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Jack Kerley worked in advertising and teaching before becoming a full-time novelist. He lives in Newport, Kentucky, but also spends a good deal of time in Southern Alabama, the setting for The Hundredth Man.
His love of the suspense genre was sparked at age thirteen, when his father gave him a collection of Saint stories by Leslie Charteris. Other cited influences include William Shakespeare, Louis Armstrong, and any large and moving body of water.
Jack Kerley is married with two children.
Interestingly, in Hannibal Lecter style, this cop needs madness to catch madness but at a personal cost, a development I particularly liked in this punchy, staccato style serial killer thriller. You know it’s the start of a series, for Carson Ryder is just too good a character to lose. The second, The Death Collectors, comes in hardback in August.Comparison: James Patterson (Alex Cross novels), Harlan Coben, Michael Connelly.Similar this month: Mark Billingham, John Katzenbach.
Eine Frau wird in einem Teich ertrankt, ein Pfarrer qualvoll vergiftet, ein LKW-Fahrer unter seinem Truck zermalmt. Detective Carson Ryder jagt einen Serienmorder, dessen bizarre Mordlust keine Grenzen kennt. Er sieht nur einen Ausweg und bittet heimlich seinen psychopathischen Bruder Jeremy, ein Profil des Morders zu erstellen. Doch als dieser ihm den entscheidenden Tipp gibt, ist es scheinbar zu spat -Carson wird selbst zum Gejagten.
In 1972, on the day of his sentencing, renowned artist and serial killer Marden Hexcamp is shot dead in the courtroom. Members of his Mansonesque band of followers are imprisoned or simply disappear. Fast-forward more than thirty years: A suspected prostitute is found murdered in a candlelit motel room, the first in a series of horrors suggesting Hexcamps art remains alive and treacherous. Following a trail of beautiful and profoundly disturbing artwork, homicide detectives Carson Ryder and Harry Nautilus descend into the shocking world of the Death Collectors, people who spend vast sums to collect serial-killer memorabilia. As Ryder and Nautilus race to solve a thirty-year conspiracy, it becomes sadly evident that at the intersection of art and madness, death is beauty, tragedy a memento, and suffering suitable for framing.