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Long Bright River: A GMA Book Club Pick (A Novel)
Long Bright River: A GMA Book Club Pick (A Novel)
Long Bright River: A GMA Book Club Pick (A Novel)
Ebook516 pages8 hours

Long Bright River: A GMA Book Club Pick (A Novel)

Rating: 4 out of 5 stars

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ONE OF BARACK OBAMA'S FAVORITE BOOKS OF THE YEAR, 
BY THE AUTHOR OF THE THE GOD OF THE WOODS

AN INSTANT NEW YORK TIMES BESTSELLER

A GOOD MORNING AMERICA BOOK CLUB PICK


"[Moore’s] careful balance of the hard-bitten with the heartfelt is what elevates Long Bright River from entertaining page-turner to a book that makes you want to call someone you love.” – The New York Times Book Review

"This is police procedural and a thriller par excellence, one in which the city of Philadelphia itself is a character (think Boston and Mystic River). But it’s also a literary tale narrated by a strong woman with a richly drawn personal life – powerful and genre-defying.” – People

"A thoughtful, powerful novel by a writer who displays enormous compassion for her characters. Long Bright River is an outstanding crime novel… I absolutely loved it."
—Paula Hawkins, #1 New York Times-bestselling author of The Girl on the Train

Two sisters travel the same streets, though their lives couldn't be more different. Then one of them goes missing.


In a Philadelphia neighborhood rocked by the opioid crisis, two once-inseparable sisters find themselves at odds. One, Kacey, lives on the streets in the vise of addiction. The other, Mickey, walks those same blocks on her police beat. They don't speak anymore, but Mickey never stops worrying about her sibling.

Then Kacey disappears, suddenly, at the same time that a mysterious string of murders begins in Mickey's district, and Mickey becomes dangerously obsessed with finding the culprit--and her sister--before it's too late.

Alternating its present-day mystery with the story of the sisters' childhood and adolescence, Long Bright River is at once heart-pounding and heart-wrenching: a gripping suspense novel that is also a moving story of sisters, addiction, and the formidable ties that persist between place, family, and fate.
LanguageEnglish
Release dateJan 7, 2020
ISBN9780525540694
Author

Liz Moore

Born in Independence, Kansas, Liz Moore is a journalism graduate of Kansas State University whose first career spanned 10 years of award-winning reporting, editing and photography for daily and weekly newspapers in Kansas and in Texas. She moved herself to Texas, and her professional life to non-profit public relations, affording her a swell condominium in a suburb of Fort Worth and eventually, two cats in her household instead of just one. Liz also lived in Washington, D.C., for five years. Weary of cities, and having finally finished this book, Liz chose her next phase of life, back to the small town. Since 2008, she has lived in the town of her birth and pre-college schooling, Independence. She is the executive director of Independence Main Street, a program of preserving the charms of a historic downtown and supporting its economic vitality.

Read more from Liz Moore

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Reviews for Long Bright River

Rating: 4.029520293357934 out of 5 stars
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  • Rating: 5 out of 5 stars
    5/5
    LONG BRIGHT RIVER is slow for a while at first. But you want to keep going anyhow. It's well written and obviously setting up a story that will be worth your while. It turns out to be unputdownable.

    Most of the book is centered on Michaela's search for her sister, Kacey. Michaela is a cop; Kacey is a drug addict living on the streets. The story is told in alternating THEN and NOW chapters. So you gradually understand more and more of the sisters' background and how the NOW came to be.

    LONG BRIGHT RIVER is full of mysteries and unexpected results and solutions. The answers I expected were most often incorrect.

    I am so glad I didn't read other reviews of this story before I read it. If I had, I probably would have been given synopses of the story and been unable, then, to anticipate its mysteries as the author had intended.

    This is the first time I've given five stars to a book that is slow to start. Believe me, it will be worth your while to read and remember it.

    However, I don't add this to my list of "favorites" because of its awkward dialog style, with em dashes used to indicate quotations rather than quotation marks. Quotation marks were invented to aid readability. It is, therefore, rude not to use them.
  • Rating: 4 out of 5 stars
    4/5
    The premise of the story is interesting with Micki a female cop whose drug addicted younger sister, Kasey, has disappeared. The story is told in the voice of Micki and alternates between the present and "then", the time when she and Kasey were growing up. Facts about the family and their relationships are slowly revealed through the arc of the story, which helps move the story along, especially when Micki keeps acting on faulty conclusions.

    My only complaint about the writing is the awkward writing of the dialogue: "I said..." "...she said" over and over again. I'm not sure if the author was doing that to demonstrate Micki's awkward way of speaking or if it's a limitation of the author.
  • Rating: 5 out of 5 stars
    5/5
    This was a beautifully crafted, poignant page turner. I LOVED how Liz Moore surprised me over and over with progressive revelations, and kept me engaged in each of the characters' stories. I found myself taking an extra 5 min here, skipping lunch there, staying up way too late the last 2 nights to read as far as I could.

    It's my first time reading Moore's work, and I'll make sure to read more from her.
  • Rating: 4 out of 5 stars
    4/5
    This is so sad and frustrating, but I imagine that's life with an addict and a broken system. I was furious for our main character when she found out her whole extended family lied to her about her sister. What a side to take.
  • Rating: 5 out of 5 stars
    5/5
    I liked this even more the second time!
  • Rating: 4 out of 5 stars
    4/5
    Set in a slowly decaying neighborhood of Philadelphia, Kensington, excellent slow burn build to the climactic ending -who has been murdering young women on Kensington's "Ave" ?- Narrated by a compelling main character, Michaela (Mickey) O'Brien, a dedicated cop - one of two sisters raised by a life hardened, resentful grandma who grieves herself for a long time when their real mom dies (drug overdose). And Mickey's two constant worries: her adopted son Thomas, 6 yrs old and longing to see his daddy, who's moved on to another life, another woman; her sister Kacey, using drugs, living wild, reduced to streetwalking, living in abandoned buildings for years. The author keeps the tension humming -like a low grade buzz-through much of the book as Mickey starts looking for Kacey, hoping she's still in Kensington, worried she could be the next victim. By turns, an excellent police procedural, a slowly growing criminal investigation, a heartrending examination of a broken family & the horrific toll drug addiction takes on individuals, whole communities.... and Mickey at the center of it all - struggling to keep all the pieces together, determined to do the right thing, to still be a "good" sister & a good cop. Draws the readers in with honest but heartrending, grim details of locals, some Mickey's former high school classmates, even police officers whose choices to drugs, to crime, to extortion - taints them all. Yet, the author keeps the plot moving forward, masterfully unspooling each thread to the end.
  • Rating: 4 out of 5 stars
    4/5
    I picked this up at the beginning of 2020 because it was a best-seller and getting truckloads of good reviews. I figured I should be in-the-know on at least one 'hot' book this year. Then I started reading and wondering what all the fuss was about.

