From the Publisher
St. Louis Post-Dispatch Best Books of 2014
“[Pavone is] a reliable new must-read in the world of thrillers. . . . You will want to finish The Accident at a nice, rapid clip to see how [the] pieces come together. . . . Unputdownable.” —The New York Times
“A taut, bookish thriller.” —People
“If you like real nail-biters, this is the best one so far this year. . . . Couldn’t put the damn thing down.” —Stephen King, on Twitter
“Savvy. . . . [With] plenty of swift action and sudden twists.” —Wall Street Journal
“Smart and stylish. . . . Thrill-a-minute. . . . The Accident never stumbles as it confidently and most entertainingly barrels forward toward shocking revelations and a bombshell of a finish.” —Chicago Tribune
“A must-read…gripping.”—USA Today
“Chris Pavone is the new best thing. The Accident proves the promise of The Expats. It is as intelligent and timely as it is relentless and gripping. Pavone is going to be around for a long time and now is the time to jump on the train.” —Michael Connelly
“A fast-paced, airport-ready thriller. . . . Pavone writes well about the politics of modern publishing.” —Entertainment Weekly
“The thriller-of-the-year. . . . Pavone’s characters seem genuine, with some flaws in the good guys and some virtues in the bad guys.” —St. Louis Post-Dispatch
“Maximum enjoyment at maximum speed.”—Dallas Morning News
“A sly globetrotting spy thriller that gives new meaning to publish or perish.” —Family Circle
“A propulsive A-train of a thrill ride and worthy successor to Pavone’s debut.” —Los Angeles Times
“A fast-paced, dangerous ride. . . . That intricate plot [propels you] forward, twisting and turning right up to its final, ultimately satisfying conclusion.” —Fort Worth Star-Telegram
“A clever, sophisticated mystery.”—Milwaukee Journal-Sentinel
“[Pavone] has outdone himself with this amazing thriller. . . . Full of constant surprises [The Accident] is jam-packed with everything from media moguls to conspiracies. This is a truly great read!” —Suspense Magazine
“Tantalizing. . . . With terrific surprises and high-quality writing in this engaging thriller.” —Associated Press
“Marvelous. . . . The deft plot globetrots and en route provides glamorous locales as well as twisty turns in suspense.” —New York Daily News
“A high-wire thriller featuring a Wolfe-ian cast of characters.” —Vogue.com
“[A] high-wire thriller. . . . The suspense is palpable.” —Publishers Weekly (starred review)
“Pavone’s plot twists tirelessly, shifting focus among a large cast of well-drawn characters. . . . many readers will read this one through the night.” —Booklist (starred review)
“[An] engaging thriller, driven by compelling portraits of desperate characters.” —Library Journal
“Pavone knows the formula for a best-seller and keeps the reader turning the pages.” —Kirkus
“Chris Pavone's many fans will not be disappointed with The Accident, his fast-paced, twisting, smart follow-up to The Expats. Cleverly plotted, filled with surprises, a terrific read.” —William Landay, New York Times bestselling author of Defending Jacob
“The world of book publishing has never been more perilous or mesmerizing than in Chris Pavone’s dizzyingly good follow-up to The Expats. The dark eruption of long-buried secrets, complex betrayals further snagged by sex and greed, and eleventh-hour desperate gambits for reinvention all propel a whirlwind story that will keep you up way past your bedtime. Crafty, stylish, satisfying.” —Paula McLain, New York Times bestselling author of The Paris Wife
“Clever, sophisticated, and propulsive. I am constantly awed by Chris Pavone's writing. He's already one of the best in the thriller business.” —Joseph Finder, New York Times bestselling author of Paranoia and Suspicion
Praise for The Expats
"Sly. . . . Pavone strengthens this book with a string of head-spinning revelations in its last pages. . . . The tireless scheming of all four principals truly exceeds all sane expectations.” —The New York Times
“Bombshell-a-minute. . . . Pavone creates a fascinating, complicated hero.” —Entertainment Weekly
“A gripping spy drama and an artful study of the sometimes cat-and-mouse game of marriage.” —Family Circle
“Smartly executed. . . . Pavone is full of sharp insights into the parallels between political espionage and marital duplicity. . . . Thoroughly captivating.” —The New York Times Book Review
