
   In front of the church on the edge of the Common, she saw the homeless men gathered to wait for meal tickets. They huddled like animals, leaking plastic foam from their dumpster ski jackets. A few of them tried to find space to sit on the narrow park rail which, at some time in the eighties, had been set with spikes to discourage unsightly feeding and defecation. A new franchise hotel had its main entrance across the street.
   Railings had been reconfigured; a city bus stop was moved a block. There had been protests; there were always timely protests. The protesters accused the parks department of obliging the hotel, catering to consistent bias against the homeless, the handicapped and the poor. Maud had written a witty and passionate column in the college newspaper, opposing and mocking the move which had been much admired. It went without saying that most downtown workers, as well as most students with classes in nearby buildings, felt more comfortable after the work was done. Even Maud had to admit that it had been an ordeal to pass by every day, and there was no question but that the Common looked more cool without the poor.
   Outside, the morning rush had not quite begun. A city bus was parked at its last designated stop with its motor running. Traffic was sparse, and only a few late-shift college workmen were headed for the underground parking lot below the Common.
   “So, hey,” said Maud’s roommate, whom everyone called Shell. “What you got on today?”
   Shell was an actress and had been a principal in a few independent movie productions of the sort that played limited-release houses. Her name was Shelby Magoffin, and she came originally from eastern Kentucky. She talked that talk as necessary but had many voices. She was studying for a degree in drama, having transcended her hard upbringing and a much too early marriage. Shell was not one of your extremely pretty actresses but she was memorable, thin and eccentric in a way that would have brought her character roles in the old Hollywood. Sometimes people asked her about her marriage​ — ​other students, curious. “Ever hear from the guy?”
   “Oh,” Shell would say, “first boy I loved,” quoting the Judy Collins song.
   “No,” she would tell them, “never.” But that was not true. He called her sometimes.
   “You got a date with Mister Man today?” Shell asked.
   “Early appointment,” Maud told her.
   She folded her hair under a black sailor’s watch cap, borrowed a hooded jacket of Shell’s, put on painter’s pants and hiking boots. She had on nice underwear, though, in case, as her mother had always said, she was hit by a bus or, as Mom omitted to say, overcome by passion.
   They took a shortcut past the church, now sounding its seven o’clock chimes. Their route would take her past the bus stop and the queue of bums, but Maud felt it would be craven and unprincipled to avoid it.
   The early morning rush hour was beginning as the two women hit Amity Street. A few pedestrians walked quickly toward the college and the office buildings on the far side of the Common? Cars were caught at the light, and the healthier, more aggressive among the poor, mainly young black men who had taken places at the front of the line, stepped into traffic, talking.
   “Yo, I say, Cadillac man.”
   But the drivers were not Cadillac men, or if they had Cadillacs, the Cadillacs were twelve years old and patched, and plenty of the drivers were women. At that hour, Cadillac men would not appear, although at ten there would be plenty, and Saab sahibs and Beamers, thoughtful Volvo men and suburban soubrettes in armored Abrams-class deuce-and-a-half Windstars or Jeep personal-use vehicles. So there was agitation and the locking of retro car doors, dirty looks from the honest working stiffs and silent muttering behind the rolled-up windows. Out walking from the city garage, older men put their hands in their pockets and kept their eyes on the street. Young white men in bunches laughed it off, red-faced, simmering with piss-off. The panhandlers laughed back at them, hot-eyed, selling wolf tickets.
   There had actually been a summit the previous year—the City, the College, the Police, the Coalition for the Homeless and the Overseers of the Common. Participants in the summit were cautioned against the use of certain words. The words: dirt bag, wino, bum, scum, street scum, chronic nuisance, predator, freeloader, disenfranchised, disadvantaged, the poor, criminal, jailbird, vagrant. Biculturally conscious, the summit included the words cabrón, criminal, ratón, ladrón. The mayor, free on bail after his arrest and indictment for racketeering, gave a comment to the struggling newspaper of record to set in funny-colored inks.
   “This is talk we don’t want to hear in our city,” said his worship the mayor.
   The panhandlers watched the two women go by; a few affected haughty indifference. Shelby was dimmed down in a checkered lumber jacket and wraparound Oakleys of a midnight hue. Maud, in the flat-soled hiking boots, was just under six feet tall; she towered over Shelby when they walked together, though there were plenty of girls at the college who were taller than Maud. The female students, mainly teenagers, were on average taller than the men of the town.
   Steely wind hit them from the bay, a few blocks beyond the Common. Cross Inn was on a corner where marine gales coming up the river were set spinning by a cluster of high-rise bank and insurance company buildings. They whipped all winter through the Gothic courtyards of Old Campus on the other side of the Common. Beyond the colleges and the ghettos of Shoreham and Northwell stood the high ridge that showed seasons to the grimy town. In winter it displayed bare rock, dead leaves, brown branches, streaky snow. God had raised the ridge centuries before to protect the colony and the college from the pagan and papist savages on the other side. The college had always required and received protection.
   Maud, a city girl to the marrow, had hardly noticed the ridge at first. She knew it was dangerous to jog up there. But Shell, who was a mountain girl—“a mountain grill,” she liked to say—would declare obeisance each time she went out by way of Cross Street.
   “I will lift up mine eyes unto the hills, from whence cometh my help,” she would say. Of course it was a joke, one of Shell’s jokes on herself, on her people and their God. Once during their freshman orientation nature walk, Shell had halted two steps from the sunning spot of an eastern banded timber rattler, which woke and raised itself, slithered sidewise and stood its ground. Its tail disappeared in a blur of speed and reptile rhythms, clackety-rap. Its eyes were all business.
   Maud, a few feet behind her new friend, saw the thing, called out, “Oh, shit! Oh, Shell!” Maud thought Shelby Magoffin was like a seashell, pink and fragile. Sometimes Maud teased her with the name. “Seashell, watch it!”