    The writing was pretty good--easy to follow and all, even with the author's offbeat way of writing dialog. But it didn't click for me. What started out as a police procedural was suddenly some sort of family drama. And the gritty setting on the streets of Philadelphia was more offputting than I could deal with at the moment. I set it aside for something more appealing.

    When I picked it back up, I found it was still the same story. But I somehow found it more engrossing. It's not really a police procedural, even though the protagonist, Michaela ("Mickey"), is a cop. She's not a very good one. She doesn't fit in well with the rest of the department and her street presence is awkward at best. Plus, she's not really trying to solve a crime. She's trying to find her drug-addict sister, Kacey, on those gritty, crime-ridden streets, mostly to make sure she isn't a victim of the same killer.

    It's also not quite a family drama, because Mickey is completely estranged from her dysfunctional family and spends little time with them. We gradually discover more about that as we flash back and forth between "Then" and "Now". Most of Mickey's relationships are with strangers and neighbors and her ex-partner. These are also awkward because Mickey's childhood issues and current agendas create barriers for actually relating.

    All of this makes it sound like the story is a failure. But it's not. Once I got back into it, I was fascinated by the way the author deftly intertwined the different aspects of Mickey's life into something that worked. During the last chapters, I could almost hear the mechanisms click into place as mysteries were solved, tragedies explained and relationships healed. Some come very close to being cloying, family-drama tropes. But there is enough depth to the background to avoid that cliff.

    A thriller reader will have to invest a little extra energy to hang with the slower pace. It's worth it.
  • Rating: 5 out of 5 stars
    5/5
    Thanks so much to Libro.fm, Penguin Random House Audio, and Riverhead Books for letting me listen and review this engrossing book.
    This story on audiobook was amazing. I wasn't sure about it at first, didn't really know what to expect, but it exceeded my expectations and I finished reading this a little while ago and I'm still thinking about it. It was a pretty well written engaging, intriguing mystery story about two sisters and their two different paths in life while also putting forth an opioid crisis in a Philadelphia neighborhood.
    Everything seemed to be brought to life and the characters were very well written and I could relate to the sibling relationship with the two sisters and them being so different as they grew up. The characters came to life along with the story off the page. I can't stop thinking about all the twists, turns, mystery, real-life stuff and it was very believable the way it was written and shown about the drug problem and the addicts and the problem behavior and issues that can arise.
    I'm a mystery lover so I guess I shouldn't be surprised that I ended up enjoying this one as I did, but it was so much better than I was expecting.
    Anyway, this story is about a drug crisis as mentioned previously in a Philly neighborhood and how it among other things with life happen and affect these two sisters that use to be best friends and then grew apart as they grew up.
    It's mostly from the perspective of Mickey who is a cop and how she tries to handle things with being at odds with her sister, Kacey who is a drug addict on the street. They don't really talk or see each other at all, but Mickey still tries to keep track and do what she can for Kacey.

    As the story goes, Mickey has new murders start in her district after her sister, Kacey disappears and Mickey starts trying to figure out who the murderer is and where her sister is hoping that her sister doesn't end up as one of the victims or anything else.

    It goes back and forth between the present and the past to illustrate and explain the relationship and story between the two sisters and how they grew up and what happened that led them to where they are in the present day at odds with each other. It also talks about their other family members and significant events that lead them to the present day.

    It's an awesome story that will keep you thinking, intrigued and engrossed until the end. The audiobook is very well done and a great listen also. I would recommend checking this one out with only one thing to note that there is a bit of language in it.
  • Rating: 4 out of 5 stars
    4/5
    Once again a book I don't really know how to feel about.

    Definitely well written but also so bleak. The main character is (purposefully) one dimensional, but it just made me not care about her. The way she's written, she doesn't really have a personality, or any interests outside of her job.

    The topic of difficult family dynamics is handled well, aswell as the topic of addiction and what it does to a person. I don't necessarily think I'd change anything about the book either, I think it delivered exactly what the author intended. My reading experience just wasn't a very pleasant one, and in the end I don't think there's anything I took away from it I wasn't already aware of.

    Maybe if the mystery part had been a little more mysterious and the killer less obvious, I would have liked that side of the story more. Or if the main character was less one dimensional and easier to root for. (And to be clear, the main character felt very real, I just didn't get much out of her as a person.)

    Still, I do think Liz Moore is a talented writer (based on this and The Unseen World), and I'll definitely pick up whatever she comes out with next.
  • Rating: 4 out of 5 stars
    4/5
    Very engrossing-just what I needed.
  • Rating: 4 out of 5 stars
    4/5
    On the surface this book follows the stories of two sisters - Mickey who becomes a cop and Kacey who falls into drug addiction, prostitution and homelessness in Philadelphia.

    The story is told entirely in the first person by Mickey, but all the main characters end up being fully developed by the author.

    As the story opens, Kacey is missing, and Mickey is using her role as a police officer to search for her missing sister. There's a serial killer loose in the city killing prostitutes. For Mickey, each victim could have just as easily been her sister Kacey - and she's terrified for her sister's life.

    Using flashbacks and dialogue we learn that Mickey and Kacey's Mother was also drug addicted, died young, and left the two girls to be raised by their Grandmother G. G is a harsh and bitter woman, and we get a clear picture of a loveless childhood for the two sisters.

    We also learn that Mickey is a single Mom, with no support system. Father is a "Deadbeat Dad". We learn that he seduced Mickey as a young teenager. He's also a police officer, but clearly feels no shame at abandoning his child.

    The author does an amazing job of showing the damage addiction causes in families, cascading through multiple generations with devasting effects.
  • Rating: 4 out of 5 stars
    4/5
    I could not put this book down. It is a mystery/thriller, but it could almost be considered literary fiction, the way it explores the complexities of family relationships. The story centers around the lives of two sisters. Mickey is a police officer and her sister, Kacey, is a junkie living on the streets. The author alternates between then and now so that the reader understands how the lives of these two sisters ended up so different. The book really provides insight into the minds of those people you see strung out and living on the streets. I couldn't turn the pages fast enough and there were several shockers that I did not see coming. Great read!
  • Rating: 4 out of 5 stars
    4/5
    I was slow to get into this one, maybe because of the first person narrator- not usually my preference. But, in the end, it was well done.
  • Rating: 4 out of 5 stars
    4/5
    Compelling depictions of sisterhood, motherhood, working as a woman in a sphere dominated by men, class divisions, addiction, introversion, alienation. Gripping but heartbreaking.
  • Rating: 5 out of 5 stars
    5/5
    Female beat cop in Philly keeps watch over her adult sister who works the street. When the sister is not seen for a month and murders of orostitutes keep cropping up, the cop uncovers some unpleasant truths. Realistic characters and a view of addiction and the streets. Liz Moore is an author Ibwant to read again..
  • Rating: 4 out of 5 stars
    4/5
    I really enjoyed this one despite a kind of slow start. Though it is a crime thriller with murders it is really about family dynamics and way we keep secrets and damage our families. The main character and her sister are VERY different due to certain circumstances and the family could have avoided long estrangement if truth were more freely told. All families have this to a certain degree which is what makes stories like this identifiable. Recommended.
  • Rating: 4 out of 5 stars
    4/5
    Two sisters, once very close are now at odds. Kacey lives on the streets in the vise of addiction. Mickey is a police officer, they don’t speak anymore. This is about the past and present of these two sisters and how they find their way back to each other.
  • Rating: 4 out of 5 stars
    4/5
    Intense, sometimes difficult to read.
  • Rating: 5 out of 5 stars
    5/5
    This is an unflinching look at the opioid crisis through a dark lens. None of the characters conform to the usual stereotypes. Cops aren't always heroes (or villains); addicts aren't always dangerous or hopeless. Everyone has secrets and people are seldom what they appear to be at first glance. In that way, it's one of the most realistic novels I've ever read, and one of the most moving.

