Haunted Ground

Haunted Ground

3.9 42
by Erin Hart
     
 

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The dazzling, award-winning debut in a series that delivers mystery, romance, suspense, and fascinating forensic detail.

When farmers cutting turf in an Irish peat bog make a grisly discovery—the perfectly preserved head of a young woman with long red hair—Irish archaeologist Cormac Maguire and American pathologist Nora Gavin must use cutting-edge

Overview

The dazzling, award-winning debut in a series that delivers mystery, romance, suspense, and fascinating forensic detail.

When farmers cutting turf in an Irish peat bog make a grisly discovery—the perfectly preserved head of a young woman with long red hair—Irish archaeologist Cormac Maguire and American pathologist Nora Gavin must use cutting-edge techniques to preserve ancient evidence. Because the bog’s watery, acidic environment prevents decay, it’s difficult to tell how long the red-haired girl has been buried—two years, two centuries, or even much longer.

Who is she? The extraordinary find leads to even more disturbing puzzles. The red-haired girl is not the only enigma in this remote corner of Galway. Two years earlier, Mina Osborne, the wife of a local landowner, went for a walk with her young son and vanished without a trace. Could they, too, be hidden in the bog’s treacherous depths, only to be discovered centuries from now? Or did Hugh Osborne murder his family, as some villagers suspect? Bracklyn House, Osborne’s stately home, holds many secrets, and Nora and Cormac's inquiries threaten to expose them all.

Editorial Reviews

From the Publisher
"Spooky and compelling...does for Galway what Sharyn McCrumb does for Appalachia."
Kirkus Reviews

"Out of the Irish mist and into the ancient bogs, Erin Hart spins a dark tale of gothic suspense fused with modern forensics. This bright new talent lays bare all the buried bones in a murderous tale of intrigue and betrayal."
— Linda Fairstein, author of Entombed

"In Haunted Ground, the past is not buried underground, it lives and breathes. Erin Hart's beguiling debut novel probes the mysterious connections between the dead and living in a moody Irish song of innocent blood, shattered hearts, and life's unquenchable flow."
— Perri O'Shaughnessy, author of Unlucky in Law

"Hart writes with a lovely eloquence about how character is shaped by the music, the architecture, and the history of this harsh and beautiful land."
The New York Times Book Review

