The Alienist Part 35

We did not yet live, then, in the full-blown Information Age, when things like forgery were to become household amus.e.m.e.nts, to be carried out on laptop computers. But imagination could be made to compensate for that lack, and my own imagination was by now working overtime. Laboring long but exciting hours on one of those old, original IBM PCs, those desktop tanks with kryptonite-green screens whose "graphics" didn't extend beyond some very rudimentary vector configurations, it is perhaps understandable that my plotting mind turned positively fiendish. I decided to give my agent and editor just what they wanted: a rollicking nonfiction tale. I would present my story to them as actual history, at least at first; then, when I had them hooked, I would reveal the truth-and hope that the resulting screaming did not actually eject me from their respective offices.

As I say, such schemes were far harder to pull off in those days, and I'm not so sure it's a good thing that they've since become so easy. The plan that I'd formulated would require all sorts of phony printed matter, of course, but none of that presented the difficulty of what I was sure would be the thing that would seal the deal: a false visual. To be specific, a simple photograph, "taken" in the first decade of the twentieth century, showing Dr. Laszlo Kreizler visiting Theodore Roosevelt in the White House, years after their shared adventure of pursuing a serial killer in New York City through the unique method of using the latest psychological insights.

Of course, nowadays you can run outside, grab almost any nine-year-old by the ear, slip him twenty bucks, and have him whip you up just such a cut-and-paste Photoshop-finished job in a small fraction of the time it'd take you to explain to him who the h.e.l.l Theodore Roosevelt was: Thank you, Bill Gates. But back then, I had to do the whole thing by hand: Go through volume after volume of old portraits to find a photo of someone who might resemble Kreizler a little later in his life (it ended up being the composer Edvard Grieg), make sure the scale and lighting fit a picture of TR at his presidential desk that I'd already selected, photocopy (not at home) enough prints to allow me to cut and paste, try and fail, try and fail...and then, when I thought I had it, photocopy ( at home) enough prints to allow me to cut and paste, try and fail, try and fail...and then, when I thought I had it, photocopy (not at home) the glued-together creation with its phony caption and see how it came off. at home) the glued-together creation with its phony caption and see how it came off.

By today's standards, it's primitive, as you will see at the conclusion of this afterword; but by the standards of 1992, I don't mind saying, it was diabolical genius. When I had the proposal a.s.sembled, I tried it first on my agent, Suzanne, who reacted perfectly: She was thrilled with the idea, and thought it would make a great volume of popular history. Then I delivered the news that I wanted to do it in novelized form.

Why? she wanted to know. Wasn't there enough original research material?

Uh-not exactly...

Suzanne took the revelation of the ruse well, but the news that I wanted to pull the same hoax on my editor brought a long pause. Ann G.o.doff was destined to become one of the great forces in modern publis.h.i.+ng over the next decade, but even in 1992 she could be-quietly formidable might be the best way to put it. Putting an amusing professional ruse over on Ann was not, in short, a game for pikers: I would have to be sure, Suzanne told me, of what it might do to Ann's overall a.s.sessment of my seriousness as an author. I was, said I, but if it was the only way to get her to consider letting me do fiction, and especially this this fiction, I was ready. fiction, I was ready.

The proposal was delivered; Ann studied it; Suzanne and I went to her midtown office for the fateful meeting. The high quality of the story was conceded; and then I informed Ann that I wanted to tell it in novel form. She became concerned. Why in G.o.d's name would I make such a decision? Wasn't there (I'd had practice, on this one) enough primary research material? Were the familial descendants not cooperating? Was- At last, the truth had to be told, again: There was was no other way to write it. Because I'd made the whole story up. no other way to write it. Because I'd made the whole story up.

Stoically, Ann sat for several minutes; then she slammed her hand down-hard-on her desk and declared, "G.o.d d.a.m.n it! n.o.body's ever ever fooled me!" fooled me!"

Well, said I nervously, didn't that prove what an unprecedentedly plausible book the story would make?

There were a few more nervous minutes, during which I received a critical gaze appropriate to my last remark; and then, as it would so often in the future, Ann's courage shone through, and the deal was struck. The rest was up to me.

And to my readers, to whom I will add just one last note: The initial enthusiasm and support with which this book was greeted were, of course, beyond my capacity to understand or to ever fully acknowledge. But the fact that both The Alienist The Alienist and its sequel, and its sequel, The Angel of Darkness, The Angel of Darkness, have hung on-or rather, the fact that you have have hung on-or rather, the fact that you have made made them hang on-to become standards in the worlds of mystery and historical fiction is really something beyond any author's imagining. It is the kind of reaction in the hope of which writers keep writing, and which allows them to endure (with varying levels of grace) all those ancillary demons that notoriety breeds. But the relations.h.i.+p between book, readers, and author should always be clear, and always be pure: For me, such has been the case from the start. That I should have occasion to write an afterword to an edition such as this is, if nothing else, testament to that fact. them hang on-to become standards in the worlds of mystery and historical fiction is really something beyond any author's imagining. It is the kind of reaction in the hope of which writers keep writing, and which allows them to endure (with varying levels of grace) all those ancillary demons that notoriety breeds. But the relations.h.i.+p between book, readers, and author should always be clear, and always be pure: For me, such has been the case from the start. That I should have occasion to write an afterword to an edition such as this is, if nothing else, testament to that fact.

C.C.

Cherry Plain, New York April 2006

Acknowledgments.