“Superb. . . . [Pavone] expertly draws readers along with well-timed clues and surprises. . . . An engineering marvel.” —Richmond Times-Dispatch
“Expertly and intricately plotted, with a story spiraling into disaster and a satisfyingly huge amount of double-crossing, The Expats certainly doesn’t feel like a first novel. This is an impressively assured entry to the thriller scene.” —The Guardian (London)
“Refreshingly original. . . . Part Ludlum in the pacing, part Le Carré in the complexity of story and character, but mostly Chris Pavone. . . . A thriller so good that you wonder what other ideas [Pavone] has up his cloak, right alongside the obligatory dagger.” —The Star-Ledger
“Amazing. . . . Impossible to put down. . . . Pavone invokes memories of the great writers of spy fiction of the past, and he has the chops to be mentioned with the best of them.” —Associated Press
“A blast. . . . Pavone is spinning a fantastic tale with action that spans the globe.” —Dallas Morning News
“Highly entertaining.” —Mystery Scene
“Thoroughly enjoyable.” —Suspense Magazine
“Hard to put down.” —San Francisco Bay Guardian
“Stunningly assured. . . . An intricate, suspenseful plot that is only resolved in the final pages.” —Booklist (starred review)
“Brilliant, insanely clever, and delectably readable.” —Library Journal (starred review)
“Meticulously plotted, psychologically complex. . . . The sheer amount of bombshell plot twists are nothing short of extraordinary, but it’s Pavone’s portrayal of Kate and her quest to find meaning in her charade of an existence that makes this book such a powerful read.” —Publishers Weekly (starred review)
“Impressive. . . . With almost more double-crosses than a body can stand.” —Kirkus (starred review)
“Bristling with suspense and elegantly crafted, The Expats introduces a compelling and powerful female protagonist you won't soon forget. Well done!” —Patricia Cornwell
“I often thought I was again reading the early works of Ken Follett, Frederick Forsyth, and Robert Ludlum. Smart, clever suspense, skillfully plotted, and a lot of fun to read.” —John Grisham
“One of the best-written spy thrillers I've ever read. . . . A riveting story of great-game deceptions wrapped inside the smaller deceptions of marriage. At moments horrifying, hilarious, and very wise, The Expats has given Chris Pavone a permanent place on my short list of must-read authors.” —Olen Steinhauer
“A gem. Clever, suspenseful with a jet fueled story that rockets from one corner of the globe to another, it is never less than a thrill a minute. . . . An absolute winner!” —Christopher Reich
“Spy stories need to budge over to make space for Kate Moore—mother, wife, expat and far more than she appears. I loved her.” —Rosamund Lupton
“Riveting. One of the most accomplished debuts of recent years: not just a worthy addition to the literature of espionage and betrayal, but a fine portrait of a marriage disintegrating under the pressure of secrets and lies.” —John Connolly
The New York Times - Janet Maslin
With The Accident, [Pavone] matches The Expats's nail-biting level of excitement…The Accident is a thriller about publishing, and if that sounds like an oxymoron, Mr. Pavone is very good at rendering it wildly dramatic…Call Mr. Pavone a reliable new must-read in the world of thrillers…
The contents of The Accident, a manuscript submission by an anonymous author, shock New York literary agent Isabel Reed, the heroine of Pavone's high-wire thriller—his second novel after 2012's well-received The Expats. Isabel worries that the revelations of this nonfiction work about Charlie Wolfe, a global media baron (think Rupert Murdoch crossed with Charles Foster Kane), pose a real danger. Her fears prove well founded as ruthless, powerful forces do whatever it takes to prevent the book's publication. The cold-blooded murder of someone close to Isabel is but the first of many. The cast of distinctive characters includes Hayden Gray, a Berlin-based "cultural attaché" (i.e., spy), who orchestrates the effort to reclaim the manuscript; Camilla Glyndon-Browning, a subsidiary-rights director who tries to shop it to Hollywood; and, of course, the anonymous author himself. Despite the far-fetched conceit, Pavone makes the story credible, and the suspense is palpable. Agent: David Gernert, Gernert Company. (Mar.)