   The male upperclassman leading the walk had lifted Shell up by the elbows and swung her out of striking range. “Asshole,” Shell had muttered ungratefully.
   “Ever see a big old rattler before, Shell?” the earthy- crunchy youth had asked.
   “Only in church,” Shell had told him.
   The other freshmen had taken it in. They had also registered Maud’s New Yorky swearing. And Shell’s cool answer—they knew it was a cool answer whether or not they caught the reference to Pentecostal snake handling. And Shell Magoffin was forever Seashell, though the origins of the name and its significance were left unclear. Later, as the other students came to understand that she was an actor in the sorts of movies they went to see, they realized that the goofy name was part of it.
   On Cross Street the panhandlers did not usually hit on Maud or her friends. In fact they rarely hit on any of the particularly attractive girls. Where raillery might be expected, there was none; no teasing between the lost boys and the college girls. There was too much privilege and anger—a terrifying atavistic cloud enfolding shame and resentment, even humiliation and murder. Bad things had happened. Everyone knew better.
   That morning Maud and Shell found themselves headed the same way. At Stoddard Street they followed the Common past Hale Gate, joined now by kids on their way to the day’s first class.
   “You don’t have a class,” Shell said to her friend. “How come you’re up so early?”
   “Date for coffee.”
   “With him?” Without waiting for an answer, Shell told Maud, “I have rehearsals until after nine. I could sleep away tonight.” Shell looked at her with wry sympathy.
   “Thanks, friend. He’s not free tonight.”
   “I was gonna say,” Shell said, “but I didn’t.”
   Snow began to fall, although it seemed too cold for snow. “Anyway, this is just an appointment,” Maud said.
   They kept their heads down, making for Bay’s, the nearest coffee place to campus.
   “Bringing him coffee?”
   “Yeah, right,” Maud said. “Cold coffee date.”
   “Older guys are so much better,” Shell teased. “They, like, know so much more.”
   Shell’s celebrated career had already brought her into close contact with putative adults. Some of them were very famous and said to be very powerful, but she was not impressed.
   Bay’s coffee shop operated on the ground floor of a four-story converted office building that had become a halfway house for deinstitutionalized mental patients. The halfway-house people had made a headquarters of the place and gathered there from daybreak until seven in the evening. Bay’s kept chairs outside for them, which they occupied in every weather. All day they predominated; their behavior and queer psychic emanations gave the coffee shop an unsettling spin. A stranger sitting down for an espresso would presently notice another customer’s peculiar intensity, an overloud conversation punctuated by excessive laughter or the imminent lunacy of a silence. An inappropriate emotional tone prevailed. Some people liked it—art students and Shell Magoffin. It gave Maud the creeps, but she wanted some coffee. She followed Shell across the brick plaza.
   The mentally ill customers were known as Housies or Outmates. At times, terrace chairs would become vacant—say, when the Outmates had made up a posse to go shopping at the nearest Safeway, four scary inner-city blocks away. Shopping alone or in twos, they might be confronted or even physically abused by anyone from the younger of the homeless to the police. In the vertical society of that city, the Outmates’ standing was low. They were unpopular and somewhat defenseless. No one believed the things they said, so their complaints were dismissible. Streets on which the coeds walked confidently held dangers for the halfway-housed. It seemed that only the tough female mounted troopers were nice to them, knowing their names and letting them pet their mounts, like children. The mounted policewomen also treated the halfway-house residents’ leader, Herbert, with a reserved, humorous respect. Herbert had become the residents’ leader by virtue of his very loud voice and broad general knowledge.
   As the girls turned into Bay’s, Herbert was at his usual table, actively facing down the coming storm. Herbert was the one male habitué who by his assumed right and custom always talked to the girls. “Hey, Shell!” he said at the top of his voice. “Seashell!”
   Shell gave him a smile and a pat on the shoulder. Maud’s polite smile might have concealed her disgust from most people but did not fool Herbert.
   At the coffee counter Maud and Shell asked for the specials of the day to go. Maud bought two largos, served by a beautiful young man from Spain, a graduate music student with bleached hair and a row of three earrings. Then the two girls made their way through the shivering halfway-house crowd to the street. Herbert was reading aloud from the local paper, quoting a story on the mayor’s legal trouble. There was no one around to listen; the wind increased.
   Shell and Maud went different ways. Herbert looked up from his paper to oversee them.
   “Hey, have fun, girls!” Herbert called after them. “Bless this world and all who sail in her.” He put a hand in his lap and watched them disappear into the first heavy flakes of the storm.
   At the gate of Peabody Quad, Maud stopped and set the two coffees down on the cold slate sidewalk. It was time for her to fish out her ID card, which would open the electric lock on the college gate. Once through the gate, it required the opening of three more locks to reach the room where she was headed.
   Ever since the first Indian hatchet lodged its blade in the college’s single stout oak door during the Seven Years’ War, doors and access within had been significant there. For years the place rested behind no more bolts than the resort of young gentry required in any rough-handed New England mill town. Then the sixties struck, with coeducation and power to the people—all sorts of people—and there had even been a solitary unisex bathroom, which languished amid the embarrassment hardly a year after its building, and there was the Throwing Open of the Gates, the Unbolting of the Great Doors, the Opening to the Community. What ensued, drug-wise, crime-wise and in terms of bitterness between the college and the town, was brief but ugly. The opening forth was followed by a locking up, down and sideways that had locksmiths laboring day and night, and now there were three or four doors for everything—even clerks’ offices were secured, and elderly dons retired because they spent half their working days trying to distinguish in a dour economy of light which of the cards or keys on their chains opened their outermost office door, which the second, which the third and so on. The coffee Maud had brought cooled on the cold stone while she knelt fiddling and jingling at Professor Brookman’s door.

