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True Detective

True Detective

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by Theodore Weesner
     
 

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The True Detective, Gil Dulac, is a small town police investigator who sees his sleepy city of Portsmouth, NH, being infested with a sexual pathology that, in its breadth of depravity, is breaking out like a pandemic. It’s no surprise to Dulac when a twelve-year-old boy turns up missing. Child abduction grips the city, along with Dulac’s obsessive sense of

Overview

The True Detective, Gil Dulac, is a small town police investigator who sees his sleepy city of Portsmouth, NH, being infested with a sexual pathology that, in its breadth of depravity, is breaking out like a pandemic. It’s no surprise to Dulac when a twelve-year-old boy turns up missing. Child abduction grips the city, along with Dulac’s obsessive sense of justice. Now, as the clock winds down on a horrifying reality, Dulac must use his wits, his resolve and his deepest life experiences to recover the boy alive. Weesner takes the reader deep into the conflicting desires and motivations of a broken family, a sexually confused perpetrator, and an immensely complex investigating detective, to create a lightning-fast literary thriller that is both powerful and heartbreakingly realistic.

Editorial Reviews

Publishers Weekly - Publisher's Weekly
This beautifully written novel about residents of an Illinois milltown during the Depression is sometimes a bit sentimental, yet as appealing as an unfolding melodrama can be. The marriage of Jeremy and Deborah Cole has been paralyzed by Jeremy's grief over the death of their infant daughter. They remain together but lead separate lives. He is a steel-worker moved by management's cruel treatment of his fellow workers to support a developing labor movement. She is involved in exploring her relationships with her grandmother and family, including a long-shunned aunt, turned away because she converted to Catholicism. Butler (On Distant Ground is splendid at describing scenerya horseradish field dotted with flowers, for exampleand events, and the novel is pervaded with a wistful sense of loneliness. But as Jeremy attempts to avengesingle-handedlythe workers' problems and Deborah heroically reaches out to renew their marriage, the author yields to an ending that tugs too openly at the heartstrings. (March 13)
Joseph Coates The Chicago Tribune
"A compulsively readable thriller."
Stewart O'Nan Acclaimed author of EMILY ALONE and LAST NIGHT AT THE LOBSTER
"...while it deals with a sensational, even loaded subject, ultimately I'd say the novel is that rare achievement, a wise book, and maybe the saddest book I've read. That it's also a page-turner is a marvel."
Joseph Coates
"A compulsively readable thriller.", Joseph Coates, The Chicago Tribune
Stewart O'Nan
"...while it deals with a sensational, even loaded subject, ultimately I'd say the novel is that rare achievement, a wise book, and maybe the saddest book I've read. That it's also a page-turner is a marvel.", Stewart O'Nan, Acclaimed author of EMILY ALONE and LAST NIGHT AT THE LOBSTER

Product Details

ISBN-13:
9781938231094
Publisher:
HighLine Editions
Publication date:
01/01/2013
Sold by:
Barnes & Noble
Format:
NOOK Book
Pages:
543
Sales rank:
831,286
File size:
993 KB

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Read an Excerpt

The True Detective


By Theodore Weesner

Astor + Blue Editions, LLC

Copyright © 2012 Theodore Weesner
All rights reserved.
ISBN: 978-1-938231-10-0


CHAPTER 1

Here is Eric Wells, on Valentine's Day, lying on the living room floor, giving love a chance. Chin in hand, he keeps catching himself looking all the way through the TV screen where otherwise, on buzz saw feet, the Roadrunner is zipping everywhere. The old screen's black-and-white images don't quite matter now. Red colors keep coming up there. Blushes of valentine red. He is twelve years old and the colors are raising a warmth in him.

The card was in his desk at school yesterday. At the time he could only sneak a glance, but as he carried it home after school, trying to ignore that it was in his pants pocket, bending with his leg, its red colors kept stirring in him. Taking it into his bedroom, he closed the door. He looked at it and looked at it. If valentines were such mush, he wondered, why did it feel so good?