    Michaela (but everyone calls her Mickey) and Kacey are sisters who grew up in the kind of family that does not put the 'fun' in 'dysfunctional'. Their young mother dies of a heroin overdose and their father disappears shortly after in the throes of his own addiction. They are raised by their maternal grandmother Gee, who provides them with the bare minimum of food, shelter and clothing but even less love and emotional support.

    The two sisters, even while living in the same Philadelphia neighborhood, take different paths in adulthood. Mickey becomes a cop; Kacey becomes a junkie. Their paths cross occasionally, mostly when Mickey runs across Kacey working as a prostitute to support her drug habit. They seldom speak but the sporadic and distant contact serves as a cold comfort to Mickey, who still feels the responsibility of being the big sister and the one who turned out "okay".

    Just as it becomes apparent that a serial killer is targeting women, Mickey realizes she hasn't seen Kacey lately on her usual street corner. She tries to find out what's happened to her, even as she flinches every time another unidentified young woman's body is found. Along the way a fuller picture of the sisters' background is parceled out in flashback chapters, complicating what first appeared to be a tragic but common story.

    Just like real life, there is no unambiguously happy ending here. Mysteries are solved, story lines are wrapped up, but all of the resolutions seem tentative, capable of being undone with a single slip. All the characters can do — all any of us can do — is just the best we can, one day at a time.
  • Rating: 4 out of 5 stars
    4/5
    This was good, although quite long - I was skimming towards the end. It was (of course!) set in two different time lines, although that worked well and was not confusing. The subject matter was inevitably depressing, but it was well-plotted, with realistically flawed characters.
  • Rating: 5 out of 5 stars
    5/5
    Long Bright River by Liz Moore is a novel that is set in a rundown neighbourhood in Philadelphia. It vividly depicts the damage that drug addiction does to a family. The main character, Mickey, becomes a policewoman, patrolling the neighbourhood that she knows all too well. She and her sister grew up here, under the care of their grandmother. Both their parents were lost to heroin. Their grandmother was unloving and remote, and the girls clung together, until into their teens, they went separate ways. Kacey, the younger sister succumbed to the lure of drugs. As Mickey becomes a cop and Kacey falls into street life, they become estranged.

    When it becomes apparent that there is a serial killer preying on the women of the neighbourhood, Mickey becomes concerned about her sister. Her time is spent trying to track her sister down and assure herself that she is okay. Her concern over her sister eventually puts her job in jeopardy and threats are directed at both her and her son’s life.

    This multi-layered story is much more than a thriller as it covers the lives of the sisters and shows how the family fell apart. The focus on the neighbourhood of Kensington and the city of Philadelphia immerses the reader in this area. Written beautifully, this is an intense family drama that can be very dark at times, but the author, after giving us lots of sorrow and pain, leaves us with a sense of hope.
  • Rating: 5 out of 5 stars
    5/5
    I saw the author of this book interviewed almost a year ago. She spoke so passionately about the opiod crisis and its devastating effect on so many people that I was quick to put a hold on the book. Apparently so did a lot of other people because it took a long time for the book to become available (no doubt the waiting time was exacerbated by two shutdowns of our public library system and the increased waiting time between the return of a book and when it could be loaned out again). The COVID-19 pandemic which has affected the whole world in the meantime has consumed the public's attention but we need to remember that there are other crises that probably won't be as easy to fix as getting enough people vaccinated.

    Mickey (Mikaela) is a beat cop in an inner city neighbourhood in Philadelphia. Every day she sees the prostitution and drug abuse and every day she worries about her younger sister Kacey who is part of that world. She has even arrested Kacey a couple of times but, other than that, the two have not interacted for a number of years. It wasn't always that way. When they were growing up they were very close even sharing a bed at night. it was their maternal grandmother, Gee, who raised them because their mother died of an overdose when Kacey was just an infant. Soon after their father left and the two girls never heard from him again. Gee worked hard to keep a roof over their head and food on the table but she didn't lavish much love on them. In their teenage years Kacey started using and selling drugs but Mickey, quieter and shyer, worked hard at school. She had good enough grades to get into college but there was no money for that and getting student aid required her grandmother's co-operation. A police officer who worked at the after-school program the girls attended talked Mickey into going into the police force. He also talked himself into her bed but he's been out of the picture for some time. Mickey has his son to raise and she is happy to do so without his assistance. The son, Thomas, longs to see his dad of course. Mickey is concerned that she hasn't seen Kacey around the neighbourhood for some time and she starts asking questions. Her worry ramps up when the bodies of girls from the street who have been murdered start showing up. Mickey doesn't have a partner these days and so she starts looking into her sister's contacts while she is on duty. That is strictly against regulations and eventually she is found out and suspended from duty. That gives her and her invalided former partner time to investigate Kacey's disappearance and the string of murders which, of course, brings them both closer to the people who are running the drug trade. Except maybe it's not the people in the drug trade Mickey needs to worry about, maybe it is someone closer to her.

    I thought this was excellently plotted. There were red herrings and plot twists that kept me guessing throughout. It was also a devastating account of the havoc drug use causes even through generations. Well worth the read.
  • Rating: 5 out of 5 stars
    5/5
    Wow, what a powerful book about the choices we make, the people we trust, the power of addiction and its destruction, all coupled with corruption and murder.
    Mickey and Kacey are two sisters living in Philadelphia, but lead two very different lives. Mickey is a cop raising a young son. Kacey is living on the streets, a sex worker, looking for her next fix. When women start turning up murdered, Mickey becomes concerned for Kacey, as no one has seen her for a while.
    This is a sad story, but also has some hope. The last line is chilling.
    #LongBrightRiver #LizMoore
  • Rating: 5 out of 5 stars
    5/5
    “In a moment of clarity, once, Kacey told me that time spent in addiction feels looped. Each morning brings with it the possibility of change, each evening the shame of failure. The only task becomes the seeking of the fix. Every dose is a parabola, low-high-low; and every day a series of these waves; and then the days themselves become chartable, according to how much time, in sum, the user spends in comfort or in pain; and then the months.”
    ― Liz Moore, Long Bright River