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Sort by: Showing all of 5 Customer Reviews
  • Posted February 11, 2014

    Good Read for Flights and Hotel Stays

    I was hoping for something along the lines of "Gone Girl" when I read this book, but it is not a thriller or a suspenseful mystery with devious characters. There are definitely some complicated characters, but I concluded that the story is more about what happens to a marriage and a career when a husband becomes involved in an adulterous affair. The black-haired girl is a student who is completely infatuated with one of her professors after having what seems to be a purely sexual affair from his perspective. The student becomes a nagging harridan when the professor finds out that his wife is pregnant and wants to withdraw from the relationship without any inconvenient repercussions. The student has disclosed her relationship to her roommate, an indie actress from Kentucky, who has her own complicated love life due to her possessive ex-husband. The black haired girl is hit and killed by a car while drunkenly arguing with the professor in front of his home as his wife watches. His wife is a professor at the same university and she is described as a Mennonite that has thick thighs, blonde hair, and blue eyes who stands by her man, despite his affair. The only point of the wife's depiction seems to be to contrast her with the irresistible beauty of the black haired girl, who is described as six feet tall and 120 pounds with an athletic build, fair-skinned and blue-eyed. Curiously, several of the more attractive female characters have the same striking complexion of dark hair and blue eyes. The potential mystery element is whether the death was a planned accident, a murder or just bad timing. The black haired girl's father is an ex-cop with COPD and a mysterious connection to organized crime. Naturally, the father blames the professor for his daughter's death so the suspense, as such, is whether he will kill the professor or call in favors and order a hit. This seems to be the only time that the professor demonstrates any real concern because he seems to have no regrets about the affair even though he loses his job and risked losing his wife. He seems to have no remorse or sadness about the girl's death while having nostalgic memories of the way she looked. There are many interesting elements to the story so it is a good diversionary read, but it's not a thriller.

    3 out of 3 people found this review helpful.

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  • Posted January 30, 2014

    Wanted to like it more

    About half way through the book it became obvious that the plot was either unraveling or just along too many turns . The "mourner", the uncle , the counselor , etc . So many characters, so many story lines opened, left undone, hints, and such but no real fulfillment or direction. Publishers Weekly said of the characters ,"...each one worthy of his or her own novel." Well, maybe that would have been preferable to too many "imbued with rare depth" and leaving so much unfinished.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted December 7, 2013

    Good

    Sounds good

    2 out of 29 people found this review helpful.

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  • Anonymous

    Posted December 17, 2013

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    0 out of 39 people found this review helpful.

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  • Anonymous

    Posted January 8, 2014

    No text was provided for this review.

Sort by: Showing all of 5 Customer Reviews

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