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The Mask of Red Death, by Harold Schechter
Ebook The Mask of Red Death, by Harold Schechter
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Suspense, intrigue, atmosphere, and vivid historical detail combine into a thrilling ride through nineteenth-century New York City in The Mask of Red Death. Harold Schechter delivers both a wonderfully accurate portrait of a city in turmoil and an irresistibly appealing depiction of his amateur sleuth Edgar Allan Poe, mirroring the master’s writing style with wit and acumen.
It is the sweltering summer of 1845, and the thriving metropolis has fallen victim to a creature of the most inhuman depravity. Found days apart, two girls have been brutally murdered, their throats slashed, viciously scalped, and–most shocking of all–missing their livers. Edgar Allan Poe, despite what the tenor of his own tales of terror might suggest about his constitution, is just as shaken and revolted by these horrendous crimes as the panic-stricken public. Suspicion of the scalper’s identity immediately swirls around the most famous “redskin” in New York, Chief Wolf Bear, one of the human attractions at P.T. Barnum’s American Museum. Certain that Chief Wolf Bear is innocent, Poe has deduced that the city is concealing a cannibal somewhere in its teeming masses, one with an ever-growing appetite for human prey.
Before he can investigate his theory further, Poe stumbles onto the scene of a third gruesome murder. Poe recently met William Wyatt when he agreed to look at a document for Wyatt to determine the authenticity of the purportedly famous handwriting on it. Now Poe finds Wyatt in a pool of blood, his scalp removed. How, Poe muses, are Wyatt and his document connected to the two slain girls?
As frenzied emotions over the murders reach a fevered pitch, Kit Carson makes an appearance. The famous scout has been tracking the “Liver Eater” since the man killed his wife months ago. Together, Carson and Poe make an odd sleuthing team, but their combined wits are formidable. The trail they uncover reveals a dark secret more powerful than anything they could have imagined– one that may reach the upper echelons of politics and privilege.
- Sales Rank: #1564408 in Books
- Published on: 2004-08-03
- Released on: 2004-08-03
- Original language: English
- Number of items: 1
- Dimensions: 9.51" h x 1.08" w x 6.36" l,
- Binding: Hardcover
- 320 pages
Amazon.com Review
With a cannibalistic mountain man menacing New York City in 1845, who better to curb the butcher's appetites--permanently--than the one man perhaps best prepared to understand his macabre nature: Edgar Allan Poe? That's right, the same impecunious poet and editor who was responsible for "The Raven," and has appeared in two previous historical thrillers by Harold Schechter (1999's Nevermore and 2001's The Hum Bug), returns in The Mask of Red Death to stop a serial slayer known for first scalping his victims, then (yikes!) consuming their warm livers. With Manhattanites in a vengeful frenzy, ready to string up just about anyone conceivably to blame for these atrocities (even an indolent Crow Indian chief living among showman P.T. Barnum's stock of human attractions), it falls to Poe--who is connected to at least two of the victims--to find and foil the fiend.
Fortunately, this faint-hearted versifier has the help of renowned western scout Christopher "Kit" Carson, who's come east with his mute, 5-year-old son on the trail of a red-headed renegade known as "Liver-Eating" Johnson--the killer of Carson's Arapaho wife. Is Johnson to blame for all of Gotham's recent barbarity? Or is there another hand behind the destruction not only of young girls, but of a wealthy albino who'd asked Poe to authenticate a document of historical and political import, and an author who had taken umbrage at Poe's lampooning of his work? Schechter, known for his true-crime books as well as his mysteries, is unsparing in his explications of violence. Yet it's in the service of re-creating pre-Civil War New York's frequently dangerous conditions, and ensuring that no plot turn is less than perilous. Poe shows here both a brilliant mind (he seems to have committed an entire thesaurus to memory) and a beleaguered spirit (he must do without physical intimacy from his "ethereal" but sickly wife, who also happens to be his young cousin, and he struggles against his weakness for alcohol). The combination makes him a truly singular sleuth, whether he is facing thugs determined to wreck Barnum's American Museum, or trading trivialities with a ventriloquist who proves to be no dummy. If only Carson were so well developed; instead, he comes off in Red Death as a B-movie extra, sidling onto the scene whenever an altercation is in the offing. Western history buffs will recognize the liberties Schechter has taken with facts surrounding Carson and Johnson, but that shouldn't spoil their appreciation of the raucous drama and rich wit to be found in these pages. --J. Kingston Pierce
From Publishers Weekly
