Post Mortem
8.06 / 10 256K ratings
- Language
- Spanish
- Published
- 1996
- Publisher
- Grijalbo
- ISBN
- 9788425329838
In Richmond, Virginia, a serial killer is stalking women, leaving a trail of brutalized victims and a city gripped by fear. Chief Medical Examiner Dr. Kay Scarpetta is tasked with finding answers where the police have found none. The killer is meticulous, leaving behind almost no evidence except for a mysterious substance that hints at a sophisticated understanding of forensic science. As Scarpetta plunges into the sterile world of the morgue, she must rely on the silent testimony of the dead to uncover the secrets the killer is desperate to keep buried.
With each new victim, the pressure mounts, and Scarpetta finds herself battling not only a cunning adversary but also a hostile force within the investigation that threatens to sabotage her career. As she gets closer to the truth, the clues begin to point in a terrifyingly personal direction. She must use her scientific expertise and resolve to unmask the murderer before she becomes the final victim in a deadly, calculated game.
With each new victim, the pressure mounts, and Scarpetta finds herself battling not only a cunning adversary but also a hostile force within the investigation that threatens to sabotage her career. As she gets closer to the truth, the clues begin to point in a terrifyingly personal direction. She must use her scientific expertise and resolve to unmask the murderer before she becomes the final victim in a deadly, calculated game.
Subjects
Original edition
Post mortemOriginally published in 1992 Danish Forum
Other editions (13)
Listen to the summary Narrated summary
The rain began at dawn, a relentless downpour that beat the city of Richmond into submission. It was in the foggy first hours of Saturday morning that the telephone's ring sliced through a terrible dream, pulling me back to a reality that was rapidly becoming its own kind of nightmare. On the other end of the line was Sergeant Pete Marino, his voice a gravelly harbinger of death. "We got us one," he said. The victim was Lori Petersen, a young physician, found by her husband in the bedroom of their Southside home. This was the fourth. A dark ruler, a Mr. Nobody, was strangling the women of this city, and I had begun to dread the hours when Friday bleeds into Saturday.
The scene at 5602 Berkley Avenue was a vortex of flashing lights and whispered speculation. Inside, the house was a paradox of domestic tranquility and unspeakable violence. Lori Petersen's medical journals lay on her desk, her violin rested on its stand, but in the bedroom, a storm had broken. She lay nude upon the bed, her body bound in a diabolical pattern of ligatures fashioned from severed lamp cords. Her face was a grotesque mask, swollen and purple from asphyxiation. The air was thick with a musky, sickly-sweet odor, and a strange, glittery residue clung to her skin - a signature we had seen in the three previous murders. A cold dread settled in my gut; the killer was not just repeating his ritual, he was becoming crueler. This time, he had taken the time to break her fingers, one by one.
The investigation immediately snagged on a terrible complication. Using a laser in the morgue, we discovered latent fingerprints on Lori Petersen's shoulder, preserved by the same glittery substance found on her body. The prints belonged to her husband, Matt, a handsome graduate student of literature. Marino was instantly convinced of his guilt, seeing him as a slick, manipulative actor capable of anything. "He's writing his friggin' dissertation on sex and violence, cannibals, queers," Marino spat, his mind made up. But I couldn't believe it. A husband might kill his wife in a fit of rage, but this methodical, sadistic ritual felt like the work of a stranger, a psychopath who stalked his victims from the shadows.
The pressure mounted from all sides. The press, led by an aggressive reporter named Abby Turnbull, printed lurid, frighteningly detailed accounts of the murders, turning public fear into city-wide panic. My boss, Commissioner Amburgey, began to scrutinize my every move, worried about a scandal after it was discovered that the police had failed to respond to a 911 call Lori Petersen made just moments before she was killed. I felt a net tightening, not just around the killer, but around me. My office was being blamed for leaks, my competence questioned. I was isolated, fighting a war on two fronts: one against a monster, and another against the very system I served.
Then, a fifth body. The call came on a Monday afternoon, leading us to a three-story brick house on the edge of the university. The victim was Henna Yarborough, a young journalism professor. She was bound and strangled in the same horrific manner as the others. As we processed the scene, a woman burst through the police line, screaming in anguish. It was Abby Turnbull. The victim was her sister. The killer had not just struck again; he had struck at the heart of the investigation itself, targeting the one person who had been chronicling his reign of terror. Or had he? Was Abby the intended victim all along?
