A writers’ toolbox is vast, which makes the ending of Patricia Cornwell’s “Body of Evidence” all the more vexing, as it essentially replicates the climax of her debut. I won’t go into details obviously — this is a safe, spoiler-free zone — but I was galled by the culmination of this otherwise superb mystery, mystified at how Cornwell didn’t recognise she was aping her own work. It’s the only false note in her second Kay Scarpetta novel.
When successful historical romance writer Beryl Madison is barbarously slashed to death in her Richmond home after returning home from Key West, Chief Medical Examiner Kay Scarpetta joins the police investigation led by Detective Pete Marino. A couple factors of the case immediately pique Scarpetta: the fact Madison evidently welcomed her killer into her home; the subsequential murder of her mentor, reclusive writer Cary Harper; and then suicide of his sister. Not to mention the looming shadow of an unscrupulous lawyer who is determined to obliterate Beryl’s final manuscript from existence; and the re-emergence of Kay’s former beau.
Putting aside its ending, Cornwell’s plotting is seamless, and the burgeoning claustrophobia of Scarpetta’s terror as Beryl’s killer closes in is utterly heart-pounding. The mystery unravels through forensic discoveries, exhaustive analysis of paper records, and various interviews with people of interest. The investigation builds steadily, not through melodramatic discoveries or explosive confrontations, but through dogged fact finding. Its crescendo is effective, sure; it works, functionally, for the story. But we just saw this play out; for me, less than a month ago, when I embarked on this mission to re-read the Scarpetta novels. It was a sour note to end on in a novel I otherwise wholeheartedly recommend.