Pavone's second novel (after his Edgar Award-winning thriller The Expats) follows several people in the publishing industry as they handle a manuscript that promises tremendous personal gain but, as some soon learn, at risk of death. Isabel Reed, a divorced literary agent, has received a manuscript that promises to be a blockbuster. If true, the book will destroy the career of wealthy media mogul Charles Wolfe, about to launch a political career. He is prepared to have his henchman, Berlin cultural attaché and rogue CIA agent Hayden Gray, kill anyone who gets in his way. Jeff Fielder, also divorced and long enamored of Isabel, is an editor in need of a career-changing book. His boss, deeply in debt, faces a buyout by Wolfe's company. A subsidiary rights director has stolen a copy of the manuscript and heads to Hollywood with visions of grandeur. All are in great danger, not to mention the anonymous author, who may have to "die" twice to survive! VERDICT Fans of popular fiction (not just thriller lovers) and all those interested in the inner workings of the publishing world will have a terrific time reading this engaging thriller, driven by compelling portraits of desperate characters, each of whom will come to wonder if the manuscript in hand is worth the cost. [See Prepub Alert, 9/30/13.]—Ron Terpening, Univ. of Arizona, Tucson
Pavone follows up his best-selling novel, The Expats (2012), with another thriller featuring some of the same characters. The action here involves a manuscript entitled The Accident, which threatens to bring down a media empire owned by Charlie Wolfe, who now aspires to a political career. While in college, Charlie had a night of drunken revelry, and he and his friend Dave, the sober designated driver, had an accident involving the death of a girl, one that implicated Charlie. Preston Wolfe, Charlie's powerful father and a former deputy director of the CIA, covered up the accident and for 25 years paid Dave off to keep his mouth shut. Although, over the years, Dave earned a cool $1 million from this deal, he began to feel guilty and so wrote the explosive manuscript. Charlie suspects that Dave's manuscript is in part a conspiracy to create a scandal and bring down the share prices for the Wolfe empire, bankrupting Wolfe and also creating a larger circle of scandal involving murky political doings over the course of Charlie's career. Frightened for his life and knowing that Charlie wants to hunt him down, Dave fakes his own suicide and changes his identity. Meanwhile, literary agent Isabel Reed recognizes the volatility of what Dave has written and is extremely careful with the manuscript, but despite her best efforts, a few more hard copies start to circulate. One is with Jeffrey Fielder, an editor and Isabel's best friend, and another is briefly "borrowed" from Fielder's desk, copied and then shopped for movie rights by sexy Camilla Glyndon-Browning. Almost everyone physically connected with the manuscript starts getting killed in Charlie's desperate attempt to quash this exposé of his past. Pavone knows the formula for a best-seller and keeps the reader turning the pages.
Read an Excerpt
It’s just before dawn when Isabel Reed turns the final sheet of paper. Halfway down the page, her mouth falls open, her heartbeat quickens. Her eyes dart across each typescript line at a rapid-fire pace, accelerating as she moves through the final paragraph, desperate to arrive at a revelation, to confirm her suspicions. She sucks in her breath, and holds that breath, for the last lines.
Isabel stares at the final period, the little black dot of ink . . . staring . . .
She lets out her breath. “My God.” Astounded, at the enormity of the story. Disappointed, at the absence of the confirmation she was hoping for. Furious, at what it means. Terrified, at the dangers it presents. And, above all, heartbroken, at the immensity of the betrayal. Betrayals.
