Excerpt from The Interpretation of Murder by Jed Rubenfeld, plus links to reviews, author biography & more

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The Interpretation of Murder

A Novel

by Jed Rubenfeld

The Interpretation of Murder
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  • First Published:
    Sep 2006, 384 pages
    Paperback:
    Jun 2007, 450 pages

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The masculinity of it all was undeniable. On the ground, the implacable Manhattan grid, with its two hundred numbered east-west streets and twelve north-south avenues, gave the city a stamp of abstract rectilinear order. Above this, in the immensity of the towering structures, with their peacock-like embellishments, it was all ambition, speculation, competition, domination, even lust—for height, size, and always money.
 
The Balmoral, on the Boulevard—New Yorkers at the time referred to Broadway from Fifty-ninth to 155th Street as the Boulevard—was one of the grand new edifices. Its very existence was a gamble. In 1909, the very rich still lived in houses, not apartments. They “kept” apartments for short or seasonal stays in the city, but they failed to comprehend how anybody could actually live in one. The Balmoral was a bet: that the rich could be induced to change their minds if the accommodations were sufficiently opulent.
 
The Balmoral rose seventeen stories, higher and grander than any apartment building—any residential building—had ever climbed before. Its four wings occupied an entire city block. Its lobby, where seals cavorted in a Roman fountain, shone with white Carrara marble. Chandeliers in every apartment sparkled with Murano glass. The smallest dwelling had eight rooms; the largest boasted fourteen bedrooms, seven baths, a grand ballroom with a twenty-foot ceiling, and full maid’s service. This rented for the appalling sum of $495 a month.
 
The owner of the Balmoral, Mr. George Banwell, enjoyed the enviable position of being unable to lose money on it. His investors had advanced $6,000,000 toward its construction, of which he had kept not a penny, scrupulously remitting the entire amount to the builder, the American Steel and Fabrication Company. The owner of this firm, however, was also Mr. George Banwell, and the actual construction cost was $4,200,000. On January 1, 1909, six months before the Balmoral was to open, Mr. Banwell announced that all but two of the apartments were already let. The announcement was pure invention, but it was believed, and therefore within three weeks it was so. Mr. Banwell had mastered the great truth that truth itself, like buildings, can be manufactured.
 
The Balmoral’s exterior belonged to the Beaux-Arts school at its most flamboyant. Crowning the roofline were a quartet of thirteen-foot floor-to-ceiling glass-paned concrete arches, one at each corner of the property. Because these great arched windows gave off the top floor’s four master bedrooms, someone standing outside them could have had a very compromising view inside. On Sunday night, August 29, the view from outside the Alabaster Wing would have been shocking indeed. A slender young woman was standing within, lit by a dozen flickering candles, barely clothed, exquisitely proportioned, her wrists tied together over her head, and her throat embraced by another binding, a man’s white silk tie, which a strong hand was making tight, exceedingly tight, causing her to choke.
 
Her entire body glistened in the unbearable August heat. Her long legs were bare, as were her arms. Her elegant shoulders were nearly bare as well. The girl’s consciousness was fading. She tried to speak. There was a question she had to ask. It was there; it was gone. Then she had it again. “My name,” she whispered. “What is my name?”
 
 
Dr. Freud, I was relieved to see, did not look like a madman at all. His countenance was authoritative, his head well formed, his beard pointed, neat, professional. He was about five-foot-eight, roundish, but quite fit and solid for a man of fifty-three. His suit was of excellent cloth, with a watch chain and cravat in the continental style. Altogether, he looked remarkably sound for a man just off a week’s voyage at sea.

Copyright © 2006 by Jed Rubenfeld

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