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I’m staring at the insurance man and he’s staring at me, two cold gray eyes behind old-fashioned tortoiseshell frames, and I’m having this awful and inspiring feeling, like holy moly this is real, and I don’t know if I’m ready, I really don’t.
I narrow my eyes and I steady myself and I take him in again, shift on my haunches to get a closer look. The eyes and the glasses, the weak chin and the receding hairline, the thin black belt tied and tightened beneath the chin.
This is real. Is it? I don’t know.
I take a deep breath, demanding of myself that I focus, block out everything but the corpse, block out the grimy floors and the tinny rock-and-roll Muzak from the cheap speakers in the ceiling.
The smell is killing me, a pervasive and deeply unpleasant odor, like a horse barn that’s been splashed with French-fry grease. There are any number of jobs in this world still being efficiently and diligently accomplished, but the late-night cleaning of twentypoliceman four-hour fast-food-restaurant bathrooms is not among them. Case in point: the insurance man had been slumped over in here, lodged between the toilet and the dull green wall of the stall, for several hours before Officer Michelson happened to come in, needing to use the john, and discovered him.
Michelson called it in as a 10-54S, of course, which is what it looks like. One thing I’ve learned in the last few months, one thing we’ve all learned, is that suicides-by-hanging rarely end up dangling from a light fixture or a roof beam, like in the movies. If they’re serious, and nowadays everybody is serious, would-be suicides fasten themselves to a doorknob, or to a coat hook, or, as the insurance man appears to have done, to a horizontal rail, like the grab bar in a handicapped stall. And then they just lean forward, let their weight do the work, tighten the knot, seal the airway.
I angle farther forward, readjust my crouch, trying to find a way to share space comfortably with the insurance man without falling or getting my fingerprints all over the scene. I’ve had nine of these in the three and a half months since I became a detective, and still I can’t get used to it, to what death by asphyxiation does to a person’s face: the eyes staring forward as if in horror, laced with thin red spiderwebs of blood; the tongue, rolled out and over to one side; the lips, inflated and purplish at the edges. I close my eyes, rub them with my knuckles, and look again, try to get a sense of what the insurance man’s appearance had been in life. He wasn’t handsome, that you can see right away. The face is doughy and the proportions are all just a little off: chin too small, nose too big, the eyes almost beady behind the thick lenses.
What it looks like is that the insurance man killed himself with a long black belt. He fastened one end to the grab bar and worked the other end into the hangman’s knot that now digs brutally upward into his Adam’s apple.
“Hey, kid. Who’s your friend?”
“Peter Anthony Zell,” I answer quietly, looking up over my shoulder at Dotseth, who has opened the door of the stall and stands grinning down at me in a jaunty plaid scarf, clutching a steaming cup of McDonald’s coffee.
“Caucasian male. Thirty-eight years old. He worked in insurance.”
“And let me guess,” says Dotseth. “He was eaten by a shark. Oh, wait, no: suicide. Is it suicide?”
“It appears that way.”
“Shocked, I am! Shocked!” Denny Dotseth is an assistant attorney general, a warhorse with silver hair and a broad, cheerful face. “Oh, geez, I’m sorry, Hank. Did you want a cup of coffee?”
“No, thank you, sir.”
I give Dotseth a report on what I’ve learned from the black faux-leather wallet in the victim’s back pocket. Zell was employed at a company called Merrimack Life and Fire, with offices in the Water West Building, off Eagle Square. A little collection of movie stubs, all dating from the last three months, speaks to a taste for adolescent adventure: the Lord of the Rings revival; two installments of the sci-fi serial Distant Pale Glimmers; the DC-versus-Marvel thing at the IMAX in Hooksett. No trace of a family, no photographs in the wallet at all. Eighty-five dollars in fives and tens. And a driver’s license, with an address here in town: 14 Matthew Street Extension, South Concord.
“Oh, sure. I know that area. Some nice little town houses down that way. Rolly Lewis has a place over there.”
“And he got beat up.”
“Rolly?”
“The victim. Look.” I turn back to the insurance man’s distorted face and point to a cluster of yellowing bruises, high on the right cheek. “Someone banged him one, hard.”
“Oh, yeah. He sure did.”
