Random House: Bringing You the Best in Fiction, Nonfiction, and Children's Books
Authors
Books
Features
Newletters and Alerts

Buy now from Random House

  • Some Lie and Some Die
  • Written by Ruth Rendell
  • Format: Trade Paperback | ISBN: 9780375704901
  • Our Price: $14.00
  • Quantity:
See more online stores - Some Lie and Some Die

Buy now from Random House

  • Some Lie and Some Die
  • Written by Ruth Rendell
  • Format: eBook | ISBN: 9780307559852
  • Our Price: $9.99
  • Quantity:
See more online stores - Some Lie and Some Die

Some Lie and Some Die

    Select a Format:
  • Book
  • eBook

Written by Ruth RendellAuthor Alerts:  Random House will alert you to new works by Ruth Rendell

eBook

List Price: $9.99

eBook

On Sale: October 07, 2009
Pages: 192 | ISBN: 978-0-307-55985-2
Published by : Vintage Knopf
Some Lie and Some Die Cover

Bookmark,
Share & Shelve:

  • Add This - Some Lie and Some Die
  • Email this page - Some Lie and Some Die
  • Print this page - Some Lie and Some Die
ABOUT THE BOOK ABOUT THE BOOK
ABOUT THE AUTHOR ABOUT THE AUTHOR
PRAISE PRAISE
Synopsis|Excerpt

Synopsis

A mutilated body found at a rock festival.

In spite of dire predictions, the rock festival in Kingsmarkham seemed to be going off without a hitch, until the hideously disfigured body is discovered in a nearby quarry. And soon Wexford is investigating the links between a local girl gone bad and a charismatic singer who inspires an unwholesome devotion in his followers. Some Lie and Some Die is a devilishly absorbing novel, in which Wexford's deductive powers come up against the aloof arrogance of pop stardom.  

With her Inspector Wexford novels, Ruth Rendell, winner of the Mystery Writers of America Grand Master Award, has added layers of depth, realism and unease to the classic English mystery. For the canny, tireless, and unflappable policeman is an unblinking observer of human nature, whose study has taught him that under certain circumstances the most unlikely people are capable of the most appalling crimes.

Excerpt

1

'But why here? Why do they have to come here? There must be thousands of places all over this country where they could go without doing anyone any harm. The Highlands for instance. Dartmoor. I don't see why they have to come here.'

Detective Inspector Michael Burden had made these remarks, or remarks very much like them, every day for the past month. But this time his voice held a note which had not been there before, a note of bitter bewilderment. The prospect had been bad enough. The reality was now unreeling itself some thirty feet below him in Kingsmarkham High Street and he opened the window to get a better—or a more devastating—look.

'There must be thousands of them, all coming up from Station Road. And this is only a small percentage when you consider how many more will be using other means of transport. It's an invasion. God, there's a dirty-looking great big one coming now. You know what it reminds me of? That poem my Pat was doing at school. Something about a pied piper. If "pied" means what I think it does, that customer's pied all right. You should see his coat.'

The only other occupant of the room had so far made no reply to this tirade. He was a big, heavy man, the inspector's senior by two decades, being at that time of life when people hesitated to describe him as middle-aged and considered 'elderly' as the more apt epithet. His face had never been handsome. Age and a very nearly total loss of hair had not improved its pouchy outlines, but an expression that was not so much easy-going as tolerant of everything but intolerance, redeemed it and made it almost attractive. He was sitting at his rosewood desk, trying to compose a directive on crime prevention, and now, giving an impatient shake of his head, he threw down his pen.

'Anyone not in the know,' said Chief Inspector Wexford, 'would think you were talking about rats.' He pushed back his chair and got up. 'A plague of rats,' he said. 'Why can't you expand your mind a bit? They're only a bunch of kids come to enjoy themselves.'

'You'll tell a different tale when we get car-burning and shop-lifting and decent, citizens beaten up and—and Hell's Angels!

'Maybe. Wait till the time comes. Here, let me have a look.'