    Beautifully written, beautifully narrated. The story rolled out slowly, earnest and understated. It did not take very long before I was completely invested. The plot was compelling yet seemed to meander at a painfully slow pace despite the sense of urgency. Easily a 5 star read. Highly recommend the audiobook.
  • Rating: 3 out of 5 stars
    3/5
    Listened to the audiobook but had the text copy as well. A sister who is a detective tries to find her drug addict sister when she goes missing because several women have turned up dead and she’s worried.
  • Rating: 4 out of 5 stars
    4/5
    The surprises unfold slowly in this mystery that goes back and forth from past to present. A great plot revolving around two sister, but only shown from one sister's point of view which keeps the reader guessing. The novel kept me guessing about which characters to trust, including the narrator.
  • Rating: 4 out of 5 stars
    4/5
    I rarely read mystery/thrillers—but like an awkward relationship, it’s not the books, it’s me. I don’t enjoy being surprised, I like to figure out what’s going on, and with most mysteries that is very difficult to do. That is the case with Liz Moore’s wildly popular book, Long Bright River, a family drama as much as a thriller. Growing up in Philadelphia, Mickey and her sister Kacey were best friends through the difficult times of losing both parents and being raised by a tough-love grandmother. Now on opposite sides of the law--Mickey is a street cop and Kacey a drug addict. When Kacey disappears, Mickey is forced to confront their past, which Moore reveals in bits and pieces throughout the current narrative of trying to catch a murderer. Although a bit long, the book moves quickly with short sections and intermittent flashbacks, and Moore’s writing is perfect for the genre--clear and introspective, giving just the right information at the right moments. Long Bright River is a definite winner for mystery/thriller readers, and good crossover read those less likely to enter the genre.
  • Rating: 4 out of 5 stars
    4/5
    Two sisters who lost their mother to overdose from drug addiction, live with their grandmother who is a cold, unloving person. Blaming their father for the death of their mother, the grandmother presents a terrible picture of this man.

    This is a multi-layered story, based on both the earlier, and later lives of the sisters who go into complete different directions. The older sister becomes a police person, the younger, sadly, follows her mother's footsteps. Most of the book revolves around the older sister searching for her missing sister on the dirty, drug infested parts of Kenninsgton, Philadelphia.

    When a series of deaths of young women are found, the older sister compounds her fear in hoping her sister will not be one of those among the missing and dead.

    When there is good evidence that it is a member of the police s is killing the women, the steaks are higher in the need to get her younger sister clean and off the streets.
  • Rating: 5 out of 5 stars
    5/5
    Long Bright River by Liz Moore is a 2020 Riverhead publication.

    Mesmerizing, chilling, and heartbreaking!

    Sisters, Mickey, and Kacey, though close as children, grew apart as teens and now their lives could not be any more different. Mickey is a police officer and single- parent, while Kacey, is a drug addict and sexworker.
    Still, Mickey keeps track of her sister. She is comforted by the knowledge that Kacey is alive, despite the circumstances. But then Kacey disappears. Mikey uses her position as a police officer to try and find her, fearing the worse.

    It is not just the drugs or the risky lifestyle that has Mickey near panic to find Kacey. Someone is killing women in Kensington- and Kacey could be an unknown victim.

    Mickey’s investigation leads her in directions she never imagined. Her memories haunt her, and the truth becomes harder and harder to discern, tangled up in her complicated past relationships.

    As the days pass, Mikey’s fear and despair drive her emotions, destabilizing her decisions. But as the past collides with the present, startling revelations uncover the ugly, but fragile and tender bonds of Mickey’s own family.

    Will Mikey find her sister alive or has addiction- or a murderer- stolen her away forever?

    This is a compelling crime drama that examines the far-reaching toll of addiction. Families are torn apart, communities decline, along with the economy, and even the most disciplined are no match for the lure of opioids. Many passages feel so real, and even personal. It is sad and horrifying, making the urge to look away far too tempting.

    I have heard people speak of the troubled Kensington neighorhood in Philadelphia. In fact, it was the true crime case of the "Kensington Strangler", that drew my attention to this neighborhood. But I still felt compelled to do a little more research and what I saw and read was shocking and terrifying and so sad.

    This background brings the challenges Mickey faces, not only as a police officer, but as mother and a sister, into sharp focus. Her second confidence is rattled, understandably, as this case is personal.
    I cannot say I always understood Mickey, or found her character to be one wanted to root for, but I sympathized with her fear and confusion, facing the possibility that she and her son could be in danger and that her sister might be dead.

    The story is tense, gritty, and very gripping with several stunning twists along the way, but at the end of the day, despite the odds, a glimmer of hope appears, leaving the reader with more of an inspirational vibe, helping to offset the overall austerity of the book.

    I found this novel to be quite effective and well executed. It is dark and melancholy, but is also incredibly realistic, giving readers a stark and undaunted view of life in Kensington, and an up- close examination of addiction on the streets of this now infamous neighborhood. The book is timely, touching not just on the opioid crisis, but on social and class divisions, as well.


    Overall, I thought this was an excellent crime story and family drama! I was a real eye-opener and stuck with me long after I turned the final page.



    4.5 stars
  • Rating: 3 out of 5 stars
    3/5
    Mickey is a single mom and a cop in the rough Philadelphia neighborhood of Kensington. Her younger sister Kasey is a prostitute and drug addict on the streets. Although they are estranged, Mickey tries to keep an eye out for Kasey to make sure she's not in harm's way. As the book opens, it is becoming apparent that there might be a serial killer on the loose who is targeting prostitutes. Mickey realizes she hasn't seen Kasey around in a while, and begins to check on her whereabouts. Soon, although Mickey is a beat cop not a detective, she's taking things into her own hands, searching for her sister and trying to catch a serial killer.

    While this poses as a police procedural, and that is the skeleton around which the book is constructed, in actuality, this is more of a character study of a broken family, and a treatise on the effects poverty and drug use wreak on families over generations. It's gotten lots of good reviews, and while I enjoyed it, I think it was a bit overrated. Still, recommended if it sounds intriguing to you.

    3 stars

Book preview

Long Bright River - Liz Moore

What can be said of the Kensington of to-day, with her long line of business streets, her palatial residences and beautiful homes, that we do not know? A City within a City, nestling upon the bosom of the placid Delaware. Filled to the brim with enterprise, dotted with factories so numerous that the rising smoke obscures the sky. The hum of industry is heard in every corner of its broad expanse. A happy and contented people, enjoying plenty in a land of plenty. Populated by brave men, fair women and a hardy generation of young blood that will take the reins when the fathers have passed away. All hail, Kensington! A credit to the Continent—a crowning glory to the City.

—From Kensington; a City Within a City (1891)

Is there confusion in the little isle?

Let what is broken so remain.

The Gods are hard to reconcile:

’Tis hard to settle order once again.