He gives the Roadrunner another try, until the feeling is in him again. He thinks, yuck. Then he thinks, this could be love, and catches himself tittering all the more as he tries and tries not to guess who could have put the dumb thing in his desk.

From the kitchen, close by, his mother says, "Eric, at least come have some toast."

Toying with a Matchbox car, he doesn't say anything. Always before he would have answered. The sensation is in him and he doesn't answer in the first moment and then not at all. Nor does he feel anything like hunger. Their apartment is small, and his mother is hardly a dozen feet away. How could a Navy Seal, he wonders—he's been dreaming for months of someday joining the U.S. Navy Seals—feel like this about a valentine?


Matthew, lying in bed with his eyes closed, is not asleep. There are two roll-away beds in the partitioned end of the apartment he shares with his little brother, but the winter sun seems this morning to heat only his own. Matthew is fifteen. His mood is terrible. The smell of chili cooking out there angers him and vaguely he wishes he were anywhere but where he is.

He gives a thought to a girl in school, a black girl of all things, who spoke to him yesterday, who seemed often lately to flirt with him. To another girl, over something in algebra, she said, "Let's ask Matt Wells. He always has his work done."

She was teasing; he never had his work done anymore. But there was her smile and there, too, were several tiny gold rings on the fingers of one hand and a gold earring in her ear. The combination suddenly struck him: gold and chocolate.

But lying in bed now within the aroma of chili, his mood is so awful he is close to tears. When he knows his mother has opened the door, he keeps his eyes closed and lets his anger thrive on her presence.

"Matt, don't you think it's time you got up?"

He holds.

"Matt," she says.

Still he holds.

"Matt!" she says.

"What?" he says.

"I know you heard what I said."

He doesn't respond. He stops himself from shouting, or from collapsing within.

"Matt, you've got to stop being so hard on everybody," his mother says. "We can't live like this."


Guiding one of his paint-worn Matchbox cars, Eric gives an uncertain ride to a pair of plastic soldiers. Dumping the pair on the other side of a gorge, he drives back to pick up two more. He changes his mind, though, and glances over where the Roadrunner is still zipping around. That bird is so dumb, he thinks. Turning onto his back, he places his hands under his head and looks into the universe where there used to be but a ceiling.

"Eric, you don't have a fever, do you?" his mother says.

"Nope."

"Are you sure?"

He doesn't respond.

"I wish you'd eat something," she says, although on a pause her wish disappears with her back into the kitchen.

Returning from his journey, Eric looks once more at the television screen. He and the nineteen-inch, black-and-white set are the same age, and too often in her nostalgic moments his mother has told him that when she brought him home from the hospital they spent hours together watching everything that appeared on the tube. Except when he was nursing, she always adds, which was practically all the time. Maybe a year ago, when he was old enough to tell her how icky it made him feel when she talked like that, she told him that someday he'd enjoy recalling such things as how he put on his first pounds.

Well, here it is, he thinks. This is it. Sitting up, but not by choice, and in the grip of something serene, he touches his chin to a bridge between his knees. His insides continue on their spinning ride into the heavens. He'd have to admit—these things don't feel bad, these valentines and thoughts. They feel good right there at the tip of his spine, in the center of all that he never tells.


As the freedom of Saturday morning is pleasantly under way, Claire is cooking a pot of chili, on consignment from the Legion Hall where she works weekends as a waitress. The weather outside is unusually warm—a February thaw—and she cannot resist humming a little as she guides a wooden spoon through the deep mix. She enjoys cooking. All her life she has enjoyed Saturday mornings. They are her favorite hours of the week, the only time she hums.

Otherwise she is a packer at Boothbay Fisheries. Growing up in rural Maine, leaving school in the ninth grade, Claire has worked at the fishery eight years now, since her husband left—his whereabouts are unknown—and since she moved here with her two sons. If Claire is worrying over anything this unusually pleasant morning, it is her oldest son, Matt. He seems so unhappy anymore, seems to be going backward instead of forward. If only she could tell him something helpful. If only she could get him to stop being so mean to his little brother. And to himself, she thinks. She wonders if it's too late to dish out a good spanking. Would it do any good? Would it make things worse?