Burden shifted grudgingly from his point of vantage and allowed Wexford a few inches of window. It was early afternoon of a perfect summer's day, June the tenth. The High Street was busy as it always was on a Friday, cars pulling into and out of parking places, women pushing prams. Striped shop awnings were down to protect shoppers from an almost Mediterranean sun, and outside the Dragon workmen sat on benches drinking beer. But it was not these people who had attracted Burden's attention. They watched the influx as avidly as he and in some cases with as much hostility.

They were pouring across the road towards the bus stop by the Baptist church, a stream of boys and girls with packs on their backs and transistors swinging from their hands. Cars, which had pulled up at the zebra crossing to let them pass, hooted in protest, but they were as ineffectual as the waves of the Red Sea against the Children of Israel. On they came, not thousands perhaps, but a couple of hundred, laughing and jostling each other, singing. One of them, a boy in a tee-shirt printed with the face of Che Guevara, poked out his tongue at an angry motorist and raised two fingers.

Mostly they wore jeans. Not long since they had been at school—some still were—and they had protested hotly at the enforced wearing of uniforms. And yet now they had their own, voluntarily assumed, the uniform of denims and shirts, long hair and, in some cases, bare feet. But there were those among them making a total bid for freedom from conventional clothes, the girl in red bikini top and dirty ankle-length satin skirt, her companion sweating but happy in black leather. Towering above the rest walked the boy Burden had particularly singled out. He was a magnificent tall Negro whose hair was a burnished black bush and who had covered his bronze body from neck to ankles in a black and white pony-skin coat.

'And that's only the beginning, sir,' said Burden when he thought Wexford had had time enough to take it all in. 'They'll be coming all night and all tomorrow. Why are you looking like that? As if you'd—well, lost something?'

'I have. My youth. I'd like to be one of them. I'd like to be swinging along out there, off to the pop festival. Wouldn't you?'

'No, frankly, I wouldn't. I'm sure I never would have. Those young people are going to cause a lot of trouble, make a hell of a noise and ruin the weekend for a those unfortunate citizens who live on the Sundays estate. Heaven help them, that's all I can say.' Like most people who make that remark, Burden had a lot more to say and said it. 'My parents brought me up to be considerate of the feelings of others and I'm very glad they did. A trip to the local hop on a Saturday night, maybe, and a few drinks, but to take over God knows how many acres of parkland just to indulge my tastes at the expense of others! I wouldn't have wanted it. I'd have thought I hadn't achieved enough to deserve it.'

Wexford made the noise the Victorians wrote as 'Pshaw!' 'Just because you're so bloody virtuous it doesn't mean there aren't going to be any more cakes and ale. I suppose you'll stop that boy of yours going up there?'

'I've told him he can go to Sundays tomorrow evening for two hours just to hear this Zeno Vedast, but he's got to be in by eleven. I'm not having him camp there. He's only just fifteen. Zeno Vedast! That's not the name his godfathers and godmothers gave him at his baptism, you can bet your life. Jim Bloggs, more like. He comes from round here, they say. Thank God he didn't stay. I don't understand this craze for pop music. Why can't John play classical records?'

'Like his dad, eh? Sit at home getting a kick out of Mahler? Oh, come off it, Mike.'

Burden said sulkily, 'Well, I admit music's not my style. None of this is.'

'Your scene, Mike, your scene. Let's get the jargon right. We're pigs and fuzz as it is. We don't have to be square as well. Anyway, I'm sick of being an onlooker. Shall we get up there?'

'What, now? We'll have to be there tomorrow when the fighting and the burning starts.'

'I'm going now. You do as you like. Just one thing, Mike. Remember the words of another Puritan—"Bethink ye, bethink ye, in the bowels of Christ, that ye may be mistaken.'"


Where the Regency mansion now stands a house called Sundays has stood since the Norman Conquest. Why Sundays? No one knows. Probably the name has nothing to do with the Sabbath Day; probably—and this is the general belief—it derives from the name of the man who built the first house, Sir Geffroy Beauvoir de Saint Dieu.