Dotseth yawns and sips his coffee. New Hampshire statute has long required that someone from the office of the attorney general be called whenever a dead body is discovered, so that if a murder case is to be built, the prosecuting authority has a hand in from Go. In mid-January this requirement was overturned by the state legislature as being unduly onerous, given the present unusual circumstances—Dotseth and his colleagues hauling themselves all over the state just to stand around like crows at murder scenes that aren’t murder scenes at all. Now, it’s up to the discretion of the investigating officer whether to call an AAG to a 10-54S. I usually go ahead and call mine in.
“So what else is new, young man?” says Dotseth. “You still
playing a little racquetball?”
“I don’t play racquetball, sir,” I say, half listening, eyes locked on the dead man.
“You don’t? Who am I thinking of?”
I’m tapping a finger on my chin. Zell was short, five foot six maybe; stubby, thick around the middle. Holy moly, I’m still thinking, because something is off about this body, this corpse, this particular presumptive suicide, and I’m trying to figure out what it is.
“No phone,” I murmur.
“What?”
“His wallet is here, and his keys, but there’s no cell phone.”
Dotseth shrugs. “Betcha he junked it. Beth just junked hers. Service is starting to get so dicey, she figured she might as well get rid of the darn thing now.“
I nod, murmur “sure, sure,” still staring at Zell.
“Also, no note.”
“What?”
“There’s no suicide note.”
“Oh, yeah?” he says, shrugs again. “Probably a friend will find it. Boss, maybe.” He smiles, drains the coffee. “They all leave notes, these folks. Although, you have to say, explanation not really necessary at this point, right?”
“Yes, sir,” I say, running a hand over my mustache. “Yes, indeed.”
Last week in Kathmandu, a thousand pilgrims from all over southeast Asia walked into a massive pyre, monks chanting in a circle around them before marching into the blaze themselves. In central Europe, old folks are trading how-to DVDs: How toWeigh Your Pockets with Stones, How to Mix a Barbiturate Cocktail in the Sink. In the American Midwest—Kansas City, St. Louis, Des Moines—the trend is firearms, a solid majority employing a shotgun blast to the brain.
Here in Concord, New Hampshire, for whatever reason, it’s hanger town. Bodies slumped in closets, in sheds, in unfinished basements. A week ago Friday, a furniture-store owner in East Concord tried to do it the Hollywood way, hoisted himself from an overhanging length of gutter with the sash of his bathrobe, but the gutter pipe snapped, sent him tumbling down onto the patio, alive but with four broken limbs.
“Anyhow, it’s a tragedy,” Dotseth concludes blandly. “Every one of them a tragedy.”
He shoots a quick look at his watch; he’s ready to boogie. But I’m still down in a squat, still running my narrowed eyes over the body of the insurance man. For his last day on earth, Peter Zell chose a rumpled tan suit and a pale blue button-down dress shirt. His socks almost but don’t quite match, both of them brown, one dark and one merely darkish, both loose in their elastic, slipping down his calves. The belt around his neck, what Dr. Fenton will call the ligature, is a thing of beauty: shiny black leather, the letters B&R etched into the gold buckle.
“Detective? Hello?” Dotseth says, and I look up at him and I blink. “Anything else you’d like to share?”
“No, sir. Thank you.”
“No sweat. Pleasure as always, young man.”
“Except, wait.”
“Sorry?”
I stand up straight and turn and face him. “So. I’m going to murder somebody.” A pause. Dotseth waiting, amused, exaggerated patience. “All righty.”
“And I live in a time and a town where people are killing themselves all over the place. Right and left. It’s hanger town.”
“Okay.”
“Wouldn’t my move be, kill my victim and then arrange it to appear as a suicide?”
“Maybe.”
“Maybe, right?”
“Yeah. Maybe. But that right there?” Dotseth jabs a cheerful thumb toward the slumped corpse. “That’s a suicide.”
He winks, pushes open the door of the men’s room, and leaves me alone with Peter Zell.
Revue de presse :
I narrow my eyes and I steady myself and I take him in again, shift on my haunches to get a closer look. The eyes and the glasses, the weak chin and the receding hairline, the thin black belt tied and tightened beneath the chin.
This is real. Is it? I don’t know.
I take a deep breath, demanding of myself that I focus, block out everything but the corpse, block out the grimy floors and the tinny rock-and-roll Muzak from the cheap speakers in the ceiling.
The smell is killing me, a pervasive and deeply unpleasant odor, like a horse barn that’s been splashed with French-fry grease. There are any number of jobs in this world still being efficiently and diligently accomplished, but the late-night cleaning of twentypoliceman four-hour fast-food-restaurant bathrooms is not among them. Case in point: the insurance man had been slumped over in here, lodged between the toilet and the dull green wall of the stall, for several hours before Officer Michelson happened to come in, needing to use the john, and discovered him.