The New York Times
Hart writes with a lovely eloquence about how character is shaped by the music, the architecture and the history of this harsh and beautiful land. — Marilyn Stasio
Publishers Weekly
Cutting turf in the peat bogs of his Ireland farm, Brendan McGann occasionally finds old oak beams, oxcarts or tubs of butter and cheese buried ages ago and forgotten. But he's hardly prepared for the gruesome discovery he makes one pleasant April morning: the perfectly preserved head of a woman. So begins Hart's debut thriller, which follows archeologist Cormac Maguire, maverick local detective Garret Devaney, and Nora Gavin, an American anatomist lecturing at Trinity College Medical School, as they investigate the farmer's grisly finding, which could date back quite far, given that peat bogs can preserve bodies for centuries. Cormac and Nora stay in the house of Hugh Osborne, the owner of a decaying manor who also happens to be the prime suspect in the unsolved disappearance of his wife and infant son two years ago. The accommodations are not quite the Ritz. Osborne's dour cousin, Lucy Osborne, is the housekeeper, and her son, 17-year-old Jeremy, who drinks too much, also lurks around the estate. Nora finds a filthy, dead crow on her bed, as well as broken glass littering her bathroom floor. What's going on in this malevolent household? In addition to a complex, multilayered plot that involves both contemporary and historical crimes, Hart's novel is rich in local color: evenings at the pub, the petty feuds and jealousies of the townspeople and the traditional music and folk culture of Ireland are evocatively rendered. Agent, Sally Wofford-Girand. 3-city author tour. (May) Copyright 2003 Reed Business Information.
Library Journal
In the rural West of Ireland, two farmers cutting peat from a bog discover the severed head of a young red-haired woman and immediately summon the local police. They, however, already have their hands full investigating the disappearance of the wife and young son of the local land baron, Hugh Osborne of Bracklyn House. Because peat bogs prevent decay, it's hard to tell whether the young woman died weeks, years, or centuries ago, so Irish archaeologist Cormac Maguire and American Nora Gavin, a visiting lecturer in pathology, are called in to help. Local gossip favors Hugh Osborne as the possible murderer of his wife and child and links him romantically to young artist Una McGann. Also among the local suspects are Una's brother, Brendan, and Hugh Osborne's cousin, Lucy, and her teenage son, Jeremy. As Gavin and Maguire dig deeper, local folklore leads them to the story of a young woman who was beheaded for killing her child in the 1600s. But where's her body, and what happened to the Osbornes? Skillfully textured with lush Irish landscape, folklore, and music, this well-executed first novel weaves together Ireland's turbulent past and its rapidly emerging technological present in a wonderfully entertaining plot; it also introduces a pair of appealing amateur sleuths. Highly recommended for both fiction and mystery readers. [Previewed in Prepub Alert, LJ 1/03.]-Susan Clifford Braun, Aerospace Corp., El Segundo, CA Copyright 2003 Reed Business Information.
Kirkus Reviews
The boggy shores of Lough Berg, in the wilds of West Ireland, yield up a host of crimes, past and present, for Dubliner Cormac Maguire and Irish-American Nora Gavin. Maguire, a professor of archaeology, is accustomed to fieldwork on short notice. But when farmer Brendan McGann, who still insists on cutting turf by hand, unearths the severed head of a woman with wild red hair, perfectly preserved by the peat, Maguire hightails it to Galway, recruiting anatomy lecturer Gavin to help him examine the grisly find. In the town of Dunbeg, their professional interest soon competes with their personal baggage, since the head-over 300 years buried, Nora discovers-starts village tongues wagging over the more recent disappearance of wealthy landowner Hugh Osborne's India-born wife and their two-year-old son Christopher. And Mina Osborne's disappearance reminds Nora all too much of the murder of her sister Tr'ona, killed, Nora is convinced, by Tr'ona's husband Peter. Cormac, meanwhile, takes advantage of the dig to listen to local musicians play Galway folk tunes and to visit the Dungarven house where his mother raised him after his father abandoned them. He also stops resisting his attraction to Nora and begins to protect her, both from her growing obsession with the ca'lin rua-finding out how the red-haired girl died and how her head came to be buried in Drumcleggan Bog-and from whatever menacing stranger has telephoned threats in the night and placed a dead crow in her bed. As Nora and Cormac search for answers, the two academics are joined by a professional: Detective Garrett Devaney of the Dunbeg Garda, who courts the wrath of his superiors and tries the patience of his wife Nuala by continuingto investigate long after Mina and Christopher's disappearance has been turned over to the task force in Dublin. Spooky and compelling: Hart's debut suspenser does for Galway what Sharyn McCrumb does for Appalachia. Agent: Sally Wofford-Girand

Product Details

ISBN-13:
9780743272100
Publisher:
Scribner
Publication date:
02/22/2005
Edition description:
Reprint
Pages:
352
Sales rank:
236,353
Product dimensions:
5.40(w) x 7.90(h) x 0.80(d)

Read an Excerpt

Chapter One

With a sodden rasp, Brendan McGann's turf spade sliced into the bank of earth below his feet. Had he known all that he'd turn up with the winter's fuel, perhaps he would have stopped that moment, climbed up onto the bank, and filled his shed with the uniform sods of extruded turf that a person could order nowadays by the lorry-load.

But Brendan continued, loosening each sopping black brick with the square-bladed turf spade, tossing it over the bank, where it landed with a plump slap. He performed his task with a grace and facility that comes from repeating the same motion times without number. Though his father and grandfather and generations before had taken their turf from this same patch of bog, Brendan never thought of himself as carrying on an age-old tradition, any more than he considered the life cycles of all the ancient, primitive plants whose resting place he now disturbed. This annual chore was the only way he'd ever known to stave off the bitter cold that crept under his door each November.

Chilblains were the farthest thing from Brendan's mind this unusually sun-drenched late-April morning. A steady westerly breeze swept over the bog, chasing high clouds across the watery blue of the sky, and teasing the moisture from the turf. Good drying today, his father would have said. Brendan worked in his shirtsleeves; his wool jacket, elbows permanently jointed from constant wearing, lay on the bank above his head. He paused, balancing his left arm on the handle of the upright sleán, and, with one rolled-up sleeve, mopped the sweat from his forehead, pushing away the damp, dark hair that stuck there. The skin on his face and forearms was beginning to feel the first pleasant tightness of a sunburn. Hunger was strong upon him at the moment, but just beyond it was an equally hollow feeling of anxiety. This might be the last year he could cut turf on his own land without interference. The thought of it burned in the pit of his stomach. As he clambered up the bank to fetch the handkerchief from his coat pocket, he searched the horizon for a bicycle.