Set in 1845 Manhattan, veteran true-crime author Schechter's third competent Edgar Allan Poe mystery (after 1999's Nevermore and 2001's The Hum Bug) again pairs the writer with a celebrity of the day, here legendary mountain man Kit Carson. A series of murders in which the killer scalps his prey leads an outraged populace to focus on a Native American, Chief Wolf Bear, serving as a sideshow attraction for P.T. Barnum, but Carson arrives on the scene in time to prevent a lynching and help amateur sleuth Poe and the police pick up the real trail. Poe ends up stumbling upon several corpses, including that of a mysterious albino who had sought his expertise in verifying the authenticity of a document represented to be of great historical and political significance. Schechter has improved his plotting and pacing skills since Nevermore, which teamed Poe with Davy Crockett, and he vividly depicts real-life mountain man John Johnson, a vicious Indian killer who liked to eat his victims' livers raw. Overall, though, the book's period detail, characterization and level of suspense aren't in the same class as comparable elements in Caleb Carr's The Alienist, which used a similar quest for a human monster to paint a more sophisticated picture of 19th-century New York.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
About the Author
Harold Schechter is a professor of American Literature and Culture at Queens College, the City University of New York. Renowned for his true-crime writing, he is the author of the nonfiction books The Serial Killer Files, Fiend, Bestial, Deviant, Deranged, Depraved, and, with David Everitt, The A to Z Encyclopedia of Serial Killers. He previously featured Edgar Allen Poe in his acclaimed novels The Hum Bug and Nevermore. He lives in New York state.
Most helpful customer reviews
6 of 6 people found the following review helpful.
delightfulmid nineteenth century historical mystery
By A Customer
In 1845, the Raven and several scathing reviews in newspapers have brought fame to Edgar Allan Poe He relocated to Manhattan accompanied by his fragile spouse and his mother-in-law. However, the city is in an angry uproar as someone is killing and scalping people. The locals believe that Indian Chief Wolf Bear, working in P.T. Barnum's sideshow, is the serial killer and a lynch mob forms.
However, Kit Carson arrives in time to prove that Chief Wolf Bear is innocent and that the reprehensible John "Liver-Eating" Johnson is the killer. Joining ranks Kit and Edgar follow the deadly trail that includes a mysterious albino client of the author. While Edgar would prefer to say NEVERMORE and Kit believes a big city is HUM BUG, both know they must stop this vicious murderer before he adds more to his scalp collection.
The obvious comparison between the writer and the frontiersman is a delight and much of the historical tidbits add a sense of mid nineteenth century New York to the historical mystery. Johnson, who ate the livers of his victims, comes across as macabre and authentic as the real person he was. However, the flashbacks that provide much of the period piece also take away from the suspense building to a final confrontation between the mountain man serial killer vs. the amateur sleuth writer and his western scout partner in the canyons of New York.
Harriet Klausner
3 of 3 people found the following review helpful.
Series Maintains High Style and Adventure
By A. Reid
Harold Schechter's Edgar Allen Poe mystery series is one of my favorites, and I was pleased to find the third one just as engrossing as its predecessors. The books, written in the first person, freely adopt Poe's literary style--sometimes to comedic effect. Schechter does poke affectionate fun at Poe now and again, but not at the cost of dehumanizing the character. His Poe feels like a warm and admirable (if pretentious and squeamish) human being. Schechter, who is more commonly known as the writer of many above average historical true crime books, handles the adventure adroitly, too. For the full flavor, I would recommend that new readers begin with Nevermore. While the books could be taken out of order (if not without losing some context), Nevermore is powerful at establishing Poe as a character and really shouldn't be missed.
0 of 0 people found the following review helpful.
Beautifully wirtten, though a little gory
By Amazon Customer
Let me first say that I am a huge fan of Edgar Allan Poe and I will forever be one. One of the main reasons I bought this book was because Poe was in it. Now, this book was just beautifully written. The historical data required to make this book come alive must have taken months to collect.
The whole story line centers around Mr. Poe and "Kit" Carson trying to track down a murderer by the nickname of the "Liver-Eater." The murderer brutally scalps his victims and mutulates their bodies almost past recongition. It was very thrilling and had me on the edge of my seat the entire time.
However, there was one problem for me. As I said before, I'm a HUGE Poe fan. Despite this, the way Mr. Schechter detailed every murder victim was just a little too much for me. Despite the goriness of the book, it was a fantastic read and has the best twist at the end.
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