Michelson called it in as a 10-54S, of course, which is what it looks like. One thing I’ve learned in the last few months, one thing we’ve all learned, is that suicides-by-hanging rarely end up dangling from a light fixture or a roof beam, like in the movies. If they’re serious, and nowadays everybody is serious, would-be suicides fasten themselves to a doorknob, or to a coat hook, or, as the insurance man appears to have done, to a horizontal rail, like the grab bar in a handicapped stall. And then they just lean forward, let their weight do the work, tighten the knot, seal the airway.
I angle farther forward, readjust my crouch, trying to find a way to share space comfortably with the insurance man without falling or getting my fingerprints all over the scene. I’ve had nine of these in the three and a half months since I became a detective, and still I can’t get used to it, to what death by asphyxiation does to a person’s face: the eyes staring forward as if in horror, laced with thin red spiderwebs of blood; the tongue, rolled out and over to one side; the lips, inflated and purplish at the edges. I close my eyes, rub them with my knuckles, and look again, try to get a sense of what the insurance man’s appearance had been in life. He wasn’t handsome, that you can see right away. The face is doughy and the proportions are all just a little off: chin too small, nose too big, the eyes almost beady behind the thick lenses.
What it looks like is that the insurance man killed himself with a long black belt. He fastened one end to the grab bar and worked the other end into the hangman’s knot that now digs brutally upward into his Adam’s apple.
“Hey, kid. Who’s your friend?”
“Peter Anthony Zell,” I answer quietly, looking up over my shoulder at Dotseth, who has opened the door of the stall and stands grinning down at me in a jaunty plaid scarf, clutching a steaming cup of McDonald’s coffee.
“Caucasian male. Thirty-eight years old. He worked in insurance.”
“And let me guess,” says Dotseth. “He was eaten by a shark. Oh, wait, no: suicide. Is it suicide?”
“It appears that way.”
“Shocked, I am! Shocked!” Denny Dotseth is an assistant attorney general, a warhorse with silver hair and a broad, cheerful face. “Oh, geez, I’m sorry, Hank. Did you want a cup of coffee?”
“No, thank you, sir.”
I give Dotseth a report on what I’ve learned from the black faux-leather wallet in the victim’s back pocket. Zell was employed at a company called Merrimack Life and Fire, with offices in the Water West Building, off Eagle Square. A little collection of movie stubs, all dating from the last three months, speaks to a taste for adolescent adventure: the Lord of the Rings revival; two installments of the sci-fi serial Distant Pale Glimmers; the DC-versus-Marvel thing at the IMAX in Hooksett. No trace of a family, no photographs in the wallet at all. Eighty-five dollars in fives and tens. And a driver’s license, with an address here in town: 14 Matthew Street Extension, South Concord.
“Oh, sure. I know that area. Some nice little town houses down that way. Rolly Lewis has a place over there.”
“And he got beat up.”
“Rolly?”
“The victim. Look.” I turn back to the insurance man’s distorted face and point to a cluster of yellowing bruises, high on the right cheek. “Someone banged him one, hard.”
“Oh, yeah. He sure did.”
Dotseth yawns and sips his coffee. New Hampshire statute has long required that someone from the office of the attorney general be called whenever a dead body is discovered, so that if a murder case is to be built, the prosecuting authority has a hand in from Go. In mid-January this requirement was overturned by the state legislature as being unduly onerous, given the present unusual circumstances—Dotseth and his colleagues hauling themselves all over the state just to stand around like crows at murder scenes that aren’t murder scenes at all. Now, it’s up to the discretion of the investigating officer whether to call an AAG to a 10-54S. I usually go ahead and call mine in.
“So what else is new, young man?” says Dotseth. “You still
playing a little racquetball?”
“I don’t play racquetball, sir,” I say, half listening, eyes locked on the dead man.
“You don’t? Who am I thinking of?”
I’m tapping a finger on my chin. Zell was short, five foot six maybe; stubby, thick around the middle. Holy moly, I’m still thinking, because something is off about this body, this corpse, this particular presumptive suicide, and I’m trying to figure out what it is.
“No phone,” I murmur.
“What?”
“His wallet is here, and his keys, but there’s no cell phone.”
Dotseth shrugs. “Betcha he junked it. Beth just junked hers. Service is starting to get so dicey, she figured she might as well get rid of the darn thing now.“
I nod, murmur “sure, sure,” still staring at Zell.
