In January 1986, Kinsey Millhone is hired by her recently discovered cousin, Tasha Howard, to find a missing heir on behalf of the wealthy Malek family. When patriarch Bader Malek died, everyone assumed his $40 million estate would be split between his sons Donovan, who has taken over the running of the Malek construction empire, Bennet, a would-be entrepreneur, and Jack, something of a playboy - but the only will which can be found also names the supposedly disinherited second son Guy, the black sheep of the family who left home 18 years before under a cloud after years of being in different kinds of trouble, and has neither been seen nor heard of by the family since. His unlikeable brothers do not want him back in their lives, and especially do not want him taking a share of the millions they feel he did not deserve. The story of Guy's rejection by his family strikes a chord with Kinsey as she struggles to deal with her own family's belated attempts to reach out to her.
With a little illicit help from Darcy Pascoe, her old ally at California Fedelity Insurance, Kinsey quickly tracks Guy to an address in the small town of Marcella near Santa Teresa, and finds him something of a surprise. After being rescued by local pastor Peter Antle and his wife Winnie, Guy has devoted himself to the church and turned his life around, living quietly supporting himself through odd-job work ever since. He seems to be far and away the best of the Malek boys, and Kinsey warms to him. Despite Kinsey's warnings, Guy agrees to return to his childhood home, where all the rest of the family are still living along with Donovan's wife Christie, cook Enid, and Bader's former nurse Myrna, who is now acting as housekeeper. Ugly family scenes ensue, not helped when a letter signed Max Outhwaite is sent to a local newspaper editor bringing unwanted media attention to the story of Guy's return and his past mis-deeds. Kinsey's worst fears for Guy are more than exceeded when he is found brutally bludgeoned to death at the family home. Suffering feelings of guilt as well as personal grief, Kinsey is determined to find his killer.
At the same time, Kinsey is trying to cope with her own personal problems, not helped by the reappearance in her life of Robert Dietz, the attractive but non-committing private investigator with whom she had had a relationship. We also learn that Kinsey's ex-boyfriend Jonah Robb, the investigating officer on the case, is now back with his wife Camilla despite her pregnancy by another man. Eventually Kinsey and Dietz resume their relationship, albeit on a transient basis, and Dietz offers his help with the case.
Initial physical evidence implicates Jack Malek in Guy's murder, and attorney Lonnie Kingman, from whom Kinsey now rents office space, hires Kinsey for further investigative work when he is taken on to defend Jack. Kinsey is certain that the motive for the crime - and the real identity of the non-existent Max Outhwaite - lies back in the past, but can't reconcile the lengthy catalogue of Guy's misdemeanors with the character of the man she knew. She becomes convinced that Guy was a scapegoat for crimes he didn't commit, particularly those involving the Maddison family: Guy supposedly swindled widow Mrs Maddison out of a fortune in valuable historical documents alongside getting daughter Patti pregnant. Kinsey discovers the swindle was actually perpetuated by Bennet and his university friend Paul Trasatti, and that it was probably Jack who got Patti pregnant. Maxwell Outhwaite was the name used in the swindle, which seems to link the murder to the Maddison situation, but since Mrs Maddison is dead, Patti died after a backstreet abortion, her sister Claire has recently died elsewhere, and there are no other family members, this appears to be a frustrating dead end.
However, Dietz discovers that the story of Claire's death has been faked. Meanwhile, Enid reports that Myrna has disappeared from the Malek home in circumstances suggestive of foul play. Kinsey realises that Myrna is actually Claire, having bided her time to get revenge on the Malek family and Guy in particular. Claire is making a quiet escape on foot after laying a false trail implying her own murder; Kinsey catches her and confronts her that she killed the wrong brother. After confessing to destroying the missing second will which disinherited Guy, and to the murder itself, Claire commits suicide by running into a stream of on-coming traffic. In a post-script, Kinsey explains that Tasha was able to use a note Guy wrote to Kinsey asking her on a date to Disneyland, which came to light only after his death, as evidence of testamentary intention that his share of the Malek millions should go to Peter and Winnie's church. Kinsey is left to reconcile herself with her grief at losing Guy, alongside her continuing feelings of loss for her dead parents and aunt.
Sue Grafton spends part of the year in Kentucky and the rest in California.