Who would believe it, Eric thinks, as he finds himself gazing yet again into the mystery overhead. He's never gone cuckoo like this before. His dreams have always been to build things. He'd use his vehicles to bulldoze roadways and airstrips; he'd throw pontoons over streams or bridge them with Popsicle sticks, and use rope and winch to save whatever trucks and troops he happened to allow to slip in their passage from one side to the other. Combat Naval Engineers was one of the neatest names he'd ever heard. So was Airborne Rangers. Frogmen. Special Forces. The names made his scalp sing, made his loins tingle, called up in him an urge to go out and build a fort or climb a tree. Who would believe something like this might so easily get in the way? Girls? Valentines?

Who would believe that on a Saturday morning, of all things, he wants to be in school? Wow, he thinks. He has to be going crazy.


Vanessa Dineen is the black girl's name. Thinking of her, Matt is taken with a desire to gaze at women in his hidden magazines. He is attracted at once to the escape the color photographs offer, the intersecting pink valentines—the glistening cuts of veal and pork—at the same time that he has no wish to take on the guilt he always feels afterwards.

He knows he's going to do it, though. It's always like this. He's too much in its grip already to turn back, unless someone walks in.

Someone does—just as his motor is revving up.

Lying on his side, the sheet tented by his shoulder, he has explored little more than a page or two when Eric blasts into the room. "What're you doing?" Matt snaps at him, letting the sheet collapse.

"Nothing—getting something—what do you care?"

Leaving, quickly, Eric leaves the door standing open. Matt could scream at him but doesn't. He could tear after him and smash him in the face, but he doesn't. Again, he could cry, but he doesn't do that either. Putting the magazine back under his mattress, he lies there. He stares at something just an inch before his eyes. His strength has left him; the feeling to cry nearly has him again, and his eyes blur as a spinning-away urge to exist no more passes through his mind.

In the distance a gull shrieks and calls up in Claire a feeling of spring. Soon again she is purring music of no known origin, guiding the wooden spoon. Not her mother, but her father used to hum like this. In their farmhouse near Lewiston, sitting around in cold weather, doing whatever repairing and tying and polishing there was to do, he often hummed. He winked. As the youngest, she received most of the winks. He was old—her parents were old enough to be grandparents when she was born—and their interest in her always seemed as fresh as day-old bread. Both were gone now, and here she was, living like this, a divorced mother, living in an apartment.

She nips a taste of chili. It should be satisfying, she thinks, to just be home like this on a Saturday morning, preparing food. It is—almost. Except for what seems to be wrong. She'll have to come up with something, she thinks.

What would a father do? Would a father rail at Matthew? Deny him privileges? What privileges does he have in the first place?


When he closes his eyes—Eric has just learned—the outer space, valentine sensation will come up in him. Awesome, he thinks, eyes closed to the ceiling, a door going up on his heart, all his organs playing him this serenade they have never played before.

Merely to respend the pleasure, he looks back at how it started. There is the white envelope with his name. Inside is the red card. And there, as the card is opened, is the message, flying on its arrow directly into his chest: I have my eye on you! Won't you be my Valentine?

In a felt-tip pen it is signed Guess Who.

He has guessed a little. He has guessed almost everyone, and no one. Mainly, in the flush of things, he has settled on no one. Nor does the problem of loyalty go away as he lies staring at the ceiling. There are his comrades in battle, under mortar attack. Someone has to throw a bridge over a ravine and save lives. And there is his sweetheart back home, and she nearly has a name by now. How weird, he thinks, that this new call is so much stronger than the other.


Matthew's eyes remain closed; the cooking smell continues to upset him. His other escape, after those under the bedsheet, is to think of his father. He likes to invent secret futures in which his father returns or in which he goes away to find him. Runs away. He can come up with dreams, almost any time, in which life appears new and possible again. He and his old man on the road. Tooling along in a car. Working construction. Running cable, like they do on TV.