“Also, no note.”
“What?”
“There’s no suicide note.”
“Oh, yeah?” he says, shrugs again. “Probably a friend will find it. Boss, maybe.” He smiles, drains the coffee. “They all leave notes, these folks. Although, you have to say, explanation not really necessary at this point, right?”
“Yes, sir,” I say, running a hand over my mustache. “Yes, indeed.”
Last week in Kathmandu, a thousand pilgrims from all over southeast Asia walked into a massive pyre, monks chanting in a circle around them before marching into the blaze themselves. In central Europe, old folks are trading how-to DVDs: How toWeigh Your Pockets with Stones, How to Mix a Barbiturate Cocktail in the Sink. In the American Midwest—Kansas City, St. Louis, Des Moines—the trend is firearms, a solid majority employing a shotgun blast to the brain.
Here in Concord, New Hampshire, for whatever reason, it’s hanger town. Bodies slumped in closets, in sheds, in unfinished basements. A week ago Friday, a furniture-store owner in East Concord tried to do it the Hollywood way, hoisted himself from an overhanging length of gutter with the sash of his bathrobe, but the gutter pipe snapped, sent him tumbling down onto the patio, alive but with four broken limbs.
“Anyhow, it’s a tragedy,” Dotseth concludes blandly. “Every one of them a tragedy.”
He shoots a quick look at his watch; he’s ready to boogie. But I’m still down in a squat, still running my narrowed eyes over the body of the insurance man. For his last day on earth, Peter Zell chose a rumpled tan suit and a pale blue button-down dress shirt. His socks almost but don’t quite match, both of them brown, one dark and one merely darkish, both loose in their elastic, slipping down his calves. The belt around his neck, what Dr. Fenton will call the ligature, is a thing of beauty: shiny black leather, the letters B&R etched into the gold buckle.
“Detective? Hello?” Dotseth says, and I look up at him and I blink. “Anything else you’d like to share?”
“No, sir. Thank you.”
“No sweat. Pleasure as always, young man.”
“Except, wait.”
“Sorry?”
I stand up straight and turn and face him. “So. I’m going to murder somebody.” A pause. Dotseth waiting, amused, exaggerated patience. “All righty.”
“And I live in a time and a town where people are killing themselves all over the place. Right and left. It’s hanger town.”
“Okay.”
“Wouldn’t my move be, kill my victim and then arrange it to appear as a suicide?”
“Maybe.”
“Maybe, right?”
“Yeah. Maybe. But that right there?” Dotseth jabs a cheerful thumb toward the slumped corpse. “That’s a suicide.”
He winks, pushes open the door of the men’s room, and leaves me alone with Peter Zell.
“The best genre fiction holds a mirror up to society while also providing edge-of-the-seat excitement, and The Last Policeman did that and more.”—Las Vegas City Life
“...a heck of a lot of fun.”—Locus
“Winters constructs a sturdy, functional, entertaining page-turner.”—Greg Cook, WBUR.org
“I'm eager to read the other books, and expect that they’ll keep me as enthralled as the first one did.”—Mark Frauenfedler, Boing Boing
“...darkly intriguing...”—Discover magazine
“Full of compelling twists, likable characters, and a sad beauty, The Last Policeman is a gem.”—San Francisco Book Review
“...resonant and powerful.”—Locus
“This is a book that asks big questions about civilization, community, desperation and hope.”—io9
“...an entertaining and well-plotted tale.”—Wired.com's GeekDad
“I'm in the middle of it and can't put the dang thing down.”—USA Today's Pop Candy
“...sharp, funny, and deeply wise.”—Slate.com
“The Last Policeman succeeds both as a mystery, with a quirky detective and an intriguing whodunit, and as a piece of apocalyptic speculative fiction. That’s good news. The even better news is that this novel is supposed to be the first of a planned trilogy, with each case occurring closer to the moment when, as Henry repeatedly notes, ‘Bam!’ And that is something we can anticipate with a good feeling.”—Sacramento News & Review
“Winters is masterful in crafting a plausible image of a society that’s hanging onto sanity by its fingernails as it teeters on the edge of mass hysteria....This is a novel that grabs ahold of you and doesn’t let you go until the very end.”—The Nashua Telegraph
“If the next two books are as good as this one, I can't wait for the end of the world.”—Asbury Park Press
“...a solidly plotted whodunit with strong characters and excellent dialogue...This memorable tale is the first of a planned trilogy.”—Booklist
“This thought-provoking mystery should appeal to crime fiction aficionados who like an unusual setting and readers looking for a fresh take on apocalypse stories.”—Library Journal