The revelation of Abby's personal tragedy shattered the case wide open, but it was a quiet, almost accidental discovery that finally illuminated the killer's method. While listening to tapes of old 911 calls, I stumbled upon a pattern. Each of the victims - or someone in their household - had called the police for a minor reason in the weeks before their death: a fender bender, a suspected prowler, a wrong number. Each time, their address would have flashed on the 911 operator's screen. The killer wasn't seeing his victims; he was hearing them. Their voices were his trigger. He was one of the anonymous, disembodied voices on the other end of the line, a communications officer with access to names, addresses, and the intimate knowledge that these women lived alone.
Armed with this terrifying knowledge, we set a trap. With Abby's help, we planted a story in the newspaper, a carefully constructed piece of disinformation. We claimed that new DNA evidence revealed the killer had a rare metabolic disorder, one that caused a distinctive body odor and could lead to mental impairment. We were gambling that his vanity and paranoia would be his undoing. We wanted to enrage him, to make him feel exposed and stupid, to force him out of the shadows and into a reckless move.
The killer didn't take the bait by trying to hack into my office computer as we'd hoped. He came for me instead. He slipped through my window late one night, the same sickly-sweet smell of his sweat filling my bedroom. I awoke to a knife at my throat and a white nylon mask hovering over me, a featureless face from a nightmare made real. "I've been saving the best for last," he whispered. In that moment of pure terror, as he moved to cut the lamp cord, I rolled off the bed, my hand closing around the .38 I kept under my pillow. Before I could process what was happening, my bedroom door burst open and Marino was there, his own weapon roaring, cutting the man down in a hail of gunfire.
His name was Roy McCorkle, a young communications officer who worked the six-to-midnight shift. He was a quiet, unremarkable man who washed his hands compulsively with the industrial borax soap in the department's men's room, leaving traces of it on every woman he touched. He was the voice on the phone, the monster in the dark. In the aftermath, as the political storm surrounding the case finally broke and settled, I took my niece, Lucy, and flew to Miami. I left behind the rain-soaked streets of Richmond, the cold steel of the morgue, and the ghost of a pasty-faced boy with empty eyes, seeking solace not in justice, but in the simple, healing warmth of the sun.
The scene at 5602 Berkley Avenue was a vortex of flashing lights and whispered speculation. Inside, the house was a paradox of domestic tranquility and unspeakable violence. Lori Petersen's medical journals lay on her desk, her violin rested on its stand, but in the bedroom, a storm had broken. She lay nude upon the bed, her body bound in a diabolical pattern of ligatures fashioned from severed lamp cords. Her face was a grotesque mask, swollen and purple from asphyxiation. The air was thick with a musky, sickly-sweet odor, and a strange, glittery residue clung to her skin - a signature we had seen in the three previous murders. A cold dread settled in my gut; the killer was not just repeating his ritual, he was becoming crueler. This time, he had taken the time to break her fingers, one by one.
The investigation immediately snagged on a terrible complication. Using a laser in the morgue, we discovered latent fingerprints on Lori Petersen's shoulder, preserved by the same glittery substance found on her body. The prints belonged to her husband, Matt, a handsome graduate student of literature. Marino was instantly convinced of his guilt, seeing him as a slick, manipulative actor capable of anything. "He's writing his friggin' dissertation on sex and violence, cannibals, queers," Marino spat, his mind made up. But I couldn't believe it. A husband might kill his wife in a fit of rage, but this methodical, sadistic ritual felt like the work of a stranger, a psychopath who stalked his victims from the shadows.
The pressure mounted from all sides. The press, led by an aggressive reporter named Abby Turnbull, printed lurid, frighteningly detailed accounts of the murders, turning public fear into city-wide panic. My boss, Commissioner Amburgey, began to scrutinize my every move, worried about a scandal after it was discovered that the police had failed to respond to a 911 call Lori Petersen made just moments before she was killed. I felt a net tightening, not just around the killer, but around me. My office was being blamed for leaks, my competence questioned. I was isolated, fighting a war on two fronts: one against a monster, and another against the very system I served.
