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The sinister and provocative thriller from offense writing?s freshest new tone of voice.
Ethan Muller is struggling to determine his reputation as a supplier in the cut-throat world of contemporary artwork, when he stumbles onto a once-in-a-lifetime opportunity: in a decaying NY slum, an seniors tenant known as Victor Cracke has disappeared, abandoning a staggeringly large trove of original artwork. No person can say anything for certain about Cracke, except that he emerged and gone in solitude for practically forty years, his genius covered and unacknowledged. All that is about to change.
Just what exactly if, strictly speaking, the artwork doesn?t belong to Ethan? He is able to sell it?and he does just that, mounting a wildly successful show. Clients clamor. Critics sing. Museums want, and Ethan?s picture looks great in The NY Times. Then things go to hell.
All of the sudden the authorities want to talk to him. It appears that Victor Cracke experienced a nasty former, and the drawings hanging in the Muller Gallery have started to look much less like artwork and much more like information.
Is Victor Cracke a genius? A murderer? Both? Is there a difference? Sucked into an investigation four decades cool, Ethan will discover a hidden knowledge legacy of shame and death, one which touches horrifyingly close to home.
Kellerman?s small, sure prose is electrifying, exhilarating, and compulsively readable. Part confessional, part philosophical inquiry, Stop is the detective novel reimagined like nothing you've seen prior.