She puts the page down on the fat stack of paper that sits on the bedspread, next to a crumpled soft-pack of cigarettes and an overflowing crystal ashtray, a mildly snarky birthday present from a passive-aggressive colleague. She picks up the manuscript with both hands, flips it over, and uses her thumbs to align the pages. Her hands are trembling. She tries to steady herself with a deep breath, and sets the straightened pile of pages in her lap. There are four words centered at the top of the page:
The Accident by Anonymous
Isabel stares across the room, off into the black nothingness of the picture window on the opposite wall, its severe surface barely softened by the half-drawn shades, an aggressive void invading the cocoon of her bedroom. The room is barely lit by a small bullet-shaped reading sconce mounted over the headboard, aiming a concentrated beam of light directly at her. In the window, the light’s reflection hovers above her face, like a tiny sun illuminating the top of her head, creating a halo. An angel. Except she’s not.
She can feel her body tense and her jaw tighten and her shoulders contract in a spasm of rage. She tries to suppress it, bites her lip, brings herself under the flimsiest tether of control.
Isabel draws aside the bedspread, struggles to a sitting position. It’s been hours since she has shifted her body in any appreciable way, and her legs and back are stiff and achyold, if she had to choose a word for her joints. Her legs dangle over the side of the mattress, her toes searching for the fleece-lined slippers.
Along the wall, long slivers of aluminum shelveshundreds of horizontal feetare filled with neat stacks of manuscripts, their authors’ names written with thick black Sharpie into the sides of the stacks of pages. Tens of thousands of pages of proposed books of every sort, promising a wide assortment of entertainment and information, produced with a broad range of skill levels.
These days, everyone younger than Isabel seems to read manuscripts and proposals on e-readers; quite a few of those older, too. But she feels uncomfortable, unnatural, sitting there holding a little device in her hands. Isabel is of the generation that’s just old enough to be congenitally uncomfortable with new technologies. When she started her first job, she didn’t have a computer at her desk. A year later, she did.
Maybe next year she’ll start using one of those things, but for now she’s still reading on paper, turning pages, making notes with pens, surrounding herself with stacks of paper, like bricks, bunkered against the relentless onslaught of the future. And for The Accident, she didn’t even have a choice. Because although nearly all of new projects are now delivered to her office electronically, this submission was not.
She shuffles down the hall, through the darkness. Turns on the kitchen lights, and the coffee machineswitched from AUTO-ON, which is set to start brewing an hour from now, to ONand the small television. Filling the silent lonely apartment with humming electronic life.
Isabel had been reading frantically, hoping to discover the one assertion that rang untrue, the single mismatched thread that would unravel the whole narrative, growing increasingly discouraged as page 1 at the office in the morning became page two-hundred-something at home in the evening. She fell asleep sometime after eleven, more than halfway through, then woke again at two, unable to quiet her mind, anxious to get back to it. People in the book business are constantly claiming “I couldn’t put it down” or “it kept me up all night” or “I read it in one day.” This time, all that was true.
So at two a.m. Isabel picked up the manuscript and started reading again, page after page, through the late-late night. Vaguely reminiscent of those days when Tommy was an infant, and she was sleep-deprived, awake in a dormant world. They are very discrete periods, for very specific reasons, when it’s a normal part of life to be awake at four a.m.: it’s for making babies or caring for them, in the small desperate hours when a blanket of quiet smothers the city, but through the moth-eaten holes there’s the occasional lowing of a railroad in New Jersey, the distant Dopplered wail of an ambulance siren. Then the inevitable thump of the newspaper on the doormat, the end of the idea of night, even if it’s still dark out.
Nothing she encountered during the 488 pages seemed false. Now she stares at the anchor’s face on the television, tuned to Wolfe . . . That goddamned son of a bitch . . .