While doing the preliminary research for this book, it occurred to me that the phenomenon we now call serial killing has been with us for as long as humans have gathered together into societies. This amateur opinion was confirmed, and paths of deeper research were indicated, by Dr. David Abrahamsen, one of America's foremost experts on violence in general and serial killing in particular. Dr. Abrahamsen pa.s.sed away in 2002, leaving behind a daunting legacy of fearless and pioneering work; and as I have had no chance to properly acknowledge my debt to and affection for him, I have elected to dedicate this edition, in part, to his memory. Along with the loyalty of its readers, The Alienist The Alienist ultimately owed its success to his intellectual guidance. He was truly a man who understood how to maintain the vigor of youth through the rigors of age. ultimately owed its success to his intellectual guidance. He was truly a man who understood how to maintain the vigor of youth through the rigors of age.

The staffs of the Harvard Archives, the New York Public Library, the New-York Historical Society, the American Museum of Natural History, and the New York Society Library all lent invaluable a.s.sistance.

John Coston suggested several important avenues of research early on, and took the time to trade ideas. I am grateful.

Many authors contributed unknowingly to this story through their nonfiction accounts of serial killing and killers, and out of these many I cannot fail to offer thanks to: Colin Wilson, for his encyclopedic histories of crime; Janet Colaizzi, for her brilliant study of homicidal insanity since 1800; Harold Schechter, for his examination of the infamous Albert Fish (whose notorious note to Grace Budd's mother inspired John Beecham's similar doc.u.ment); Joel Norris, for his justly famous treatise on serial killers; Robert K. Ressler, for his memoir of a life spent chasing such characters; and again, Dr. Abrahamsen, for his unparalleled studies of David Berkowitz and Jack the Ripper.

Tim Haldeman gave the ma.n.u.script the benefit of his seasoned eye. I have valued his incisive comments almost as much as his friends.h.i.+p.

As always, Suzanne Gluck and Ann G.o.doff guided me from wild idea to completed project with grace, skill, and affection. All writers should have such agents and editors. Susan Jensen's skill, speed, and good humor often helped keep the wolf from the door, and I thank her.

Through his own psychological insight, Tom Pivinski helped turn nightmares into prose. He has been a rock.

In the years since this book was first published, the world and I have lost James Chace, whose advice and friends.h.i.+p were so important to all my work. He is still missed terribly.

David Fromkin, Rob Cowley, and Ezequiel Vinao have continued to provide unflagging comrades.h.i.+p. I am in their debt.

Special grat.i.tude goes to my fellow members of the Core Four at La Tourette: Martin Signore, Debbie Deuble, and Yong Yoon.

I would also like to thank my family, in particular my cousins, Maria and William von Hartz.

A personal note to those who found the quote from John Ray in the original dedication to this book either arcane or, apparently, untenable: Its "secret" (not so very secret after all) was and remains loyalty. loyalty. It's been my luck to know so many people, some of whom are listed above, who could grasp this essential notion; and it has saddened me beyond measure to have encountered others who found it a puzzle too complex to unravel. It's been my luck to know so many people, some of whom are listed above, who could grasp this essential notion; and it has saddened me beyond measure to have encountered others who found it a puzzle too complex to unravel.

Finally, for their thoughtfulness in publis.h.i.+ng this edition, with its clarifications and afterword, I would like to thank Gina Centrello, Jennifer Hershey, Laura Ford, Caitlin Newman, and Evan Camfield.

ABOUT THE AUTHOR.

Bestselling and critically acclaimed author Caleb Carr's books include The Angel of Darkness, The Lessons of Terror, Killing Time, The Devil Soldier, The Angel of Darkness, The Lessons of Terror, Killing Time, The Devil Soldier, and and The Italian Secretary. The Italian Secretary. His t.i.tles have been translated into twenty languages worldwide. A contributing editor to His t.i.tles have been translated into twenty languages worldwide. A contributing editor to MHQ: The Quarterly Journal of Military History MHQ: The Quarterly Journal of Military History and the series editor of the Modern Library War Series, he lives in upstate New York and teaches at Bard College. and the series editor of the Modern Library War Series, he lives in upstate New York and teaches at Bard College.

ALSO BY CALEB CARR.

The Italian Secretary

The Lessons of Terror

Killing Time

The Angel of Darkness

The Devil Soldier

America Invulnerable (with James Chace) (with James Chace)

Casing the Promised Land

Praise for The Alienist

"Keeps readers turning pages well past their bedtime."

-San Francisco Chronicle "Harrowing, fascinating...will please fans of Ragtime Ragtime and and The Silence of the Lambs. The Silence of the Lambs."

-The Flint Journal "Caleb Carr's rich period thriller takes us back to the moment in history when the modern idea of the serial killer became available to us...[and] tracks the efforts of a team of farsighted investigators working frantically to solve a string of hideous murders.... Absorbing...suspenseful...gratifying."

-The Detroit News "Engrossing."

-Newsweek "A ripsnorter of a plot...a fine dark ride."

-The Arizona Daily Star "[A] delicious premise...Its settings and characterizations are much more sophisticated than the run-of-the-mill thrillers that line the shelves in bookstores."

-The Was.h.i.+ngton Post Book World "The method of the hunt and the disparate team of hunters lift the tale beyond the level of a good thriller-way beyond.... A remarkable combination of historical novel and psychological thriller."

-The Buffalo News "Mesmerizing."

-Detroit Free Press "Remarkable...The reader is taken on a whirlwind tour of the Gilded Age metropolis, climbing up tenement stairs, scrambling across rooftops, and witnessing midnight autopsies.... A breathtaking, finely crafted mystery."

-Richmond Times-Dispatch