There is confusion worse than death,

Trouble on trouble, pain on pain,

Long labour unto aged breath,

Sore task to hearts worn out by many wars

And eyes grown dim with gazing on the pilot-stars.

But, propt on beds of amaranth and moly,

How sweet (while warm airs lull us, blowing lowly)

With half-dropt eyelid still,

Beneath a heaven dark and holy,

To watch the long bright river drawing slowly

His waters from the purple hill—

To hear the dewy echoes calling

From cave to cave thro’ the thick-twined vine—

To watch the emerald-colour’d water falling

Thro’ many a wov’n acanthus-wreath divine!

Only to hear and see the far-off sparkling brine,

Only to hear were sweet, stretch’d out beneath the pine.

—Alfred, Lord Tennyson, from The Lotos-Eaters

LIST

Sean Geoghehan; Kimberly Gummer; Kimberly Brewer, Kimberly Brewer’s mother and uncle; Britt-Anne Conover; Jeremy Haskill; two of the younger DiPaolantonio boys; Chuck Bierce; Maureen Howard; Kaylee Zanella; Chris Carter and John Marks (one day apart, victims of the same bad batch, someone said); Carlo, whose last name I can never remember; Taylor Bowes’s boyfriend, and then Taylor Bowes a year later; Pete Stockton; the granddaughter of our former neighbors; Hayley Driscoll; Shayna Pietrewski; Dooney Jacobs and his mother; Melissa Gill; Meghan Morrow; Meghan Hanover; Meghan Chisholm; Meghan Greene; Hank Chambliss; Tim and Paul Flores; Robby Symons; Ricky Todd; Brian Aldrich; Mike Ashman; Cheryl Sokol; Sandra Broach; Ken and Chris Lowery; Lisa Morales; Mary Lynch; Mary Bridges and her niece, who was her age, and her friend; Jim; Mikey Hughes’s father and uncle; two great-uncles we rarely see. Our former teacher Mr. Paules. Sergeant Davies in the 23rd. Our cousin Tracy. Our cousin Shannon. Our father. Our mother.

NOW

There’s a body on the Gurney Street tracks. Female, age unclear, probable overdose, says the dispatcher.

Kacey, I think. This is a twitch, a reflex, something sharp and subconscious that lives inside me and sends the same message racing to the same base part of my brain every time a female is reported. Then the more rational part of me comes plodding along, lethargic, uninspired, a dutiful dull soldier here to remind me about odds and statistics: nine hundred overdose victims in Kensington last year. Not one of them Kacey. Furthermore, this sentry reproves me, you seem to have forgotten the importance of being a professional. Straighten your shoulders. Smile a little. Keep your face relaxed, your eyebrows unfurrowed, your chin untucked. Do your job.

All day, I’ve been having Lafferty respond to calls for us for further practice. Now, I nod to him, and he clears his throat and wipes his mouth. Nervous.

—2613, he says.

Our vehicle number. Correct.

Dispatch continues. The RP is anonymous. The call came in from a payphone, one of several that still line Kensington Avenue and, as far as I know, the only one of those that still works.

Lafferty looks at me. I look at him. I gesture to him. More. Ask for more.

—Got it, says Lafferty into his radio. Over.

Incorrect. I raise mine to my mouth. I speak clearly.

—Any further information on location? I say.


After I end the call, I give Lafferty a few pointers, reminding him not to be afraid to speak plainly to Dispatch—many rookie officers have the habit of speaking in a kind of stilted, masculine manner they have most likely picked up from films or television—and reminding him, too, to extract from Dispatch as many details as he can.

But before I’ve finished speaking, Lafferty says, again, Got it.

I look at him. Excellent, I say. I’m glad.

I’ve only known him an hour, but I’m getting a sense for him. He likes to talk—already I know more about him than he’ll ever know about me—and he’s a pretender. An aspirant. In other words, a phony. Someone so terrified of being called poor, or weak, or stupid, that he won’t even admit to what deficits he does have in those regards. I, on the other hand, am well aware that I’m poor. More so than ever now that Simon’s checks have stopped coming. Am I weak? Probably in some ways: stubborn, maybe, obstinate, mulish, reluctant to accept help even when it would serve me to. Physically afraid, too: not the first officer to throw herself in front of a bullet for a friend, not the first officer to throw herself into traffic in the pursuit of some vanishing perpetrator. Poor: yes. Weak: yes. Stupid: no. I’m not stupid.

I was late to roll call this morning. Again. I am ashamed to admit it was the third time in a month, and I despise being late. A good police officer is punctual if she is nothing else. When I walked into the common area—a drab, bright space, devoid of furniture, adorned only by peeling policy posters on the wall—Sergeant Ahearn was waiting for me, arms crossed.

—Fitzpatrick, he said. Welcome to the party. You’re with Lafferty today in 2613.

—Who’s Lafferty, I said, before I thought better of it. I really didn’t intend to be funny. Szebowski, in the corner, laughed aloud once.

Ahearn said, That’s Lafferty. Pointing.

There he was, Eddie Lafferty, second day in the district. He was busying himself across the room, looking at his blank activity log. He glanced at me quickly and apprehensively. Then he bent down, as if noticing something on his shoes, which were freshly polished, somehow glistening. He pursed his lips. Whistled lowly. At the time, I almost felt sorry for him.

Then he got into the passenger’s seat.


Facts I have learned about Eddie Lafferty in the first hour of our acquaintance: He is forty-three, which makes him eleven years my senior. A late entrant into the PPD. He worked construction until last year, when he took the test. (My back, says Eddie Lafferty. It still bothers me sometimes. Don’t tell anyone.) He’s just rolled off his field training. He has three ex-wives and three almost-grown children. He has a home in the Poconos. He lifts. (I’m a gym rat, says Eddie Lafferty.) He has GERD. Occasionally, he suffers from constipation. He grew up in South Philadelphia and now lives in Mayfair. He splits Eagles season tickets with six friends. His most recent ex-wife was in her twenties. (Maybe that was the problem, says Lafferty, her being immature.) He golfs. He has two rescued pit mixes named Jimbo and Jennie. He played baseball in high school. One of his teammates then was, in fact, our platoon’s sergeant, Kevin Ahearn, and it was Sergeant Ahearn who suggested he consider police work. (Something about this makes sense to me.)

Facts Eddie Lafferty has learned about me in the first hour of our acquaintance: I like pistachio ice cream.


All morning, during Eddie Lafferty’s very infrequent pauses, I have tried my best to interject only the basics of what he needs to know about the neighborhood.

Kensington is one of the newer neighborhoods in what is, by American standards, the very old city of Philadelphia. It was established in the 1730s by the Englishman Anthony Palmer, who acquired a small tract of nondescript land and named it after a regal neighborhood—one that was, at the time, the preferred residence of the British monarchy. (Perhaps Palmer, too, was a phony. Or, more kindly, an optimist.) The eastern edge of present-day Kensington is a mile from the Delaware River, but in its earliest days it bordered the river directly. Accordingly, its earliest industries were shipbuilding and fishing, but by the middle of the nineteenth century its long tenure as a manufacturing hub was beginning. At its peak it boasted producers of iron, steel, textiles, and— perhaps fittingly—pharmaceuticals. But when, a century later, the factories in this country died in great numbers, Kensington, too, began a slow and then a rapid economic decline. Many residents moved farther into or out of the city, seeking other work; others stayed, persuaded by allegiance or delusion that a change would come. Today, Kensington comprises in nearly equal parts the Irish-Americans who moved here in the nineteenth and twentieth centuries and a newer population of families of Puerto Rican and other Latino descent—along with groups who represent successively smaller slivers of Kensington’s demographic pie: African-American, East Asian, Caribbean.

Present-day Kensington is shot through by two main arteries: Front Street, which runs north up the eastern edge of the city, and Kensington Ave—usually just called the Ave, an alternately friendly or disdainful appellation, depending on who’s saying it—which begins at Front and veers northeast. The Market-Frankford elevated train—or, more commonly, the El, since a city called Philly can’t let any of its infrastructure go unabbreviated—runs directly over both Front and Kensington, which means both roads spend the majority of the day in the shadows. Large steel beams support the train line, blue legs spaced thirty feet apart, which gives the whole apparatus the look of a giant and menacing caterpillar hovering over the neighborhood. Most of the transactions (narcotic, sexual) that happen in Kensington begin on one of these two roads and end on one of the many smaller streets that cross them, or more often in one of the abandoned houses or empty lots that populate the neighborhood’s side streets and alleys. The businesses that can be found along the main streets are nail salons, takeout places, mobile phone stores, convenience stores, dollar stores, appliance stores, pawnshops, soup kitchens, other charitable organizations, and bars. About a third of the storefronts are shuttered.

And yet—like the condos that are sprouting, to our left now, from an empty lot that has lain fallow since a wrecking ball took out the factory it used to house—the neighborhood is rising. New bars and businesses are cropping up on the periphery, toward Fishtown, where I grew up. New young faces are populating those businesses: earnest, rich, naive, ripe for the picking. So the mayor is getting concerned with appearances. More troops, the mayor says. More troops, more troops, more troops.


It’s raining hard today, and this forces me to drive more slowly than I normally would when responding to a call. I name the businesses we pass, name their proprietors. I describe recent crimes I think Lafferty should know about (each time, Lafferty whistles, shakes his head). I list allies. Outside our windows: the usual mix of people seeking a fix and people in the aftermath of one. Half of the people on the sidewalks are melting slowly toward the earth, their legs unable to support them. The Kensington lean, say people who make jokes about that kind of thing. I never do.

Because of the weather, some of the women we pass have umbrellas. They wear winter hats and puffy jackets, jeans, dirty sneakers. They range in age from teenagers to the elderly. The large majority are Caucasian, though addiction doesn’t discriminate, and all races and creeds can be found here. The women wear no makeup, or maybe a hard black ring of liner around their eyes. The women working the Ave don’t wear anything that shows they’re working, but everyone knows: it’s the look that does it, a long hard gaze at the driver of every passing car, every passing man. I know most of these women, and most of them know me.

—There’s Jamie, I say to Lafferty as we pass her. There’s Amanda. There’s Rose.

I consider it part of his training to know these women.

Down the block, at Kensington and Cambria, I see Paula Mulroney. She’s on crutches today, hovering miserably on one foot, getting rained on because she can’t balance an umbrella too. Her denim jacket has turned a dark upsetting blue. I wish she’d go inside.

I glance around quickly, checking for Kacey. This is the corner on which she and Paula can usually be found. Occasionally they’ll get into a fight or have a falling-out, and one or the other of them will go stand someplace else for a while, but a week later I’ll see them there, reunited, their arms slung about one another cheerfully, Kacey with a cigarette hanging out of her mouth, Paula with a water or a juice or a beer in a paper bag.

Today, I don’t see Kacey anyplace. It occurs to me, in fact, that I have not seen her in quite some time.

Paula spots our car as we drive toward her and she squints in our direction, seeing who’s inside. I lift two fingers off the steering wheel: a wave. Paula looks at me, and then at Lafferty, and then turns her face slightly upward, toward the sky.

—That’s Paula, I say to Lafferty.

I think about saying more. I went to school with her, I could say. She’s a friend of the family. She’s my sister’s friend.

But already, Lafferty has moved on to another subject: this time it is the heartburn that has plagued him for the better part of a year.

I can think of no response.

—Are you always this quiet? he says suddenly. It’s the first question he’s asked me since determining my ice cream preferences.

—Just tired, I say.

—Have you had a lot of partners before me? says Lafferty, and then he laughs, as if he’s made a joke.

—That sounded wrong, he says. Sorry.

For just long enough, I say nothing.

Then I say, Only one.

—How long did you work together?

—Ten years.

—What happened to him? says Lafferty.

—He hurt his knee last spring, I say. He’s out on medical leave for a while.

—How’d he hurt it? asks Lafferty.

I don’t know that it’s any of his business. Nevertheless, I say, At work.

If Truman wants everyone to know the full story, Truman can tell it.

—Have any kids? Have a husband? he asks.

I wish he’d go back to talking about himself.

—One child, I say. No husband.

—Oh yeah? How old?

—Four years old. Almost five.

—Good age, says Lafferty. I miss when mine were that age.


When I pull up to the entry point to the tracks that Dispatch indicated—a man-made opening in a fence, something someone kicked out years ago that’s never been repaired—I see we’ve beaten the medical unit to the scene.

I look at Lafferty, assessing him. Unexpectedly, I feel a twinge of sympathy for him, for what we are about to see. His field training was in the 23rd District, which is next to ours, but much lower in crime. Besides, he would mostly have been doing foot patrol, crowd control, that sort of thing. I’m not sure if he’s ever responded to this type of call before. There are only so many ways you can ask someone how many dead people they’ve seen in their life, so in the end I decide to keep things vague.

—Have you ever done this before? I ask him.

He shakes his head. He says, Nope.

—Well, here we go, I say, brightly.

I’m not certain what else I can say. There is no way to prepare a person sufficiently.

Thirteen years ago, when I first started, it happened a few times a year: we’d get a report that someone had fatally overdosed, had been deceased so long that medical intervention was unnecessary. More common were calls about overdoses in progress, and typically those individuals could be revived. These days, it happens frequently. This year alone the city is on track for 1,200, and the vast majority of those are in our district. Most are relatively recent ODs. Others are bodies that have already started to decay. Sometimes they’re inexpertly hidden by friends or lovers who witnessed the death but don’t want to jump through the hoops of reporting it, don’t want to answer to anyone about how it happened. More often they’re just out in the open, having nodded off forever in a secluded place. Sometimes their family finds them first. Sometimes their children. Sometimes, we do: out on patrol we simply see them there, sprawled out or slumped over, and when we check their vital signs they have no pulse. They’re cold to the touch. Even in summer.


