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The Pale Blue Eye (P.S.)by Louis Bayard
Synopses & Reviews
From the critically acclaimed author of Mr. Timothy comes an ingenious tale of murder and revenge, featuring a retired New York City detective and a young cadet named Edgar Allan Poe.
At West Point Academy in 1830, the calm of an October evening is shattered by the discovery of a young cadet's body swinging from a rope just off the parade grounds. An apparent suicide is not unheard of in a harsh regimen like West Point's, but the next morning, an even greater horror comes to light. Someone has stolen into the room where the body lay and removed the heart.
At a loss for answers and desperate to avoid any negative publicity, the Academy calls on the services of a local civilian, Augustus Landor, a former police detective who acquired some renown during his years in New York City before retiring to the Hudson Highlands for his health. Now a widower, and restless in his seclusion, Landor agrees to take on the case. As he questions the dead man's acquaintances, he finds an eager assistant in a moody, intriguing young cadet with a penchant for drink, two volumes of poetry to his name, and a murky past that changes from telling to telling. The cadet's name? Edgar Allan Poe.
Impressed with Poe's astute powers of observation, Landor is convinced that the poet may prove useful — if he can stay sober long enough to put his keen reasoning skills to the task. Working in close contact, the two men — separated by years but alike in intelligence — develop a surprisingly deep rapport as their investigation takes them into a hidden world of secret societies, ritual sacrifices, and more bodies. Soon, however, the macabre murders and Landor's own buried secrets threaten to tear the two men and their newly formed friendship apart.
A rich tapestry of fine prose and intricately detailed characters, The Pale Blue Eye transports readers into a labyrinth of the unknown that will leave them guessing until the very end.
"These two new novels about Edgar Allan Poe's curious life both come draped with the necessary — nay mandatory — mystery, but their approaches could not be more different. In 'The Pale Blue Eye,' by Louis Bayard, Poe is an impassioned genius with the world ahead of him; in 'The Poe Shadow,' by Matthew Pearl, he is the dishonored dead. 'The Pale Blue Eye' invites us to a dull, dark... Washington Post Book Review (read the entire Washington Post review) and soundless day in the winter of 1830 and the Hudson Valley, where retired New York City detective Gus Landor is nursing the double trauma of physical illness and personal tragedy. At nearby West Point a cadet has been found hanged in a telltale manner, his heart removed from his body. Fearing closure of the school, the administration asks Landor to investigate. To assist him in this endeavor Gus calls upon a 20-year-old cadet named Edgar Allan Poe, who is at the military academy in a vain attempt to secure his legacy from his foster father. More murder and intrigue quickly follow, and Landor and Poe establish a curious alliance as they try to unravel the mystery. There are, I feel, easier books to write, and it is to Bayard's huge credit that he carries off not only the cold and miserable locale with an atmospheric darkness worthy of his illustrious subject, but also that Poe himself walks and talks so convincingly throughout the pages of this novel. We know that Poe led a life of professional and personal disappointments coupled with the sure knowledge of his own genius, and Bayard has expertly placed the young Poe among the other characters here: his arrogance toward those who command the academy, his awkwardness and passion with the daughter of a military surgeon and his strained relationship with Landor, whom he wants to see as the father figure he never possessed. But despite all this hugely accomplished and well-observed character study, the detective story that is meant to act as a framework for the book just doesn't match up to the style and quality of the prose. I'm something of a traditionalist when it comes to detective novels. I like to be offered red herrings and clues until given a false and then real resolution that makes me think admiringly, 'Ah, I should have seen that coming!' In 'The Poe Shadow' by Matthew Pearl, author of 'The Dante Club,' we roll on to the year 1849. Poe, after a short lifetime of hard work, tragedy, disappointment and grudging acceptance of his literary worth, is buried in a Baltimore cemetery with just four mourners in attendance. Controversial during his lifetime because of his macabre stories and his penchant for accusing fellow writers of all manner of sins, this upstart crow is damned by the newspapers eager to write anything negative about the mysterious death of the mystery writer. Here Pearl steps into the fray and gives us the young Quentin Clark, a Baltimore attorney of independent means who sets out to uncover the truth behind the death of his favorite author. Abandoning a partnership in a law firm and throwing a sound society engagement into jeopardy, he journeys to Paris to seek the services of the one man capable of answering the question of Poe's untimely death: the real-life model for C. Auguste Dupin, the brilliant detective who thrilled Clark — and the world — with his astounding feats of 'ratiocination' in cases such as 'The Murders in the Rue Morgue.' Clark soon finds himself with not one but two eccentric Frenchmen who lay claim to being the model for