Instruments of Night

Paul Graves knows evil to the bone. He confronted it first as a boy, when he survived the torture-murder of his sister. As a man, he has made its exploration his life's work, tirelessly writing mysteries set in gaslight New York, a world of mists and shadows, of voices pleading in the fog, footsteps racing over rain-swept cobblestones...a world colored by the ache of Grave's own past, its still-remembered screams. It is a far cry from Riverwood, the artists' community in upstate New York where Graves is invited to spend the summer. And yet, for all its splendor and grand isolation, Riverwood was once touched by crime - the murder of Faye Harrison, a teenage girl who'd lived on the estate fifty years before. Faye's mother is now dying, but uneasily, still tormented by the unanswered questions about her daughter's death. Graves has been summoned by Allison Davies, Faye's girlhood friend and now Riverwood's owner, and asked to explore this long-past crime, apply the art of mystery fiction to a murder that was real, then write a story that will answer those very questions that keep Faye's mother from a peaceful death.

Paul Graves is a crime writer obsessed with a single crime--the murder of his own teenaged sister on their Southern farm almost 40 years before. To work out his guilt and fear, he has created a series of mysteries set at the turn of the century, in which a dedicated detective pursues a fiendish killer called Kessler--the real name of the man who slaughtered his sister. His obsession has made Graves a sad, lonely man, "living thinly, without connections," already preparing to kill himself when he can no longer write his books.

Keeping readers interested in a dark and brooding character like Graves is no easy task, and Thomas H. Cook--who won an Edgar for his superb The Chatham School Affair--needs all his narrative skills to avoid sinking us in a sea of gloom. Invited to Riverwood, a Hudson River Valley estate turned into a writers' retreat, to help solve a 50-year-old mystery involving the death of a young woman, Graves is assisted by a shrewd and sympathetic playwright, Eleanor Stern. Together, they sift through all the clues linking the dead girl to the wealthy family who owned the estate. Old-fashioned detective work plays a large part in discovering what really happened, as well as the too-convenient appearance of files and live witnesses from the period. As for Graves and his disconcerting habit of slipping back into the past at more and more frequent intervals ("You're always imagining things, aren't you? Terrible things," one character says to him), a final revelation about his personal demons turns out to be no surprise at all. Other, more satisfying Cook books available in paperback include Evidence of Blood and Breakheart Hill. --Dick Adler