Once the Sundays lands extended from Kingsmarkham to Forby and beyond, but gradually fields and woodlands were sold off, and now the house has only a small garden and a park of a few acres. In the eyes of the preservationists Sundays is irretrievably spoilt. Its tall cedars remain and its avenue of hornbeams, the overgrown quarry is still untouched, but the Italian garden is gone, Martin Silk, the present owner, grows mushrooms in the orangery, and the view is ruined by the newly built Sundays estate.

The Forby road skirts the park and bisects the estate. It is along here that the Forby bus runs four times a day, halting at the Sundays request stop which is outside the park gates. Wexford and Burden pulled in to a lay-by and watched the first of the young pilgrims tumble out of the two-thirty bus and hump their baggage over to the gates. These were open and on the lodge steps stood Martin Silk with half a dozen helpers ready to examine tickets. Wexford got out of the car and read the poster which was pasted over one of the gates: The Sundays Scene, June 11th and 12th, Zeno Vedast, Betti Ho, The Verb To Be, Greatheart, The Acid, Emmanuel Ellerman. As the busload went through and passed into the hornbeam avenue, he went up to Silk.

'Everything O.K., Mr Silk?'

Silk was a small man in late middle age with shoulder-length grey hair and the figure—at any rate, until you looked closely or saw him walk—of a boy of twenty. He was rich, eccentric, one of those people who cannot bear to relinquish their youth. 'Of course it's O.K.,' Silk said abruptly. He had no time for his own contemporaries. 'Everything will be fine if we're left alone.'

He stepped aside, turning on a big smile, to take tickets from half a dozen boys whose slogan-painted Dormobile, pink, orange and purple, had come to a stop by the lodge.

'Welcome, friends, to Sundays. Pitch your tents where you like. First come, first served. You can park the truck up by the house.'

Burden, who had joined them, watched the Dormobile career rather wildly up the avenue, music braying from its open windows.

'I hope you know what you're doing,' he said dourly. 'Beats me why you want to do it.'

'I want to do it, Inspector, because I love young people. I love their music. They've been hounded out of the Isle of Wight. No one wants them. I do. This festival is going to cost thousands and a good deal of it will come out of my pocket. I've had to sell another bit of land to raise money and people can say what they like about that.'

Burden said hotly, 'The preservationists will have plenty to say, Mr Silk. The older residents don't want all this new building. Planning permission can be rescinded, you know.'

Seeing Silk's face grow red with anger, Wexford intervened.

'We all hope the festival's going to be a success. I know I do. I'm told Betti Ho's arriving in her own helicopter tomorrow afternoon. Is that a fact?' When Silk, somewhat appeased, nodded, he went on: 'We want to keep the Hell's Angels out and try to keep trouble down to a minimum. Above all, we don't want violence, bikes set on fire and so on, the kind of thing they had at Weeley. I want to address the crowd before the concert starts, so maybe you'll allow me the use of your platform tomorrow evening. Shall we say six?'

'I don't mind as long as you don't antagonise people.' Silk greeted a group of girls, beaming on them, complimenting them on their ankle-length, vaguely Victorian gowns, approving the guitars which they wore slung from their shoulders. They giggled. At him, rather than with him, Wexford thought privately, but the encounter had the effect of putting Silk in a better temper. When the girls had wandered off into the park he said quite graciously to the policemen, 'D'you want to have a look round?'

'If you please,' said Wexford.


The encampment was to be sited on the left-hand side of the avenue where, under the limes and the cedars, a small herd of Friesians usually grazed. The cattle had been removed to pasture behind the house and the first of the tents were already up. In the midst of the park a stage had been erected, faced by arc-lamps. Wexford, who generally deplored armoured fences, was glad that Sundays park was enclosed by a spiked wall to keep what Burden called 'undesirable elements' out. At only one point was the wall broken and this was at the side of the quarry, a deep semicircular fissure in the chalk at the Forby end. The two policemen walked up to the house, stood on the terrace and surveyed the scene.

A mobile shop selling soft drinks, crisps and chocolate had already been parked in the avenue, and a queue of hungry youth had formed alongside it. The stronger-minded were staking claims to desirable sites and banging in tent pegs. Through the gates came a thin but steady stream of new arrivals, on foot, in cars and on motor-cycles. Wexford jerked his head in the direction of the quarry and walked down the steps.