the fictional detective. To compound the problem further, they are both soon back in Baltimore attempting to seek out the truth, while behind them the wind of international conspiracy gathers pace. The Poe Shadow belongs firmly in the Dupin/Sherlock mold of cerebral armchair investigations revolving around detailed study of newspapers and the welcome return of inverted clue logic — not why something is, but why it isn't. This retro-ratiocination breathes refreshing life into the genre by returning to first principles. Beneath the cloak of this well-paced detective story and its understated wit, however, is a scholarly piece of work, a meticulously researched and detailed discussion of the events surrounding Poe's death. In fact, one wonders where reality ends and fiction begins, a question that Pearl dutifully discusses in the afterword. As a period piece the book is gloriously and sumptuously detailed, and if I ever get to Baltimore in the mid-19th century, I daresay I shall not be surprised by what I find. Jasper Fforde is the author of 'The Eyre Affair.' His sixth novel, 'The Fourth Bear,' will be published in July." Reviewed by Jasper Fforde, Washington Post Book World (Copyright 2006 Washington Post Book World Service/Washington Post Writers Group)
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"[A]nother literary tour de force....At novel's end, the reader may want to start again from the beginning." Kirkus Reviews (Starred Review)
"[T]his period mystery moves methodically to the suspects, the motives, and the clues that twist and turn like the Hudson itself. The novel is further charmed by a skillful and lyrical writing style and the intrigue of West Point, now and then." Library Journal
"Louis Bayard is a writer of remarkable gifts: for language, for imagination, for that mysterious admixture of audacity and craftsmanship that signals a major talent in the making." Joyce Carol Oates
"Louis Bayard...turns from Charles Dickens to Edgar Allan Poe with debonair wit....
"A first-rate thriller with language that sparkles on the page." Dustin Thomason, co-author of The Rule of Four
"Mr. Bayard has a gift for Poe mimicry and, as well, for constructing a labyrinthine plot. The story's climax is a parody of author Poe's nightmarish flourishes." Dallas Morning News
"A deliciously spooky pastiche of the high and low Gothic traditions and the tender heroines who live and die by them."
—New York Times Book Review
A brilliant new Gothic thriller from the acclaimed author of The Ghost Writer and The Seance.
A brilliant new Gothic thriller from the acclaimed author of The Ghost Writer and The Seance
Confused and disoriented, Georgina Ferrars awakens in a small room in Tregannon House, a private asylum in a remote corner of England. She has no memory of the past few weeks. The doctor, Maynard Straker, tells her that she admitted herself under the name Lucy Ashton the day before, then suffered a seizure. When she insists he has mistaken her for someone else, Dr. Straker sends a telegram to her uncle, who replies that Georgina Ferrars is at home with him in London: “Your patient must be an imposter.”
Suddenly her voluntary confinement becomes involuntary. Who is the woman in her uncles house? And what has become of her two most precious possessions, a dragonfly pin left to her by her mother and a writing case containing her journal, the only record of those missing weeks? Georginas perilous quest to free herself takes us from a cliffside cottage on the Isle of Wight to the secret passages of Tregannon House and into a web of hidden family ties on which her survival depends.
Another delicious read from the author praised by Ruth Rendell as having “a gift for creating suspense, apparently effortlessly, as if it belongs in the nature of fiction.”
“Harwood, master of creeping Victorian horror, does it again . . . Twisted in every sense of the word and wonderfully atmospheric.”—Booklist
Confused and disoriented, Georgina Ferrars awakens in a small room in Tregannon House, a remote asylum in England. She has no memory of the past few weeks. The doctor, Maynard Straker, tells her that she admitted herself under the name Lucy Ashton, then suffered a seizure. When she insists he has mistaken her for someone else, Dr. Straker sends a telegram to her uncle, who replies that Georgina Ferrars is at home with him in London: “Your patient must be an imposter.” Suddenly her voluntary confinement becomes involuntary. Who is the woman in her uncles house? Georginas perilous quest to free herself takes us from a cliffside cottage on the Isle of Wight to the secret passages of Tregannon House and into a web of hidden family ties on which her survival depends.
“Redolent with a sense of foreboding . . . This gothic tale will sweep you up into the very heart of Victorian England. A splendid read!”—Historical Novel Society, Editors Choice
“A richly textured . . . [and] masterfully constructed narrative . . . Readers are guaranteed a thoroughly diverting time in Harwoods not-to-be-trusted hands.”—The Independent (UK)
“The crisp prose and twisty plot will encourage many to read this in one sitting.”—Publishers Weekly
About the Author
Louis Bayard is the author of Mr. Timothy, a New York Times Notable Book, which the Washington Post called "clever...sly and wonderful." A writer and book reviewer, whose work has appeared in the New York Times, the Washington Post, and on Nerve.com and Salon.com, among others, Bayard lives in Washington, D.C.
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