“Ben Winters vividly describes the decline of civilization in this pre-apocalyptic story, and spins a wonderful tale...This engrossing story is the first in a planned trilogy. It is a well-written mystery that will have readers eagerly awaiting the second installment.”—NY Journal of Books
“The Last Policeman presents a fascinating portrait of a pre-apocalyptic United States.”—Tor.com
“Ben Winters makes noir mystery even darker: his latest novel sets a despondent detective on a suspicious suicide case—while an asteroid hurtles toward earth.”—Wired magazine
“Normally, only Stephen King and Dean Koontz can suck me into a book and not release their stranglehold until I, exhausted from lack of sleep, have turned the last page. Now [Ben Winters] has joined their ranks...The Last Policeman is extraordinary—as well as brilliant, surprising, and, considering the circumstances, oddly uplifting.”—Mystery Scene magazine
“Absolutely outstanding, I completely loved it from start to finish and I’m already rueing the fact that there will only be two more in the series...this gets the highest recommendation I can give. Buy it.”—In Search of the Classic Mystery Novel
“A promising kickoff to a planned trilogy. For Winters, the beauty is in the details rather than the plot’s grim main thrust.”—Kirkus Reviews, STARRED review
“...a heck of a lot of fun.”—Locus
“Winters constructs a sturdy, functional, entertaining page-turner.”—Greg Cook, WBUR.org
“I'm eager to read the other books, and expect that they’ll keep me as enthralled as the first one did.”—Mark Frauenfedler, Boing Boing
“...darkly intriguing...”—Discover magazine
“Full of compelling twists, likable characters, and a sad beauty, The Last Policeman is a gem.”—San Francisco Book Review
“...resonant and powerful.”—Locus
“This is a book that asks big questions about civilization, community, desperation and hope.”—io9
“...an entertaining and well-plotted tale.”—Wired.com's GeekDad
“I'm in the middle of it and can't put the dang thing down.”—USA Today's Pop Candy
“...sharp, funny, and deeply wise.”—Slate.com
“The Last Policeman succeeds both as a mystery, with a quirky detective and an intriguing whodunit, and as a piece of apocalyptic speculative fiction. That’s good news. The even better news is that this novel is supposed to be the first of a planned trilogy, with each case occurring closer to the moment when, as Henry repeatedly notes, ‘Bam!’ And that is something we can anticipate with a good feeling.”—Sacramento News & Review
“Winters is masterful in crafting a plausible image of a society that’s hanging onto sanity by its fingernails as it teeters on the edge of mass hysteria....This is a novel that grabs ahold of you and doesn’t let you go until the very end.”—The Nashua Telegraph
“If the next two books are as good as this one, I can't wait for the end of the world.”—Asbury Park Press
“...a solidly plotted whodunit with strong characters and excellent dialogue...This memorable tale is the first of a planned trilogy.”—Booklist
“This thought-provoking mystery should appeal to crime fiction aficionados who like an unusual setting and readers looking for a fresh take on apocalypse stories.”—Library Journal
“Ben Winters vividly describes the decline of civilization in this pre-apocalyptic story, and spins a wonderful tale...This engrossing story is the first in a planned trilogy. It is a well-written mystery that will have readers eagerly awaiting the second installment.”—NY Journal of Books
“The Last Policeman presents a fascinating portrait of a pre-apocalyptic United States.”—Tor.com
“Ben Winters makes noir mystery even darker: his latest novel sets a despondent detective on a suspicious suicide case—while an asteroid hurtles toward earth.”—Wired magazine
“Normally, only Stephen King and Dean Koontz can suck me into a book and not release their stranglehold until I, exhausted from lack of sleep, have turned the last page. Now [Ben Winters] has joined their ranks...The Last Policeman is extraordinary—as well as brilliant, surprising, and, considering the circumstances, oddly uplifting.”—Mystery Scene magazine
“Absolutely outstanding, I completely loved it from start to finish and I’m already rueing the fact that there will only be two more in the series...this gets the highest recommendation I can give. Buy it.”—In Search of the Classic Mystery Novel
“A promising kickoff to a planned trilogy. For Winters, the beauty is in the details rather than the plot’s grim main thrust.”—Kirkus Reviews, STARRED review
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- Date d'édition2013
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