The lucky ones—those who had taken a day off work or missed a college lecture—had got there in the morning and established their camps. A boy in a Moroccan burnous was frying sausages over a calor-gas burner while his friends sat cross-legged beside him, entertaining him vocally and on a guitar. The Kingsbrook flows through Sundays park, dipping under the Forby road and meandering between willows and alders close to the wall. It had already become a bathing place. Several campers were splashing about in the water, the girls in bras and panties, the boys in the black scants that serve as underpants or swimming trunks. Crossing the little wooden bridge, Burden looked the other way. He kept his eyes so determinedly averted that he almost fell over a couple who lay embraced in the long grass. Wexford laughed.

'"And thou,"' he said, '"what needest with thy tribe's black tents who hast the red pavilion of my heart?" There's going to be a lot of that going on, Mike, so you'd best get used to it. Letts'll have to put a couple of men on that quarry if we don't want gate-crashers.'

'I don't know,' said Burden. 'You couldn't get a motorbike in that way.' He added viciously: 'Personally, I couldn't care less who gets in free to Silk's bloody festival as long as they don't make trouble.'

On the Sundays side the chalk slope fell away unwalled; on the other it was rather feebly protected by broken chestnut paling and barbed wire. Beyond the paling, beyond a narrow strip of grass, the gardens of three houses in The Pathway were visible. Each had a tall new fence with its own gate. Wexford looked down into the quarry. It was about twenty feet deep, its sides overgrown with brambles and honeysuckle and wild roses. The roses were in full bloom, thousands of flat shell-pink blossoms showing against the dark shrubby growth and the golden blaze of gorse. Here and there rose the slim silver trunks of birches. In the quarry depths was a little natural lawn of turf scattered with harebells. One of the flowers seemed to spiral up into the air, and then Wexford saw it was not a flower at all but a butterfly, a Chalkhill Blue, harebell-coloured, azure-winged.

'Pity they had to build those houses. It rather spoils things, doesn't it?'

Burden nodded. 'These days,' he said, 'I sometimes think you have to go about with your eyes half-closed or a permanent crick in your neck.'

'It'll still be lovely at night, though, espcially if there's a moon. I'm looking forward to hearing Betti Ho. She sings those anti-pollution ballads, and if there's anything we do agree on, Mike, it's stopping pollution. You'll like Miss Ho. I must admit I want to hear this Vedast bloke do his stuff, too.'

'I get enough of him at home,' said Burden gloomily. 'John has his sickly love stuff churning out night and day.'

They turned back and walked under the willows. A boy in the river splashed Wexford, wetting his trouser legs, and Burden shouted angrily at him, but Wexford only laughed.
Ruth Rendell|Author Desktop

About Ruth Rendell

Ruth Rendell - Some Lie and Some Die

Photo © Jerry Bauer

Ruth Rendell is the author of Road Rage, The Keys to the Street, Bloodlines, Simisola, and The Crocodile Bird. She is the winner of the Mystery Writers of America Grand Master Award. She is also the recipient of three Edgars from the Mystery Writers of America and four Gold Daggers from Great Britain’s Crime Writers Association. In 1997, she was named a life peer in the House of Lords. Ruth Rendell also writes mysteries under the name of Barbara Vine, of which A Dark Adapted Eye is the most famous. She lives in England.

Author Q&A

Val McDermid on INSPECTOR WEXFORD

Back in the 1970s, I was a trainee hack down in Devon and an avid consumer of crime fiction. I can still remember the jolt of reading Detective Inspector Reg Wexford’s beginnings in From Doon With Death (published in 1964) and being bowled over. It’s one of a handful of crime novels that shaped my own ambitions in the field. The classic Rendell hallmarks were all there right from the beginning—the sense of place, the delicate filleting of the characters’ psyches, the avoidance of the prosaic both in character and in motivation.

Since that first novel, Ruth Rendell has also demonstrated a keen fascination with the collision between society and the individual, particularly where circumstances drive the individual to behaviour that society regards as somehow abnormal. Stable structures have only limited interest; what is gripping is where things start to fall apart, and that is the area where Ruth Rendell excels. Never content with mere description, she illuminates the human condition in a style that is invariably clear and compelling.

