John Sandford author of the phenomenal Prey novels returns with The Hanged Man's Song.
The fourth installment in Sandford's Kidd series finds Kidd's genius hacker friend Bobby brutally murdered and Bobby's laptop missing. Kidd, both an artist and a hacker himself, and his fellow thief/sometime lover LuEllen team up to locate the laptop and the murderer. Along the way, the action moves from St. Paul to Mississippi to Washington, DC, with chases, crooked politicians, identity theft, and plenty of peeks into the worlds of burglary and computer hacking. Mix in exciting characters, retribution, conspiracy, rekindled romance, and brisk action, and this novel is a winner, a thriller enhanced by an enjoyable and entertaining narration by Richard Ferrone. Highly recommended.-Denise A. Garofalo, Astor Home for Children, Rhinebeck, NY Copyright 2004 Reed Business Information. -- PUBLISHERS WEEKLY.
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September 27, 2004
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Excerpt from The Hanged Man's Song by John Sandford
>>>NOW THE BLACK MAN screamed No!, now the black man shouted, Get out, motherfucker, and Carp, a big-boy at thirty, felt the explosion behind his eyes.
They were in the black man's neatly kept sick-house, his infirmary. Carp snatched the green oxygen cylinder off its stand, felt the weight as he swung it overhead. The black man began to turn in his wheelchair, his dark eyes coming around through the narrow, fashionable glasses, the gun turning, the gun looking like a toy.
And now it goes to slo-mo, the sounds of the house fading -- the soprano on public radio, fading; the rumble of a passing car, fading; the hoarse, angry words from the black man, fading to inaudible gibberish; and the black man turning, and the gun, all in slo-mo, the sounds fading as time slowed down. . . .
Then lurching to fast forward:
"HAIYAH!" James Carp screamed it, gobs of spit flying, one explosive syllable, and he swung the steel cylinder as hard as he could, as though he were spiking a football.
The black man's skull shattered and the black man shouted a death-shout, a HUH! that came at once with the WHACK! of the cylinder smashing bone.
The black man spun out of his wheelchair, blood flying in a crimson spray. A .25-caliber automatic pistol skittered out of his fingers and across the red-and-blue oriental carpet into a corner; the wheelchair crashed into a plaster wall, sounding as though somebody had dropped an armful of pipes.
Time slowed again. The quiet sounds came back: the soprano, the cars, an airplane, a bird, and the black man: almost subliminally, the air squeezed out of his dying lungs and across his vocal cords, producing not a moan, but a drawn-out vowel oooohhhh . . .
Blood began to seep from the black man's close-cut hair into the carpet. He was a pile of bones wrapped in a blue shirt.
>>> CARP stood over him, sweating, shirt stuck to his broad back, breathing heavily, angry adrenaline burning in his blood, listening, hearing nothing but the rain ticking on the tin roof and the soprano in the unintelligible Italian opera; smelling the must and the old wood of the house tainted by the coppery odor of blood. He was pretty sure he knew what he'd done but he said, "Get up. C'mon, get up."
The black man didn't move and Carp pushed the skinny body with a foot, and the body, already insubstantial, shoulders and legs skeletal, small skull like a croquet ball, flopped with the slackness of death. "Fuck you," Carp said. He tossed the oxygen cylinder on a couch, where it bounced silently on the soft cushions.
A car turned the corner. Carp jerked, stepped to a window, split the blinds with an index finger, and looked out at the street. The car kept going, splashing through a roadside puddle.
Breathing even harder, now. He looked around, for other eyes, but there was nobody in the house but him and the black man's body. Fear rode over the anger, and Carp's body told him to run, to get away, to put this behind him, to pretend it never happened; but his brain was saying, Take it easy, take it slow.