He'd give anything, he thinks all at once, to be eighteen, to be on his own.

Maybe he'll take off. A couple years ago they heard that his father was working construction in New Orleans, and in his school's reference room he looked up the city in the atlas. He studied a patch of yellow on the map, which indicated the city's size; he envisioned his father there, deep within the map's color, working about the skeleton of a new building. What if he wrote to New Orleans? What if he took off and hitchhiked south?

Getting out of bed at last, Matthew stands in his underwear beside the chilled windowpane, looking down over the tops of parked cars. In recent days a new thought of his father has been in his mind. Standing with other boys in and around school, it has struck him how they are all making moves in their lives, and not for the day alone or for the semester, but for bigger things. Jobs. Cars. Money. They were getting driver's licenses, working part-time in the offices and shops where their fathers work. Girls. They were walking boldly with girls. They spoke of dates, of stopping at girls' houses.

His father was a journeyman electrician, Matt has thought, and would be one still. If he were here, he thinks; if his father were here, working construction like he did before, then he could say things in school himself. He could speak up in the company of boys, and of girls too, and in the company of teachers, for journeyman electricians, as everyone knew, made what was more important than anything else; they made good money.

CHAPTER 2

A dozen miles inland, along the river and across the Great Bay, a young man, Vernon Fischer, is waiting for a telephone call. Twenty-one, a senior at the University of New Hampshire, Vernon is sitting at a picnic table in a pond-side cabin two miles west of Durham, where the university is located. He is sitting over an empty coffee mug, over pencils, school papers, books, glancing over the surface, but really over his life, and letting time slide by.

He knows his friend isn't going to call. At the same time he has an ear perked for the telephone's ring. His thought is to take up the receiver before it rings a second time and awakens his housemates. He wants to at least have privacy, in case the words he has to hear, or speak, are difficult.

They will be difficult all right, he knows, just as he knows the telephone is not going to ring. Would he be able to speak at all? In these past days his capacity to talk has been getting even worse. All his life he has had difficulty facing such problems, and lately he has not been able to face them at all. His friend, he knows, is not going to call.

This is so hard to believe, he tells himself. This isn't him. He isn't sitting here like this, confused over such a thing. A friendship with a teenager at that, he thinks. It isn't anything really, and it is based on practically nothing—except, of course, that it was the first time he had ever let himself go in such a way.

Taking up a wooden pencil, he rolls it in his fingers. He glances at a textbook, a pad of paper. He could at least get some reading done while he waits, he thinks. At the same time, he knows he has no capacity to take in the demanding words and meaning in the book before him, called Molecular Biology as Art and Science. Each thin, silken page, he knows, presents a maze of complexity. A devoted student—if nothing else, he reminds himself—he has devoured many such books. In the best of times, though, he had to shut out the surrounding world, had to take on each phrase, each diagram, illustration, and concept, had to fix it, look at it from another side, all the time urging himself to see and think, to put things together, to succeed, to show them, to show every person he had ever known who had had no belief in him, who had avoided him ...

Stop it, he says to himself, as he thinks again of the fool he made of himself last night. He sees himself waiting at the door to Anthony's dormitory, acting as if he were not waiting to catch him with someone else. What an impossible scene. How could anyone act so badly?

Getting to his feet, Vernon walks over to look through the window above the kitchen sink. He knows the telephone, on the counter to his right, is within reach of his arm. He decides yet again, however, that it isn't going to ring. He knows the worst thing to do is to listen for it to ring. Please ring, he says to himself. Let me have one more chance. Please let me have one more chance.

He looks through the window. He wonders for the moment who he is, and how he has come to be where he is today. The hurt he feels is so strange, he thinks. How could it be this way? Was it because he had been bottled up all his life?