Although she started with that most classic of English forms, the police procedural, she transformed it both with her psychological insights and her concern with society. She never descends to polemic, yet the picture she has painted of British society since the mid-Sixties is often far from neutral. It is clear that many things she sees make Ruth Rendell angry or despair, but her responses are always tempered through the filter of her characters; she always shows, never tells. So with Road Rage [a Wexford mystery], the complex issues around the environmental impact of development are explored and confronted, sometimes with a very human ambivalence. I think I know what Ruth Rendell herself believes, but only by my own interpretation of her characters. And I could well be wrong; she has the skill to confound us all.

Her commitment to politics and the creation of a better and more equal society was recognised with her elevation to the House of Lords where she sits as a working peer with the title Baroness Rendell of Babergh. It’s the latest honour in a crown that includes a clutch of daggers (four gold, one silver and the diamond) and the Mystery Writers of America Grandmaster Award.

Few writers can maintain interest in series characters as Ruth Rendell has done with the Wexford novels. Although by her own admission they are no longer her favourite element of her work, the sequence of seventeen novels demonstrates her fascination with psychology and allows her to show over a period of time the effects of events and the attrition of age on her central group of characters. Even this far into a series, she still manages to provide us with fresh insights into Reg Wexford’s personality as he struggles to balance his responsibility for a major investigation with a personal drama that threatens the very foundation of his life.

Perhaps one of the key reasons for the sustained quality of the Wexford novels is Ruth Rendell’s habit of variety. From the very beginning of her career, she made it plain that she would not be pigeonholed into writing one kind of novel only. Rather than follow her first Wexford directly with a second, To Fear A Painted Devil is a non-series novel with its roots in the classic English mystery. However, it blooms into something very different under Rendell’s care, giving us the first real hint of her skills as an anatomist of the human psyche.

As if it wasn’t enough to write a successful series regularly interspersed with non-series novels, in 1986, Ruth Rendell reinvented herself as Barbara Vine, with A Dark-Adapted Eye launching her in a new direction. These novels of psychological suspense have the recurring theme of the long shadows cast by the past. In the Vine novels, the sense of place is even stronger than in the Rendell’s, sometimes assuming as much importance as the characters themselves.

This variety of outlets for her talent means Ruth Rendell reduces the likelihood of becoming bored with her Kingsmarkham characters, bringing fresh interest to each Wexford chronicle. It also means she is never frustrated by the very real constraints that series writing imposes. When her imagination presents her with a story that clearly can’t be forced into the Wexford mould, she already has the means at hand to maximise its potential in another form.

This has allowed her to grow and develop as a writer in order to meet the fresh challenges she sets herself. Patricia Highsmith is often cited as the mother of the psychological suspense novel. But for my money, Ruth Rendell’s influence has been far greater. Highsmith’s novels are quintessentially European, whereas Ruth Rendell has created a sub-genre that speaks more resonantly to Brits and Americans. As usual, she has paved the way for a bandwagonload of followers.

Ruth Rendell is, I believe, unique among British crime writers. No-one can equal her range or her accomplishment; no-one has earned more respect from her fellow practitioners. The broad church that is current British crime writing owes much to a writer who has over her thirty-four year career consistently demonstrated that the genre can continually reinvent itself, moving in new directions, assuming new concerns and exploring new ways of telling stories. As if that wasn’t enough, stories of her kindness towards and support of other writers are legion.

As writers, we’re lucky to have her to inspire us. As readers, we’re even luckier to have her books.

–Val McDermid, author of A Place of Execution

Praise

Praise

"Ruth Rendell is . . . a phenomenon. "
--The New York Times Book Review

"No one can take you so totally into the recesses of the human mind as does Ruth Rendell."
--The Christian Science Monitor

"Undoubtedly one of the best writers of English mysteries and chiller-killer plots."
--Los Angeles Times

Your E-Mail Address
send me a copy

Recipient's E-Mail Address
(multiple addresses may be separated by commas)

A personal message: