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 by Jed Rubenfeld X
The Interpretation of Murder by Jed Rubenfeld
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  • First Published:
    Sep 2006, 384 pages
    Jun 2007, 450 pages

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Chapter One

There is no mystery to happiness.

Unhappy men are all alike. Some wound they suffered long ago, some wish denied, some blow to pride, some kindling spark of love put out by scorn—or worse, indifference—cleaves to them, or they to it, and so they live each day within a shroud of yesterdays. The happy man does not look back. He doesn’t look ahead. He lives in the present.
But there’s the rub. The present can never deliver one thing: meaning. The ways of happiness and meaning are not the same. To find happiness, a man need only live in the moment; he need only live for the moment. But if he wants meaning—the meaning of his dreams, his secrets, his life—a man must reinhabit his past, however dark, and live for the future, however uncertain. Thus nature dangles happiness and meaning before us all, insisting only that we choose between them.
For myself, I have always chosen meaning. Which, I suppose, is how I came to be waiting in the swelter and mob of Hoboken Harbor on Sunday evening, August 29, 1909, for the arrival of the Norddeutsche Lloyd steamship George Washington, bound from Bremen, carrying to our shores the one man in the world I wanted most to meet.
At 7 p.m. there was still no sign of the ship. Abraham Brill, my friend and fellow physician, was waiting at the harbor for the same reason as I. He could hardly contain himself, fidgeting and smoking incessantly. The heat was murderous, the air thick with the reek of fish. An unnatural fog rose from the water, as if the sea were steaming. Horns sounded heavily out in the deeper water, their sources invisible. Even the keening gulls could be only heard, not seen. A ridiculous premonition came to me that the George Washington had run aground in the fog, her twenty-five hundred European passengers drowning at the foot of the Statue of Liberty. Twilight came, but the temperature did not abate. We waited.
All at once, the vast white ship appeared—not as a dot on the horizon, but mammoth, emerging from the mist full-blown before our eyes. The entire pier, with a collective gasp, drew back at the apparition. But the spell was broken by the outbreak of harbormen’s cries, the flinging and catching of rope, the bustle and jostle that followed. Within minutes, a hundred stevedores were unloading freight.
Brill, yelling at me to follow, shouldered through to the gangway. His entreaties to board were rebuffed; no one was being let on or off the ship. It was another hour before Brill yanked at my sleeve and pointed to three passengers descending the bridge. The first of the trio was a distinguished, immaculately groomed, gray-haired, and gray-bearded gentleman whom I knew at once to be the Viennese psychiatrist Dr. Sigmund Freud.
At the beginning of the twentieth century, an architectural paroxysm shook New York City. Gigantic towers called skyscrapers soared up one after the other, higher than anything built by the hand of man before. At a ribbon-cutting on Liberty Street in 1908, the top hats applauded as Mayor McClellan declared the forty-seven-story redbrick and bluestone Singer Building the world’s tallest structure. Eighteen months later, the mayor had to repeat the same ceremony at the fifty-story Metropolitan Life tower on Twenty-fourth Street. But even then, they were already breaking ground for Mr. Woolworth’s staggering fifty-eight-story ziggurat back downtown.
On every block, enormous steel-beam skeletons appeared where empty lots had been the day before. The smash and scream of steam shovels never ceased. The only comparison was with Haussmann’s transformation of Paris a half century earlier, but in New York there was no single vision behind the scenes, no unifying plan, no disciplining authority. Capital and speculation drove everything, releasing fantastic energies, distinctly American and individualistic.

Copyright © 2006 by Jed Rubenfeld

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