Triptych

Triptych

4.2 120
by Karin Slaughter
     
 

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"In the city of Atlanta, young women are dying - at the hands of a killer who signs his work with a single, chilling act of mutilation. Leaving behind enough evidence to fuel a frenzied police hunt, this cunning madman is bringing together dozens of disparate lives. And in this new novel, Karin Slaughter plunges us into their midst ... as investigators, bystanders,… See more details below

Overview

"In the city of Atlanta, young women are dying - at the hands of a killer who signs his work with a single, chilling act of mutilation. Leaving behind enough evidence to fuel a frenzied police hunt, this cunning madman is bringing together dozens of disparate lives. And in this new novel, Karin Slaughter plunges us into their midst ... as investigators, bystanders, and one very guilty man become part of a harrowing, unpredictable drama - and the shocking truths it will expose." From Atlanta's wealthiest suburbs to its stark inner-city housing projects, a killer has crossed the boundaries of wealth and race. And the people who are chasing him must cross those boundaries, too. Among them is Michael Ormewood, a veteran detective whose marriage is hanging by a thread - and whose arrogance and explosive temper are threatening his career. And Angie Polaski, a beautiful vice cop who was once Michael's lover before she became his enemy. But unbeknownst to both of them, another player has entered the game: a loser ex-con who has stumbled upon the killer's trail in the most coincidental of ways - and who may be the key to breaking the case wide open.

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Editorial Reviews

Publishers Weekly
Bestseller Slaughter departs from her Grant County crime series (Faithless, etc.) with a stand-alone thriller notable mainly for a jolting mid-book twist similar to one Ira Levin used with more subtlety in A Kiss Before Dying. The case of a prostitute's brutal murder provides a welcome break for Michael Ormewood, a cynical, world-weary Atlanta cop weighed down by dealing with the city's underclass and the heartbreak of a mentally impaired son. Since the victim's tongue was severed, linking the crime to several other recent outrages, the Georgia Bureau of Investigation intervenes. Suspicions focus on a recently paroled sex offender, John Shelley, who viciously butchered a neighbor more than a decade earlier. Slaughter unexpectedly switches the narrative's perspective, but the shock value garnered by the plot twist isn't matched by the predictable denouement. (Aug.) Copyright 2006 Reed Business Information.
Library Journal
Atlanta detective Michael Ormewood squares off against an ex-con with nothing left to lose. Let the Slaughter begin! Copyright 2006 Reed Business Information.
Kirkus Reviews
Taking a break from her well-regarded series about Grant County Medical Examiner Dr. Sara Linton (Faithless, 2005, etc.), Slaughter turns to a stand-alone in which horrific physical violence grows out of the psychological kind. Nobody would care about Aleesha Monroe, the prostitute slain in an Atlanta housing project, if her killer hadn't bitten off her tongue. But because Aleesha's the fourth such victim in recent months, Det. Michael Ormewood is under intense pressure from his lieutenant to close the case-even though Michael's already got his hands full juggling a mentally challenged son and a seductive next-door neighbor. The pressure is only intensified when Will Trent, of the Georgia Bureau of Investigation's Special Criminal Apprehension Team, is assigned to the case, and when Will starts to lean on his childhood friend, Vice cop Angie Polaski, for help. Across town, saintlike John Shelley, just released from prison after serving 20 years for rape and murder, has troubles of his own: a dead-end job, a roach-infested apartment, a hard-nosed parole officer and the certainty that everyone who sees him knows he did time for killing a 15-year-old girl. When John, after rescuing a hooker from assault, walks her home and pays her colleague Robin to tell him about her first kiss, the story takes wing, and Slaughter, whose hallmark in her first five novels had been grueling forensics, shows a rare and generous capacity for compassion. Though there are mysteries along the way-how did John manage to compile a stratospheric credit rating while he was in stir, and what's the connection between the violence past and present?-Slaughter has the courage to detonate her biggest bombshells early on,keeping even the wariest readers off-balance and leaving the last act for a settling of accounts. The volcanic heroes and villains, who act both surprisingly and logically, are a welcome sign that Slaughter's trademark franchise only hints at the range of her gifts.
From the Publisher
"Slaughter's gift for building multi-layered tension while deconstructing damaged personalities gives this thriller a nerve-wracking finish."—USA Today