Then, a fifth body. The call came on a Monday afternoon, leading us to a three-story brick house on the edge of the university. The victim was Henna Yarborough, a young journalism professor. She was bound and strangled in the same horrific manner as the others. As we processed the scene, a woman burst through the police line, screaming in anguish. It was Abby Turnbull. The victim was her sister. The killer had not just struck again; he had struck at the heart of the investigation itself, targeting the one person who had been chronicling his reign of terror. Or had he? Was Abby the intended victim all along?
The revelation of Abby's personal tragedy shattered the case wide open, but it was a quiet, almost accidental discovery that finally illuminated the killer's method. While listening to tapes of old 911 calls, I stumbled upon a pattern. Each of the victims - or someone in their household - had called the police for a minor reason in the weeks before their death: a fender bender, a suspected prowler, a wrong number. Each time, their address would have flashed on the 911 operator's screen. The killer wasn't seeing his victims; he was hearing them. Their voices were his trigger. He was one of the anonymous, disembodied voices on the other end of the line, a communications officer with access to names, addresses, and the intimate knowledge that these women lived alone.
Armed with this terrifying knowledge, we set a trap. With Abby's help, we planted a story in the newspaper, a carefully constructed piece of disinformation. We claimed that new DNA evidence revealed the killer had a rare metabolic disorder, one that caused a distinctive body odor and could lead to mental impairment. We were gambling that his vanity and paranoia would be his undoing. We wanted to enrage him, to make him feel exposed and stupid, to force him out of the shadows and into a reckless move.
The killer didn't take the bait by trying to hack into my office computer as we'd hoped. He came for me instead. He slipped through my window late one night, the same sickly-sweet smell of his sweat filling my bedroom. I awoke to a knife at my throat and a white nylon mask hovering over me, a featureless face from a nightmare made real. "I've been saving the best for last," he whispered. In that moment of pure terror, as he moved to cut the lamp cord, I rolled off the bed, my hand closing around the .38 I kept under my pillow. Before I could process what was happening, my bedroom door burst open and Marino was there, his own weapon roaring, cutting the man down in a hail of gunfire.
His name was Roy McCorkle, a young communications officer who worked the six-to-midnight shift. He was a quiet, unremarkable man who washed his hands compulsively with the industrial borax soap in the department's men's room, leaving traces of it on every woman he touched. He was the voice on the phone, the monster in the dark. In the aftermath, as the political storm surrounding the case finally broke and settled, I took my niece, Lucy, and flew to Miami. I left behind the rain-soaked streets of Richmond, the cold steel of the morgue, and the ghost of a pasty-faced boy with empty eyes, seeking solace not in justice, but in the simple, healing warmth of the sun.
What other readers say
Liked
Reviewers widely praise this novel as a groundbreaking work that essentially launched the forensic science crime thriller genre. Many acknowledge Patricia Cornwell as a trailblazer who inspired countless subsequent writers and popular media. The book introduces Dr. Kay Scarpetta, a strong and intelligent female protagonist, whose first-person narrative effectively immerses readers in her challenges within a male-dominated profession. The mystery itself is described as engaging, fast-paced, and suspenseful, keeping readers guessing from beginning to end. Its realistic approach and detailed, well-researched forensic and police procedures were particularly impressive for its original publication time.
Disliked
Conversely, a frequent point of criticism revolves around the book's dated technological details. Extensive explanations of early computer systems, DNA analysis, and the absence of modern communication methods are often cited as tedious or distracting, making parts of the narrative feel long or slow-paced. Some readers found the pacing uneven, with certain sections described as dull or overly detailed with bureaucratic procedures. While the main character is generally well-received, a few reviewers felt that supporting characters were less developed or even annoying, and that the killer's motivation was sometimes unclear or that the resolution felt abrupt.
In short
Overall, Postmortem is considered a significant and influential debut that, despite some elements feeling dated by modern standards, remains a solid and enjoyable read. It is highly recommended for those interested in the origins of the forensic thriller genre and for readers who appreciate a strong, pioneering female protagonist. Fans of procedural crime dramas, particularly those focused on forensic investigation, will likely find this book compelling and a worthwhile starting point for a long-running series.
No reviews yet. Be the first.