From the opening in the fence, Lafferty and I walk downhill into a little gulch. I’ve entered this way dozens or maybe hundreds of times in my years on the force. It’s part of our patrol, in theory, this overgrown area. We find someone or something every time we go in. When I was partnered with Truman, he was always the one to go in first. He was senior. Today, I go in first, ducking my head uselessly, as if this will somehow keep me drier. But the rain isn’t letting up. The splattering sound it makes on my hat is so loud that I can barely hear myself speak. My shoes slip in the mud.

Like many parts of Kensington, the Lehigh Viaduct—mainly called the Tracks now—is a stretch of land that’s lost its purpose. It was once busy with cargo trains that served an essential purpose in Kensington’s industrial heyday, but now it’s underused and overgrown. Weeds and leaves and branches cover needles and baggies scattered on the ground. Stands of small trees conceal activity. Lately there’s been talk, from the city and Conrail, of paving it over, but it hasn’t happened yet. I’m skeptical: I can’t imagine it being anything other than what it is, a hiding place for people in need of a fix, for the women who work the Ave and their customers. If it gets paved over, new enclaves will sprout up all over the neighborhood. I’ve seen it happen before.

A little rustle to our left: a man emerges from the weeds. He looks spectral and strange. He stands still, his hands down by his sides, small rivulets of water trickling down his face. In fact, it would be impossible to tell if he was crying.

—Sir, I say to him, have you seen anything around here that we should know about?

He says nothing. Stares some more. Licks his lips. He has the faraway, hungry look of someone in need of a fix. His eyes are an unnaturally light blue. Perhaps, I think, he’s meeting a friend here, or a dealer: someone who will help him out. At last he shakes his head, slowly.

—You’re not supposed to be down here, you know, I tell him.

There are certain officers who wouldn’t bother with this formality, deeming it futile. Weed whacking, some say: they sprout right back up, in other words. But I always do.

—Sorry, the man says, but he doesn’t look as if he’s about to leave anytime soon, and I don’t take the time to haggle with him.

We keep walking. Large puddles have formed on either side of us. The dispatcher indicated that the body was a hundred yards straight back from the entrance we used, slightly off to the right. Behind a log, she had said. The RP, she added, had left a newspaper on the log to help us find the body. This is what we’re looking for as we walk farther and farther from the fence.

It’s Lafferty who spots the log first, veers off the path—which isn’t a path, really, just the place on the Tracks where people have tended to walk the most over the years. I follow. I wonder, as always, whether I’ll know the woman: whether she’ll be someone I recognize from picking her up, or from driving past her, over and over, on the street. And then, before I can stop it, the familiar chant returns: Or Kacey. Or Kacey. Or Kacey.

Lafferty, ten steps ahead of me, peers over the log to inspect the far side. He says nothing: just keeps leaning over, his head cocked at an angle, taking it in.

When I arrive I do the same.

She’s not Kacey.

That’s my first thought: Thank God, I don’t know her. Her death was recent: that’s my second. She hasn’t been lying here long. There’s nothing soft about her, nothing slack. Instead she’s stiff, lying on her back, one arm contracted upward so that her hand has become a claw. Her face is contorted and sharp; her eyes are unpleasantly open. Usually, in overdoses, they’re closed—which always gives me some measure of comfort. At least, I think, they died in peace. But this woman looks astonished, unable to believe the fate that has befallen her. She’s lying on a bed of leaves. Except for her right arm, she’s straight as a tin soldier. She’s young. In her twenties. Her hair is—was—pulled back into a tight ponytail, but it’s been mussed. Strands of it have been pulled out of the elastic that holds it in place. She’s wearing a tank top and a denim skirt. It’s too cold to be dressed this way. The rain is falling directly on her body and face. This is bad, too, for the preservation of evidence. Instinctively, I want to cover her, to bundle her up in something warm. Where is her jacket? Maybe someone took it off her after she died. Unsurprisingly, a syringe and a makeshift tourniquet are on the ground next to her. Was she alone when she died? They usually aren’t, the women: usually they’re with boyfriends or clients who leave them when they die, afraid of being implicated, afraid of being caught up in some business that they want no part of.

We’re supposed to take vital signs upon arrival. Normally I wouldn’t, not in a case as obvious as this one, but Lafferty’s watching me, so I do things by the book. I steel myself, climb over the log, and reach toward her. I’m about to take her pulse when I hear footsteps and voices nearby. Damn, the voices are saying. Damn. Damn. The rain is falling even harder.

The medical unit has found us. They are two young men. They’re in no rush. They know already that they can’t save this one. She’s gone; she has been. They need no coroner to tell them this.

—Fresh one? calls one of them. I nod, slowly. I don’t like the way they—we—talk about the dead sometimes.

The two young men saunter toward the log, peer over it nonchalantly.

—Jeez, says one—Saab is his last name, there on his name tag—to the other, to Jackson.

—She’ll be light, at least, says Jackson, which feels like a hit to my stomach. Then collectively they climb over the log, skirt the body, kneel down beside her.

Jackson reaches out to place his fingers on her. He tries a few times, obligingly, to find something, then stands up. He checks his watch.

—As of 11:21, Jane Doe pronounced, he says.

—Record that, I say to Lafferty. One nice thing about having a partner again: someone else to fill in the activity log. Lafferty’s been keeping his inside his jacket to preserve it from the rain, and he takes it out now, hovering over it, trying to keep it dry.

—Hang on a second, I say.

Eddie Lafferty looks at me and then the body.

I bend down between Jackson and Saab, looking carefully at the victim’s face, the open eyes cloudy now, nearly opaque, the jaws clenched painfully.

There, just beneath her eyebrows and sprinkled over the tops of her cheekbones, is a splattering of little pink dots. From far away they just made her look flushed; up close, they are distinct, like small freckles, or the marks of a pen on a page.

Saab and Jackson bend down too.

—Oh yeah, says Saab.

—What, says Lafferty.

I raise my radio to my mouth.

—Possible homicide, I say.

—Why, says Lafferty.

Jackson and Saab ignore him. They’re still bent down, studying the body.

I lower the radio. Turn to Lafferty. His training, his training.

—Petechiae, I say, pointing to the dots.

—Which are, says Lafferty.

—Burst blood vessels. One sign of strangulation.

The Crime Scene Unit, Homicide, and Sergeant Ahearn arrive not long after that.

THEN

The first time I found my sister dead, she was sixteen. It was the summer of 2002. Forty-eight hours earlier, on a Friday afternoon, she’d left school with her friends, telling me she’d be back by evening.

She wasn’t.

By Saturday, I was frightened, telephoning Kacey’s friends, asking them if they knew where she was. But nobody did, or no one would tell me, at least. I was seventeen then, very shy, already cast in the role I’ve played my entire life: the responsible one. A little old lady, said my grandmother, Gee. Too serious for her own good. Kacey’s friends no doubt thought of me as parental in some way, an authority figure, a person from whom to withhold information. Over and over again, they apologized dully and denied knowing anything.