"Excellent.... Karin Slaughter is not afraid to show the absolute worst in people, as well as the best."—Ft. Lauderdale Sun-Sentinel

"[Karin Slaughter] writes with a razor...Triptych elevates her to the top of my list of favorite crime writers."—Cleveland Plain Dealer

"Volcanic heroes and villians, who act both surprisingly and logically.... Slaughter has the courage to detonate her biggest bombshells early on, keeping even the wariest readers off-balance."—Kirkus Reviews

“One of 2006’s most remarkable achievements… Triptych launches a major new phase in Slaughter’s career, and it’s a delight to behold.” —Philadelphia Inquirer

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Product Details

ISBN-13:
9780099481836
Publisher:
Arrow Books, Limited
Publication date:
05/28/2007
Series:
Will Trent Series
Product dimensions:
4.30(w) x 6.90(h) x 1.50(d)

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Triptych


By Karin Slaughter

Random House

Karin Slaughter
All right reserved.

ISBN: 0385339461


Chapter One


February 5, 2006

Detective Michael Ormewood listened to the football game on the radio as he drove down DeKalb Avenue toward Grady Homes. The closer he got to the projects, the more tension he felt, his body almost vibrating from the strain by the time he took a right into what most cops considered a war zone. As the Atlanta Housing Authority slowly devoured itself, subsidized communities like Grady were becoming a thing of the past. The in-town real estate was too valuable, the potential for kickback too high. Right up the road was the city of Decatur, with its trendy restaurants and million-dollar houses. Less than a mile in the other direction was Georgia's gold-encrusted capitol dome. Grady was like a worse-case scenario sitting between them, a living reminder that the city too busy to hate was also too busy to take care of its own.

With the game on, the streets were fairly empty. The drug dealers and pimps were taking the night off to watch that rarest of miracles occur: the Atlanta Falcons playing in the Super Bowl. This being a Sunday night, the prostitutes were still out making a living, trying to give the churchgoers something to confess next week. Some of the girls waved at Michael as he drove past, and he returned the greeting, wondering how many unmarked cars stopped here during the middle of the night, copstelling Dispatch they were taking a ten-minute break, then motioning over one of the girls to help blow off some steam.

Building nine was in the back of the development, the crumbling red brick edifice tagged by the Ratz, one of the new gangs that had moved into the Homes. Four cruisers and another unmarked car were in front of the building, lights rolling, radios squawking. Parked in the residents' spaces were a black BMW and a pimped out Lincoln Navigator, its ten-thousand-dollar razor rims glittering gold in the streetlights. Michael fought the urge to jerk the steering wheel, take some paint off the seventy-thousand-dollar SUV. It pissed him off to see the expensive cars the bangers drove. In the last month, Michael's kid had shot up about four inches, outgrowing all his jeans, but new clothes would have to wait for Michael's next paycheck. Tim looked like he was waiting for a high tide while Daddy's tax dollars went to help these thugs pay their rent.

Instead of getting out of his car, Michael waited, listening to another few seconds of the game, enjoying a moment's peace before his world turned upside down. He had been on the force for almost fifteen years now, going straight from the army to the police, realizing too late that other than the haircut, there wasn't that much difference between the two. He knew that as soon as he got out of his car it would all start up like a clock that was wound too tight. The sleepless nights, the endless leads that never panned out, the bosses breathing down his neck. The press would probably catch on to it, too. Then he'd have cameras stuck in his face every time he left the squad, people asking him why the case wasn't solved, his son seeing it on the news and asking Daddy why people were so mad at him.

Collier, a young beat cop with biceps so thick with muscle he couldn't put his arms down flat against his sides, tapped on the glass, gesturing for Michael to roll down his window. Collier had made a circling motion with his meaty hand, even though the kid had probably never been in a car with crank windows.

Michael pressed the button on the console, saying, "Yeah?" as the glass slid down.

"Who's winning?"