Her anger swells, and she loses control
Isabel cocks her arm and hurls the remote across the kitchen, cracking and splintering against the refrigerator door, clattering loudly to the floor. Then the heightened silence of the aftermath, the subdued thrum of a double-A battery rolling across the tile, the impotent click as it comes to rest against a baseboard.
She feels tears trickling down her cheek, and wipes them away.
The coffee machine hisses and sputters the final drops, big plops falling into the tempered glass. Isabel glances at the contraption’s clock, changing from 5:48 to 5:49, in the corner of the neatly organized counter, a study in right angles of brushed stainless steel. Isabel is a passionate proponent of perfect alignment. Fanatical, some might say.
She opens the refrigerator door, with its new scratch from the airborne remote, whose jagged pieces she kicks out of her way. She takes out the quart of skim and pours a splash into her mug. She grabs the plastic handle of the carafe and fills the mug with hot, viscous, bitter, bracing caffeination. She takes a small sip, then a larger one. She tops up the mug, and again wipes away tears.
She walks back down the now-lighted hall, lined with the family photographs she’d unearthed when she was moving out of her matrimonial apartment, into this single-woman space in a new neighborhood, far from the painful memories of her homeof her lifedowntown, where she’d been running into too many mothers, often with their children. Women she’d known from the playgrounds and toy stores and mommy-and-me music classes, from the gyms and grocers and coffee shops, from preschool drop-off and the pediatrician’s waiting room. All those other little children growing older, getting bigger, Emmas and Stellas in precious little plaids, Ashers and Amoses with mops of messy curls in skinny jeans on scooters; all those self-satisfied downtown bobo parents, unabashedly proud of their progeny’s precociousness.
She’d bought herself a one-bedroom in a full-service uptown co-op, the type of apartment that a woman chooses when she becomes reconciled that she’s not going to be living with another human being. She had reached that age, that stage, when a lifestyle starts to look permanent: it is what it is, and ever will be, until you die. She was making her loneliness as comfortable as possible. Palliative care.
If she wasn’t allergic to cats, there’d probably be a couple of them lurking around, scrutinizing her disdainfully.
Isabel lined this nice new hallwayparquet floors, ornate moldings, electrical outlets where she wants themwith framed photos. There she is, a smiling little toddler being held aloft by her tragically beautiful mother in Central Park, at the playground near the museum, a couple of blocks from the Classic 8 on Park Avenue that her parents couldn’t actually afford. And then hand-in-hand with her remarkably unambitious father, starting fourth grade at the small-town public school in the Hudson Valley, after they’d finally abandoned the city for their “country place,” the old family estate that they’d been selling off, half-acre parcels at a time, to pay for their life. Then in cap and gown, the high school valedictorian, bound not for Harvard or Yale or even a first-rate state school, but for a second-tiermaybe third?private college upstate, because it offered a full scholarship, including room and board, and didn’t necessitate expensive out-of-state travel. The drive was just a few hours.
Her parents had called her Belle; still do. But once she was old enough to understand what the word meant, she couldn’t bear to lay claim to it. She began to insist on Isabel.
Isabel had intended to go to graduate school, to continue studying American literature, eventually to teach at the university level, maybe. But that plan was formed before she’d had an understanding of the realities of personal finance. She took what she thought would be a short-term job at a publishing houseone of her father’s school chums was a famous editorwith the irrational expectation that she’d be able to save money to pay for school, in a year, or two. She was buoyed by modest success in an enjoyable workplace during good business years, and one thing led to another. Plus she never saved a dime. By the time she was twenty-five, she no longer thought about grad school. Almost never.
So then there she is, in a little black dress on stage at a book-award ceremony, accepting on behalf of her author who was in South America at the time, chasing a new story. And in a big white dress, aglow, in the middle of the panoramic-lens group shot, the thirty-six-year-old bride with her bridesmaids, at her wedding to a man she’d started dating a mere eight months earlier, short on time, perfectly willing to turn a blind eye to his obvious faults, the personality traits that her friends were too supportive to point out, until the safe remove of hindsight.
