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Urquhart does a fantastic job distinguishing between the voices of her two narrators, in both their tone and style of language. The fast-paced story and constant suspense keep you hooked, making it very difficult to put the novel down once you start reading it.” - Alexis Enderle, The Tufts Daily Perfect for fans of Dexter, a cat-and-mouse game battle of wits, told from the POVs of a notorious evil serial killer and a determined medical examiner on a mission to bring him down.
As a kid, he took out books at the library on lobotomies. He became entranced with the medical procedures of Dr. Freeman. We hear about his earlier time in a lab and his lab partners. I enjoyed the duel POVs. The killer was cold and methodical and I still have questions about him. Especially with that ending. The entertainment industry is hell-bent on convincing viewers that morgues are high-tech space labs with touchscreen computer walls. They are not. Sure, they all have that classic stainless steel and clinical white clinical aesthetic, but the reality is far messier and lower tech than shown onscreen. Remember, the morgue is a place where body fluids spray around, especially while opening a skull or severing a spinal column. I think Silence of the Lambs did a nice job of striking this balance—and especially portraying the solemn feeling of an autopsy. In deep Louisiana, a serial killer with a taste for medical experimentation is completing his most ambitious project yet. The media call him 'The Butcher' - and, so far, he's proved impossible to catch.
Member Reviews
MO: This is your debut novel, and it’s got a killer hook. Tell us a bit about your new novel, and the cat-and-mouse game that drives the plot. With the help of police detectives and others in her office, Wren tries to stay one step of Jeremy, but can she stop him before she becomes the next victim?
AU: I love watching autopsies in television shows and movies. Though I’m a firm believer in suspending my disbelief for the sake of storytelling, I can’t help myself from occasionally yelling out, “That’s not how they really do that!!” Dignity is key in both my work as a true crime podcaster and as an autopsy technician. For example, I always try to part the victim’s hair in a way that allows me to make the necessary cuts without damaging their hair. Just like the person on my autopsy table is a human being who has people who love them, the people we discuss on Morbid are mothers, fathers, daughters, sons, and friends. Gallows humor has a place in the death industry, to allow workers to cope with the sometimes suffocating sadness that comes with the job, but it can never be in relation to the victim. While on the podcast, I maintain a more fact-based/clinical tone to avoid having the stories of real victims feel like exploitative entertainment, in my fiction, I allow myself a bit more creativity in my narrative style.
Impressively detailed in its analysis, as you might expect from someone who spends their life conducting autopsies, it leaves little to the imagination, but is captivating, with lacings of the occult amid the deaths. There may be moments when the reader might want to shut their eyes, but the joust between the killer and the pathologist makes that impossible.” —Daily Mail
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