"Not Atlanta," Michael told him, and Collier nodded as if he had expected the news. Atlanta's previous trip to the Super Bowl was several years back. Denver had thumped them 34-19.

Collier asked, "How's Ken?"

"He's Ken," Michael answered, not offering an elaboration on his partner's health.

"Could use him on this." The patrolman jerked his head toward the building. "It's pretty nasty."

Michael kept his own counsel. The kid was in his early twenties, probably living in his mother's basement, thinking he was a man because he strapped on a gun every day. Michael had met several Colliers in the Iraqi desert when the first Bush had decided to go in. They were all eager pups with that glint in their eye that told you they had joined up for more than three squares and a free education. They were obsessed with duty and honor, all that shit they'd seen on TV and been fed by the recruiters who plucked them out of high school like ripe cherries. They had been promised technical training and home-side base assignments, anything that would get them to sign on the dotted line. Most of them ended up being shipped off on the first transport plane to the desert, where they got shot before they could put their helmets on.

Ted Greer came out of the building, tugging at his tie like he needed air. The lieutenant was pasty for a black man, spending most of his time behind his desk basking in the fluorescent lights as he waited for his retirement to kick in.

He saw Michael still sitting in the car and scowled. "You working tonight or just out for a drive?"

Michael took his time getting out, sliding the key out of the ignition just as the halftime commentary started on the radio. The evening was warm for February, and the air-conditioning units people had stuck in their windows buzzed like bees around a hive.

Greer barked at Collier, "You got something to do?"

Collier had the sense to leave, tucking his chin to his chest like he'd been popped on the nose.

"Fucking mess," Greer told Michael. He took out his handkerchief and wiped the sweat off his forehead. "Some kind of sick perv got ahold of her."

Michael had heard as much when he'd gotten the call that pulled him off his living-room couch. "Where is she?"

"Six flights up." Greer folded the handkerchief into a neat square and tucked it into his pocket. "We traced the nine-one-one call to that phone." He pointed across the street.

Michael stared at the phone booth, a relic of the past. Everybody had cell phones now, especially dealers and bangers.

"Woman's voice," Greer told him. "We'll have the tape sometime tomorrow."

"How long did it take to get somebody out here?"

"Thirty-two minutes," Greer told him, and Michael's only surprise was that it hadn't taken longer. According to a local news team investigation, response times to emergency calls from Grady averaged around forty-five minutes. An ambulance took even longer.

Greer turned back to the building as if it could absolve him. "We're gonna have to call in some help on this one."

Michael bristled at the suggestion. Statistically, Atlanta was one of the most violent cities in America. A dead hooker was hardly an earth-shattering development, especially considering where she was found.

He told Greer, "That's all I need is more assholes telling me how to do my job."

"This asshole thinks it's exactly what you need," the lieutenant countered. Michael knew better than to argue--not because Greer wouldn't tolerate insubordination, but because he'd agree with Michael just to shut him up, then turn around and do whatever the hell he wanted to anyway.

Greer added, "This one's bad."

"They're all bad," Michael reminded him, opening the back door to his car and taking out his suit jacket.

"Girl didn't have a chance," Greer continued. "Beat, cut, fucked six ways to Sunday. We got a real sick fuck on our hands."

Michael put on his jacket, thinking Greer sounded like he was auditioning for HBO. "Ken's out of the hospital. Said come by and see him anytime."

Greer made some noises about being real busy lately before trotting off toward his car, looking back over his shoulder as if he was afraid Michael would follow. Michael waited until his boss was in his car and pulling out of the lot before he headed toward the building.

Collier stood at the doorway, hand resting on the butt of his gun. He probably thought he was keeping watch, but Michael knew that the person who had committed this crime wasn't going to come back for more. He was finished with the woman. There was nothing else he wanted to do.

Collier said, "The boss left fast."

"Thanks for the news flash."

Michael braced himself as he opened the door, letting the damp, dark building slowly draw him in. Whoever had designed the Homes hadn't been thinking about happy kids coming home from school to warm cookies and milk. They had focused on security, keeping open spaces to a minimum and covering all the light fixtures in steel mesh to protect the bulbs. The walls were exposed concrete with narrow windows tucked into tight little corners, the safety wire embedded in the glass looking like uniform cobwebs. Spray paint covered surfaces that had been painted white once upon a time. Gang tags, warnings and various pieces of information covered them now. To the right of the front door, someone had scrawled, Kim is a ho! Kim is a ho! Kim is a ho!