That utter bastard.
It still amazes her how quickly youth slipped away, how severely her options narrowed. Just a couple of bad relationship decisionsone guy who as it turned out was never going to commit, another who was a closeted assholeand the infinite choices of her late twenties turned into the dwindling selection of her mid-thirties, now saying yes to any non-creepy men who asked her out at parties or introduced themselves in bars, sometimes using her middle name if the guy was on the margins of acceptability and she might end up wanting to hide behind the unstalkable shield of an alias; over the years she’d had more than a few dates with men who thought her name was something else. Half the time, she was glad for the deception.
Another photo, a smaller print, lying in the hospital bed with Tommy in her arms, tiny and red and angry in his striped swaddling blanket and blue cap. Isabel returned to work after the standard three months, but in that quarter-year something had passed, and she was complacent to allow it. Her husband was suddenly making embarrassing amounts of money, so Isabel hired a housekeeper to go with the nanny. She started leading one of those enviable-looking livesa four-day workweek, driving the shiny car from the pristine loft to the shingled beach house, a perfect baby and a rich handsome smart funny husband . . .
She stops at the final photo, spotlit, a small black-and-white in the center of an expanse of stark-white matting. A little boy, laughing on a rocky beach, running out of the gentle surf, wearing water wings. Isabel reaches her hand to her lips, plants a kiss on her fingers, and transfers the kiss to the little boy. As she does every morning.
Isabel continues to the bathroom, unbuttoning her flannel top as she walks, untying the drawstring of the pajama bottoms, which crumple as she releases the knot. She pushes her panties down and steps out of them, leaving a small, tight puddle of cotton on the floor.
The hot shower punishes her tense, tired shoulders. Steam billows in thick bursts, pulled out the bathroom door, spilling into the dressing area, the bedroom. The water fills her ears, drowning out any sounds of the television, of the world. If there’s anything else in her apartment making noise, she can’t hear it.
What exactly is she going to do with this manuscript? She shakes water out of her hair, licks her top lip, shifts her hands, her feet, her weight, standing under the stream, distracted and disarmed, distressed. It all beats down on her, the shower stream and the manuscript and the boy and the past, and the old guilt plus the new guilt, and the new earth-shattering truths, and fear for her career and maybe, now, fear for her life.
She slips into a soft, thick white bathrobe, towel-dries her hair. She sweeps her hand across the steamed-up glass, and examines her tired eyes, bagged and bloodshot, wrinkled at the corners. The bathroom’s high-voltage lighting isn’t doing her any favors this morning. She had long ago become accustomed to not sleeping well, for a variety of reasons. But with each passing year, it has become harder and harder to hide the physical evidence of sleeplessness.
From the other room, she can hear the irrelevant prattle of the so-called news, the piddling dramas of box-office grosses, petty marital indiscretions, celebrity substance abuse. Steam recolonizes the mirror, and she watches big thick drops of condensation streak down from the top beveled edge of the glass, cutting narrow paths of clarity through the fog, thin clear lines in which she can glimpse her reflection . . .
Something is different, and a jolt of nervous electricity shoots through her, a flash of an image, Hitchcockian terror. Something in that slim clear streak has changed. The light has shifted, there’s now a darkness, a shadow
But it’s nothing, she sees, just the reflection of the bedroom TV, more footage of yesterday’s international news, today. Today she has to consider the news in a whole new light. Now and forevermore.
She gets dressed, a sleek navy skirt suit over a crisp white blouse, low heels. The type of office attire for someone who wants to look good, without particularly caring about being fashionable. She blow-dries, brushes her shoulder-length blonde hair, applies makeup. Sets contacts into her hazel eyes. She assesses herselftired-looking, inarguably middle-agedin the full-length mirror, and sighs, disappointed. Three hours of sleep pushes the limit of what makeup can accomplish.