Présentation de l'éditeur
The bestselling debut, with over a million copies sold, that launched Tana French, author of The Witch Elm and “the most important crime novelist to emerge in the past 10 years” (The Washington Post).
“Required reading for anyone who appreciates tough, unflinching intelligence and ingenious plotting.” —The New York Times
As dusk approaches a small Dublin suburb in the summer of 1984, mothers begin to call their children home. But on this warm evening, three children do not return from the dark and silent woods. When the police arrive, they find only one of the children gripping a tree trunk in terror, wearing blood-filled sneakers, and unable to recall a single detail of the previous hours.
Twenty years later, the found boy, Rob Ryan, is a detective on the Dublin Murder Squad and keeps his past a secret. But when a twelve-year-old girl is found murdered in the same woods, he and Detective Cassie Maddox—his partner and closest friend—find themselves investigating a case chillingly similar to the previous unsolved mystery. Now, with only snippets of long-buried memories to guide him, Ryan has the chance to uncover both the mystery of the case before him and that of his own shadowy past.
Richly atmospheric and stunning in its complexity, In the Woods is utterly convincing and surprising to the end.
Extrait
Prologue
Picture a summer stolen whole from some coming-of-age film set in small-town 1950s. This is none of Ireland’s subtle seasons mixed for a connoisseur’s palate, watercolor nuances within a pinch-sized range of cloud and soft rain; this is summer full-throated and extravagant in a hot pure silkscreen blue. This summer explodes on your tongue tasting of chewed blades of long grass, your own clean sweat, Marie biscuits with butter squirting through the holes and shaken bottles of red lemonade picnicked in tree houses. It tingles on your skin with BMX wind in your face, ladybug feet up your arm; it packs every breath full of mown grass and billowing wash lines; it chimes and fountains with birdcalls, bees, leaves and football-bounces and skipping-chants, One! two! three! This summer will never end. It starts every day with a shower of Mr. Whippy notes and your best friend’s knock at the door, finishes it with long slow twilight and mothers silhouetted in doorways calling you to come in, through the bats shrilling among the black lace trees. This is Everysummer decked in all its best glory.
Picture an orderly little maze of houses on a hill, only a few miles from Dublin. Someday, the government declared, this will be a buzzing marvel of suburban vitality, a plan-perfect solution to overcrowding and poverty and every urban ill; for now it is a few handfuls of cloned semi-detacheds, still new enough to look startled and gauche on their hillside. While the government rhapsodized about McDonald’s and multiscreens, a few young families—escaping from the tenements and outdoor toilets that went unmentioned in 1970s Ireland, or dreaming big back gardens and hopscotch roads for their children, or just buying as close to home as a teacher’s or bus driver’s salary would let them—packed rubbish bags and bumped along a two-track path, grass and daisies growing down the middle, to their mint-new start.
That was ten years ago, and the vague strobe-light dazzle of chain stores and community centers conjured up under “infrastructure” has so far failed to materialize (minor politicians occasionally bellow in the Dáil, unreported, about shady land deals). Farmers still pasture cows across the road, and night flicks on only a sparse constellation of lights on the neighboring hillsides; behind the estate, where the someday plans show the shopping center and the neat little park, spreads a square mile and who knows how many centuries of wood.
Move closer, follow the three children scrambling over the thin membrane of brick and mortar that holds the wood back from the semi-ds. Their bodies have the perfect economy