Michael was looking up the winding staircase, counting the six flights, when a door creaked open. He turned to find an ancient black woman staring at him, her coal dark eyes peering out around the edge of the steel door.

"Police," he said, holding up his badge. "Don't be afraid."

The door opened wider. She was wearing a floral apron over a stained white T-shirt and jeans. "I ain't afraid'a you, bitch."

Clustered behind her were four old women, all but one of them African-American. Michael knew they weren't here to help. Grady, like any small community, thrived on gossip and these were the mouths that fed the supply line.

Still, he had to ask, "Any of y'all see anything?"

They shook their heads in unison, bobbleheads on the Grady dashboard.

"That's great," Michael said, tucking his badge back into his pocket as he headed toward the stairs. "Thanks for helping keep your community safe."

She snapped, "That's your job, cocksucker."

He stopped, his foot still on the bottom stair as he turned back toward her, looking her straight in the eye. She returned the glare, rheumy eyes shifting back and forth like she was reading the book of his life. The woman was younger than the others, probably in her early seventies, but somehow grayer and smaller than her companions. Spidery lines crinkled the skin around her lips, wrinkles etched from years of sucking on cigarettes. A shock of gray streaked through the hair on the top of her head as well as the ones corkscrewing out of her chin like dreadlocks. She wore the most startling shade of orange lipstick he had ever seen on a woman.

He asked, "What's your name?"

Her chin tilted up in defiance, but she told him, "Nora."

"Somebody made a nine-one-one call from that phone booth outside."

"I hope they wash they hands after."

Michael allowed a smile. "Did you know her?"

"We all knowed her." Her tone indicated there was a lot more to be told but she wasn't the one who was going to tell it to some dumb-ass white cop. Obviously, Nora didn't exactly have a college degree under her belt, but Michael had never set much store by that kind of thing. He could tell from her eyes that the woman was sharp. She obviously had street smarts. You didn't live to be that old in a place like Grady by being stupid.

Michael took his foot off the step, walking back toward the cluster of women. "She working?"

Nora kept her eye on him, still wary. "Most nights."

The white woman behind her provided, "She an honest girl."

Nora tsked her tongue. "Such a young little thing." There was a hint of challenge in her voice when she said, "No kind of life for her, but what else could she do?"

Michael nodded like he understood. "Did she have any regulars?"

They all shook their heads, and Nora provided, "She never brought her work home with her."

Michael waited, wondering if they would add anything else. He counted the seconds off in his head, thinking he'd let it go to twenty. A helicopter flew over the building and car wheels squealed against asphalt a couple of streets over, but no one paid attention. This was the sort of neighborhood where people got nervous if they didn't hear gunshots at least a couple of times a week. There was a natural order to their lives, and violence--or the threat of it--was as much a part of it as fast food and cheap liquor.

"All right," Michael said, having counted the seconds to twenty-five. He took out one of his business cards, handing it to Nora as he told her, "Something to wipe your ass on."

She grunted in disgust, holding the card between her thumb and forefinger. "My ass is bigger than that."

He gave her a suggestive wink, made his voice a growl. "Don't think I hadn't noticed, darlin'."

She barked a laugh as she slammed the door in his face. She had kept the card, though. He had to take that as a positive sign.

Michael walked back to the stairs, taking the first flight two at a time. All of the buildings at Grady had elevators, but even the ones that worked were dangerous. As a first-year patrolman, Michael had been called out to the Homes on a domestic disturbance and gotten caught in one of the creaky contraptions with a busted radio. He had spent about two hours trying not to add to the overwhelming smell of piss and vomit before his sergeant realized he hadn't reported in and sent somebody to look for him. The old-timers had laughed at his stupidity for another half hour before helping get him out.

Welcome to the brotherhood.

As Michael started on the second flight of stairs, he felt a change in the air.

Continues...


Excerpted from Triptych by Karin Slaughter Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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