Forty yards away, his younger brother Fintan made a comic figure as he struggled against the weight of a turf-laden wheelbarrow. Fintan dumped his two dozen wet sods at the end of a long row, one of many that lent the surface of the bog the temporary texture of corduroy. For a good square mile around them, little huts of footed turf covered the landscape. Here and there on the neighbors' allotments, large white plastic bags bulged with sods dried as hard as dung.

"Any sign of her yet?" Brendan shouted to his brother, who raised his shoulders in a shrug and kept at his work. The two men had been hard at it since nine, with only a short tea break midmorning. Their sister Una was to bring them sandwiches and tea, and pitch in with footing the turf. It was cumbersome, backbreaking work, turning the sods by hand so that they dried in the sun. It would be another month before this lot could be drawn home.

Tucking his handkerchief in his back pocket, Brendan descended once more into his gravelike void, noting with a small grimace of satisfaction the angled pattern his sleán had made down the wall of the bank. He was reaching the good black turf now, more appreciated in these parts for its long-burning density than for the fact that it had remained in this place, undisturbed and undecayed, for perhaps eight thousand years.

He set to work again, trying to drown out the rumbling in his belly by concentrating on the sound and the rhythm of cutting. He was used to hard physical labor, but there was no doubt about it, something in the bog air put a fierce hunger on a man. What might the day's lunch be? Chicken sandwiches, or egg, or perhaps a bit of salty red bacon on a slab of brown bread. Each stroke became a wolfish bite, a slug of hot sweet tea to wash it down. One more row, he thought, heaving each successive sod with more violence, just one more row — and then his blade stopped dead.

"Shite!"

Fintan's head poked into view at the edge of the cutaway. "What's the matter? Strike a bit of Noah's ark down there?"

"Ah, no," Brendan said. "Only a bit of horsehair."

There were four things, their father always said, that could stop a man cutting turf. Brendan could hear the old man's voice: Wig, water, blocks, and horsehair. Then he'd hold up four fingers in front of their faces. Meet any of them, boys, and it's your Waterloo.

"Hand us down the spade, will yeh?"

Fintan obliged, then leaned on the handle of his fork to watch. Though these things typically turned out to be tree trunks and roots, other wonders turned up in bogs occasionally — rough beams of oak, ancient oxcarts, wheels of cheese or wooden tubs of butter. Stores buried for keeping in cool wetness and long since forgotten — objects caught and suspended outside of time by the watery, airless, preserving power of the bog.

Working deliberately, Brendan dug around the perimeter of the fibrous mat, probing for its edges, and scraping away loose bits of peat. He knelt on the spongy bank and pulled at the strands that began to emerge from the soaking turf. This was not horsehair; it was tangled and matted, all right, but it was too long, and far too fine to be the rooty material his father called horsehair. Brendan worked his broad fingers into the dense black peat he'd pried loose with the spade. Without warning, a block in his left hand gave way, and he cast it aside.

"Holy Christ," Fintan whispered, and Brendan looked down. Almost touching his knee were the unmistakable and delicate curves of a human ear. It was stained a dark tobacco brown, and though the face was not visible, something in the line of the jaw, and the dripping tangle of fine hair above it, told him at once that this ear belonged to a woman. Brendan struggled to his feet, only dimly aware of the cold water that was seeping through the knees of his trousers and down into his wellingtons.

"Sorry, lads. You must be perished with the hunger." Una's breathless apology carried toward them on a bit of breeze. "But you should have seen me. I was literally up to my elbows..." Her voice trailed off when she saw the faces her brothers turned toward her. Brendan watched her stained fingers tighten their grip on the flask, and on the sandwiches she'd wrapped hastily in paper, as Una stepped to the edge of the bank beside Fintan and looked down at their awful discovery.

"Ah, Jaysus, poor creature" was all that she could say.