He looks again through the glass, although the position of his head has not changed. From this angle the pond spreading out below has the shape of a dollar sign. Ice covers the pond. A single curving piece, he sees. It fits perfectly. There have been so many secrets in his life, he thinks. Secret games and stories. They lasted all day, sometimes all summer or all year. Some lasted still. In fact, anything that had ever been important to him had been a secret. Secret hopes. Wishes. A wish that someone might speak to him in school, take a seat next to him. Appear on the sidewalk if he turned a certain corner. Telephone on Saturday afternoon. Now he has this secret wish in him that the telephone will ring and that it will be his friend, even as he knows this wish will go the way of all his previous secret wishes.


(Continues...)

Excerpted from The True Detective by Theodore Weesner. Copyright © 2012 Theodore Weesner. Excerpted by permission of Astor + Blue Editions, LLC.
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.

Meet the Author

The late, great, Theodore (Ted) Weesner died in 2015. Known as the ‘Writer’s writer’ by the larger literary community, his novels and short works were published to great critical acclaim.Born in Flint, Michigan, to an alcoholic father and teenage mother who abandoned him aged one, he spent a large part of his childhood in an unofficial foster home of an immobile woman of over five hundred pounds. This, however, gave him and his elder brother, Jack, a degree of freedom to explore and have a wide variety of childhood adventures. He nevertheless became introspective as a teenager, with a rebellious streak, which led to him not graduating from high school and also becoming involved in petty crime. Eventually returning to the care of his father, he finally took off on his own when he lied about his age and joined the Army aged seventeen.It was the Army that finally had the influence previously lacking in Weesner’s life, and whist serving he earned a high school equivalency diploma, which on leaving allowed him to gain a place at Michigan State University and then an M.F.A. degree from the University of Iowa Writers’ Workshop. His experiences in the Army also provided material for two of his later books, and others gained from his many years of teaching at the University of New Hampshire, and later Emerson College. Put together with his earlier life experiences, ample material was available to provide a background for his plots, once he had honed his writing skills, and his works never lost their air of reality and his inherent understanding of human behaviour. His first novel, ‘The Car Thief’ was published in 1972 after excerpts had appeared in ‘The New Yorker’, ‘Esquire’ and ‘The Atlantic Monthly’. It was a coming-of-age tale that critics found ‘original, perspicacious and tender’. Joseph McElroy, in ‘The New York Times Book Review’, referred to it as ‘a story so modestly precise and so movingly inevitable that before I knew what was happening to me I felt in the grip of some kind of thriller’. In his obituary of Weesner, published in the ‘New York Times’ in June 2015, Bruce Weber stated that ‘like many a critically appreciated book …. it faded rather quickly from view. But it became famous in literary circles as a forgotten gem’. It has since had a second life, being re-published twice more and continues to grip readers of a new generation as well as remaining popular with those who were its contemporaries.Again, Weesner’s later work did not always enjoy the immediate commercial success that might be expected of critically acclaimed work – to the sorrow of his fellow writers, and recognised by Weesner himself, who was acutely aware of the ‘neglected writer’ label – despite such plaudits as that of the novelist Stewart O’Nan, when speaking of ‘The True Detective’, and calling it ‘one of the great, great American novels’. This could be because his particular genre became crowded at the time of his writing, often by lesser authors who nonetheless achieved the publicity needed to produce success. Indeed, as is the case with many great writers, an enhanced and wider appreciation of Theodore Weesner’s catalogue will undoubtedly grow following his departure from the scene.His short works have previously been published in the ‘New Yorker’, ‘Esquire’, ‘Saturday Evening Post’, ‘Atlantic Monthly’ and ‘Best American Short Stories’. Likewise, his novels appeared in the ‘New York Times’, ‘The Washington Post’, ‘Harper’s’, ‘The Boston Globe’, ‘USA Today’, ‘The Chicago Tribune’, and ‘The Los Angeles Times’. During his lifetime Weesner received the ‘New Hampshire Literary Award’ for Lifetime Achievement, whilst ‘The Car Thief’ won for him the ‘Great Lakes Writers Prize’, and ‘The True Detective’ was cited in 1987 by the American Library Association as a notable book of that year. He was also the recipient of ‘Guggenheim’ and ‘National Endowment for the Humanities’ awards.A perfectionist, Theodore Weesner did meticulous research, and was

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