Kacey, in those days, was boisterous and loud. When she was home, which she had been with less and less frequency, life was better, the house warmer and happier. Her unusual laugh—a silent, open-mouthed trembling, followed by a series of sharp, high, vocal inhalations, doubling her over as if they caused her pain—echoed off the walls. Without it, her absence was noticeable, the silence in the house ominous and strange. Her sounds were gone, and so was her smell, some terrible perfume that she and her friends had begun using—probably to mask what they were smoking—called Patchouli Musk.

It took a whole weekend for me to convince Gee to call the police. She was always reluctant to involve outsiders: afraid, I believe, that they would take a hard look at her parenting and deem it unfit in some way.

When, at last, she agreed to, she fumbled the number and had to call twice on her olive-green rotary phone. I had seen her neither so frightened nor so mad before. She was trembling with something when she hung up—anger or sorrow or shame. Her long ruddy face moved in unsettling and novel ways. She spoke softly to herself, indiscernible phrases that sounded something like a curse or a prayer.


It both was and was not surprising, Kacey’s disappearing like that. She’d always been social, and had recently fallen in with a ragtag group of friends who were benevolent but lazy, well liked but never taken seriously. She had a brief hippie phase in eighth grade, followed by several years of dressing like a punk, dying her hair with Manic Panic and getting a nose ring and an unfortunate tattoo of a lady spider in a web. She had boyfriends. I never did. She was popular, but generally used her popularity for good: in middle school she effectively adopted a sorrowful girl named Gina Brickhouse, a girl so badly teased for her weight, her hygiene, her poverty, the misfortune of her name, that she’d gone silent at age eleven. That’s when Kacey took an interest in her; and under Kacey’s protection, she blossomed. By the end of high school, Gina Brickhouse was named Most Unique, an award reserved for quirky but respected iconoclasts.

Lately, though, Kacey’s social life had taken a turn. She had regularly been getting into the kind of serious trouble that threatened to get her expelled. She was drinking a lot, even at school, and using various prescription drugs that, in those days, nobody knew to be scared of. This was the first part of her life that Kacey ever tried to keep hidden from me. Prior to that year, she had confided everything to me, often with an urgent and pleading note in her voice, as if she were seeking absolution. But her new attempts at secrecy were ineffective. I could sense it—of course I could sense it. I calculated a change in her demeanor, her physicality, her gaze. Kacey and I shared a room, and a bed, for the duration of our childhood. At one time we knew each other so well that we could predict the next thing the other would say before she said it. Our conversations were rapid and indecipherable to others, sentences begun and abandoned, lengthy negotiations conducted exclusively in glances and gestures. So when my sister began sleeping over at friends’ houses more and more, or coming home in the small hours of the morning, smelling of things I couldn’t, then, identify, it is safe to say that I was alarmed.

And when two days went by without my hearing from her, it wasn’t her disappearance that was surprising, or even the idea that something was going terribly wrong with her. The only thing that surprised me was the idea that Kacey could leave me so completely out of her life. That she could hide, in this way—even from me—her most important secrets.


Shortly after Gee phoned the police, Paula Mulroney paged me, and I called her back. Paula was a great friend of Kacey’s in high school, and the only one, in fact, who deferred to me, who understood and respected the precedence of our familial bond. She said she had heard about Kacey, and she thought that she knew where she was.

—Don’t tell your grandmom, though, said Paula, in case I’m wrong.

Paula was a pretty girl, strong and tall and tough. She reminded me in certain ways of an Amazon—a tribe I first encountered when I read the Aeneid in ninth-grade English, and next in the DC comic books I fell in love with at fifteen—though the one time I mentioned the resemblance to Kacey, meaning it to be complimentary to Paula, she said, Mick. Don’t ever tell anyone that. In any case, although I liked Paula—like her still—I also realized even then that she was probably a bad influence on Kacey. Her brother Fran was a dealer, and Paula worked for him, and everyone knew it.

That day, I met Paula at the corner of Kensington and Allegheny.

—Follow me, said Paula.

As we walked, she told me that she and Kacey had gone together two days ago to a house in this neighborhood that had belonged to a friend of Paula’s brother. I knew what this meant.

—I had to leave, Paula said, but Kacey wanted to stay for a little longer.

Paula led me up Kensington Ave to a little side street that I can’t, now, remember the name of, and then to a tumbledown rowhome with a white storm door. On the door was a black metal silhouette of a horse and carriage, only the horse’s front legs were missing: I got a good look at it, because it took five minutes of knocking for anyone to open up.

—Trust me, they’re home, said Paula. They’re always home.

When, at last, the door opened, on the other side of it was a ghost of a woman, as thin as anyone I’d ever seen, with black hair and the flushed face and heavy eyes I would later come to associate with Kacey. I didn’t know then what they meant.

—Fran’s not here, said the woman. She was talking about Paula’s brother. She was maybe a decade older than we were, though it was difficult to tell.

—Who’s she, said the woman, before Paula could reply.

—My friend. She’s looking for her sister, said Paula.

—No sisters here, said the woman.

—Can I see Jim, said Paula, changing the subject.


July is often brutal in Philadelphia, and the house was incubating the heat, baking beneath its black tar roof. Inside, it reeked of cigarettes and something sweeter. It was very sad to me to think of that house as it had been when it was first built: home to a functioning family, maybe, a factory worker and his wife and children. Someone who went to work each day in one of the colossal brick buildings, abandoned now, that still line Kensington’s streets. Someone who came home at the end of each workday and said grace before supper. We were standing at that moment in what was maybe once a dining room. Now it was empty of all furniture except some metal folding chairs, leaning against a wall. Out of respect for the house, I tried to picture it as it might have been a generation ago: an oval table covered in a lace tablecloth. Plush carpet on the floor. Upholstered chairs. In the windows, curtains that somebody’s grandmother made. On the wall, a picture of fruit in a bowl.

Jim, the house’s owner, I supposed, came into the room in black T-shirt and jean shorts and stood looking at us. His arms hung loosely by his sides.

—You looking for Kacey? he said to me. At the time, I wondered how he knew. Probably I looked innocent, like a rescuer, like a guardian, like somebody who searched, rather than fled. I have had this look my whole life. In fact it took me quite a while, after I joined the force, to develop certain habits and mannerisms that successfully convinced those I detained that I was someone to be taken seriously.

I nodded.

—Upstairs, said Jim. She hasn’t been feeling good, is what I thought he was saying, though I didn’t hear exactly, and he could have said any number of things. I was already gone.

Every door on the upstairs hallway was closed, and behind them, I thought, might lie unknown horrors. I was, I admit it, afraid. For a little while I stood still. Later I would wish that I hadn’t.

—Kacey, I said, quietly, hoping she would simply emerge.

—Kacey, I said again, and someone’s head appeared from behind a

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