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我对这种叙事手法简直是爱得无法自拔,它完全颠覆了我对传统悬疑小说的认知。你想象一下,作者像是玩弄着一个复杂的万花筒,每一次转动,都会呈现出不同维度的光怪陆离。语言的韵律感是这本书最吸引我的地方之一,它不是那种华丽的辞藻堆砌,而是带着一种冷峻的、近乎诗意的力量。读着读着,我甚至会停下来,反复咀嚼那些精妙的比喻,它们准确地命中了某些我难以言喻的情感体验。情节的推进带着一种不可逆转的宿命感,仿佛所有的角色都注定要走向那个既定的终点,而我们作为读者,只能眼睁睁地看着那场悲剧徐徐展开,却无能为力。这本书的留白处理得极其高明,它不会把所有的东西都掰开了揉碎了喂给你,而是留给你足够的空间去想象和构建那些未被言明的细节,这种参与感极大地增强了阅读的乐趣和深度。它迫使你去思考,在极端压力下,我们到底能做出何种程度的牺牲和背叛。读完之后,我感觉自己像是刚从一场漫长而深刻的梦中醒来,空气中还残留着一丝未散尽的迷雾。
评分这本书的文本质感有一种老电影的颗粒感,带着一种旧世界的优雅和冷漠。我很少能读到如此精准地运用心理暗示的作者,他似乎懂得如何绕过你的逻辑防线,直接在你潜意识里种下一颗怀疑的种子。整本书读下来,我一直在寻找一个情感上的出口,但作者似乎故意把所有的门都锁死了,让你不得不与书中的那种挥之不去的不安感共存。它成功地营造了一种“局外人”的视角,让你感觉自己像一个透明的幽灵,在观察一场注定要发生但又无法干预的悲剧。这本书的对话设计堪称教科书级别,每一句台词都饱含信息量,没有一句废话,而且语气的细微变化,往往预示着角色内心深处的巨大转变。它不是一本可以轻松阅读的书,它要求你投入全部的认知资源去跟上作者的步伐,去品味那些藏在字里行间的暗流涌动。读完后,我久久不能放下,感觉自己刚刚经历了一场精神上的马拉松,筋疲力尽,却又心满意足。
评分这本书的魅力在于它的“不确定性”,它从不给人一个明确的答案,而是不断地抛出新的谜团,让你在理智和情感的边缘反复横跳。我个人对这种探讨社会边缘人物心理的题材情有独钟,而作者在这方面展现出了惊人的洞察力。那些被社会边缘化的人群,他们的恐惧、他们的渴望,被描绘得如此真实和赤裸,让人不忍直视却又无法移开目光。叙事者时常切换视角,这种多重叙事结构处理得非常流畅自然,每一个角色的“真相”都有其合理性,这让“谁是好人,谁是坏人”这个简单的二元对立变得极其模糊和复杂。我特别欣赏作者对于环境的渲染,那种压抑的、潮湿的、几乎能让人窒息的氛围感,是通过细微的感官描写渗透进来的,而不是靠大段的枯燥描述。这本书读起来更像是在解剖一颗跳动的心脏,你能清晰地感受到每一次搏动背后的痛苦和挣扎。它不提供廉价的安慰,而是把你拽入泥潭,让你亲自感受那种深陷其中的绝望。
评分这家伙,我得说,这本《M Is for Malice》简直是本让人欲罢不能的迷幻之旅。作者的笔触细腻得像是老式胶片机的光影捕捉,每一个场景都立体得让人能闻到空气中的尘土味和某种难以言喻的腐朽气息。故事的节奏把握得极佳,不是那种一上来就抛出重磅炸弹的粗暴叙事,而是像一个精密的钟表匠,一点点拧紧发条,直到你完全沉浸在那个错综复杂的情节迷宫里,完全忘记了自己身在何处。那些人物的刻画,简直是活生生的存在——他们内心的挣扎、那些藏在微笑背后的冰冷算计,都被剥开来呈现在我们面前,让你不得不去思考,人性深处的“恶意”究竟是如何萌芽生长的。特别是主角在面对困境时,那种近乎偏执的坚持和偶尔闪现的脆弱,让人又爱又恨。这本书的结构设计也非常巧妙,看似松散的线索,到最后却完美地汇聚成一个令人拍案叫绝的结局,让你回味无穷,甚至会忍不住重新翻阅前面的章节,去寻找那些被你忽略的微小暗示。它不仅仅是一个故事,更像是一次对黑暗心理学的深入探究,读完后,我感觉自己的道德罗盘都被校准了一遍,那种震撼感久久不能平息。
评分坦率地说,这本书的开篇是需要一点耐心的,它不像那些商业小说那样上来就用快节奏的冲突抓住你。但如果你能熬过最初的几章,你会发现自己被拖入了一个由语言和思想构建起来的精致牢笼。作者似乎对哲学思辨有着深厚的兴趣,故事的内核不仅仅是侦破一个案件,更像是对“自由意志”和“道德责任”的深刻拷问。我特别留意了书中对非线性时间的处理,它时而跳跃,时而回溯,像是一个被打乱的记忆碎片,需要读者自己去拼凑出完整的图像。这种阅读体验非常考验读者的专注度,但一旦你掌握了它的节奏,那种智力上的满足感是无与伦比的。我甚至会暂停下来,拿起笔在旁边空白处画出人物关系图,试图理清那些看似混乱的因果链条。这本书最成功的一点是,它塑造了一群让你既同情又感到恐惧的角色,他们身上都带着某种无法愈合的创伤,而这些创伤,最终成为了驱动一切“恶意”的原始动力。
评分字母表系列可以和D比肩的神作。
评分字母表系列可以和D比肩的神作。
评分字母表系列可以和D比肩的神作。
评分字母表系列可以和D比肩的神作。
评分字母表系列可以和D比肩的神作。
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