By Jonathan Santlofer
Nate Rodriguez is a police comic strip artist for the NYPD, and his luck cost is excessive, with one out of 3 of his drawings resulting in an arrest. but if he's confronted with an surprisingly gifted killer, he realizes that he could have met his fit. For this killer is a guy a great deal like himself–a guy who sees and thinks in images. A killer who leaves drawings on the crime scenes depicting his murders in chilling, gory–and prescient–detail.
As Nate's pictures develop into a growing number of actual photographs of the madman–the killer unearths the way to scouse borrow Nate's graphics after which imitate Nate's personal hand. The conflicting facts leads the police to suspect that Nate himself may be the killer and pushes Nate right into a scary cat and mouse chase for his quarry. lifestyles and dying, paintings and artifice have by no means been so vividly sure jointly.
Jonathan Santlofer pushes the limits of the mystery to new heights with this masterful mixture of paintings and suspense. With sequential sketches that trade through the text–first the killer's, then Nate's–Santlofer teases us with impossible to resist clues and mental info added in a hugely unique way.
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Additional info for Anatomy of Fear: A Novel of Visual Suspense
Rodriguez had a gift, no question. How did he do it? She could not imagine. But then, all Rodriguez had needed was one look at her unsub’s drawings to know they were made by the same man, one who was right-handed—and the lab had conﬁrmed it. The sketches had come from the same kind of sketch pad, the glue that had held them in place still detectable along the edge of each. It was something, a connection, though nothing a DA could take to court. If they were lucky they might ﬁnd something on the drawings other than the vics’ blood, though so far there was nothing.
Right now it held a dozen glasses and goblets ﬁlled with water, and I knew what it meant: My grandmother was asking something of her ancestors. I took a step into the hall and heard voices from behind the closed door of the cuarto de los santos, the room of the saints, where my abuela held her consultations. I knew better than to disturb her, though I thought it was nonsense; and occasionally dangerous, when someone should have been in a doctor’s ofﬁce rather than the back room of a railroad tenement in Spanish Harlem, but it was impossible to convince my grandmother of that.
I cannot see him, but . . ” My grandmother looked at me as if believing I could, but lifted a ﬁnger to my lips. “Escucha,” she said. I stopped talking and did as she asked, listened. “Hay más,” she said, and explained it. I went back to the drawing and tried to capture what she described. “It looks like hell,” I said. “Your vision. ” I laughed, but my grandmother did not. She crossed herself. “There is something else in that room. ¿Cómo se dice? Un diseño. In front of the window, a circle . .
Anatomy of Fear: A Novel of Visual Suspense by Jonathan Santlofer