Copyright © 2003 by Erin Hart

Meet the Author

Erin Hart is a theater critic and former administrator at the Minnesota State Arts Board. A lifelong interest in Irish traditional music led her to cofound Minnesota’s Irish Music and Dance Association. She and her husband, musician Paddy O’Brien, live in St. Paul, Minnesota, and frequently visit Ireland. Erin Hart was nominated for the Agatha and Anthony Awards for her debut novel, Haunted Ground, and won the Friends of American Writers Award in 2004. Visit her website at ErinHart.com.

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Haunted Ground 3.9 out of 5 based on 0 ratings. 42 reviews.
Guest More than 1 year ago
At first when i started reading this book it sounded like it was going to be very interesting...as i read on i began to think,'not so much'. There were a few characters that werent completley developed and there were major holes in there existences. It gets very wordy and ultimately boring. But the way Hart descibes things are amazing! I actually felt i was around the characters looking at the Irish scenery. Eventually when i did finish the book it seemed to be more of a general murder/mystery instead of a thrilling novel. I was happy to be done with it.
Guest More than 1 year ago
What I thought would be a thrilling and interesting read got a little bogged down when there was some incomplete character development. What I was hoping would be historical fiction turned into a weak murder mystery. However, the chapters relating to the 'science' of bog bodies were very interesting. I was eager to learn more and hear about other bodies found throughout history. Unfortunately, the characters involved in the discovery were less interesting. Details hinted at were never delved into further. In the end, I felt I didn't really get to know any of the characters.
readerbynight More than 1 year ago
"Haunted Ground" is a rare find, an amazing book. It is not too often one finds a book that speaks to them. Hart's book does exactly that. I was hooked from the very first and savoured every page. The location is a wonderfully haunting part of Ireland, with its bogs that can preserve history as fresh as yesterday. The use of song to vocalize and hand down history adds a traditional aura. Perhaps it was best said in the review by The New York Times: "Hart writes with a lovely eloquence about how character is shaped by the music, the architecture, and the history of this harsh and beautiful land." I was so enveloped by the story that I could hear the voices as I read, feel the emotions and see the locale and happenings as though I were witness. The mystery remained true to itself throughout the book, with a separate underlying mystery from 400 years earlier. The characters are honestly depicted, growing throughout the book and arriving full-fledged by the end. I've read several exceptionally good books recently but I was invested in this one. Hart's fluid writing is reminiscent of that of Sharyn McCrumb's Appalachia series. My only regret is that it sat on my bookshelf so long before I was able to get to it. I wholeheartedly recommend "Haunted Ground" and will be on the lookout for more of Erin Hart's books.
edofarrell More than 1 year ago
This is a very poorly written book. There were several continuity problems -- characters suddenly doing things that were not foreshadowed, letting go of hands that were never held, moving items that were in another room -- in the novel. The characters were plastic, two-dimensional. The attempts by the author at portraying Irish people were shoddy and badly drawn. The novel was also derivative, taking some of its tone from Kathy Reichs and similar books. The 'mystery' was obvious from nearly the beginning of the novel and the plot twist at the end was shallow and unbelievable. Not worth the money, even in paperback.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Very good book, she puts you right there in Ireland. The author is also very nice person has done her homework.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
An unappealing assemblage of characters, rather excessivelyIrish in all things. I generally have no real trouble with profanity in books, but the usage here does not ring true. No one in the detective ranks of any country drops a casual f-bomb on a couple of strangers with whom he is professionally interacting, certainly not very shortly after meeting them. Ms. hart's use of profanity appears mannered, not natural. Why bother?
Anonymous More than 1 year ago
Anonymous More than 1 year ago
This author is a fabulous storyteller. Loved it!!
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Anonymous More than 1 year ago
This was a great read, amazing detail brings Ireland to life, and it keeps you guessing
Anonymous More than 1 year ago
Anonymous More than 1 year ago
This book is not good. I deleted it from my nook. The characters are not well drawn and the plot is very thin and obvious. I wish I could get mt money back.
Beeber More than 1 year ago
I like the writer's style up to the point of including an "F" word nearly every other paragraph. The first chapter is pretty clean until the end and it just gets worse from there. The inclusion of the profanity may be an attempt to portray "real speech" but it is a pitiful device. The removal of the obscene language does not alter the meaning of the sentence and I fail to understand why an author would include words that offend much of her potential readership. I give the book two stars for an interesting tale and imaginative writing style.
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