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  • Written by Joanne Dobson
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The Northbury Papers

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Written by Joanne DobsonAuthor Alerts:  Random House will alert you to new works by Joanne Dobson

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On Sale: July 28, 2010
Pages: 352 | ISBN: 978-0-307-76145-3
Published by : Bantam Bantam Dell
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Synopsis|Excerpt

Synopsis

Teaching American women's literature at New England's prestigious Enfield College has shown Karen Pelletier just how cutthroat the world of academe can be. But nothing in her tenure has prepared her for the perils to come, as this bastion of higher learning throws open its doors to a cleverly calculating killer.

A battered copy of Charlotte Brontë's Jane Eyre leads Professor Karen Pelletier to the long-forgotten novels of an obscure writer named Serena Northbury. When she decides to pen the author's biography, she sets off a raging controversy. Everyone, from her esteemed colleagues to her tyrannical department head, regards Northbury's nineteenth-century writings as trash. But when the intrepid researcher stumbles upon a treasure trove of Northbury's papers--including what looks very much like an unpublished novel--Karen knows she cannot quit, for what could be more thrilling?

Unfortunately, someone takes exception to Karen's penchant for digging up the past. Before long, she is the unlikely suspect in a homicide--and the target of an erudite killer who is poised to kill again.

Excerpt

The bookplate was ornate in the nineteenth-century manner, a rich  cream-colored rectangle with a wide border of morning glories and tangled  vines. In Gothic lettering it read Ex Libris Mrs. Serena Northbury.  I closed the book and turned it over to look at the title. Mrs.  Northbury's bookplate was affixed to the inside front cover of a  well-preserved, half-morocco-bound copy of Charlotte Brontë's Jane  Eyre.

"Wow," I said to Jill, "where'd you get this?"

Jill Greenberg slid her tray across the Faculty Dining Commons table,  pushed the unruly red hair back from her forehead, and sat down next to  me. "You know that antiquarian bookstore in Pittsfield, the one on North  Street?"

I nodded, fanning lightly through the pages in search of any possible  Northbury artifacts; you never know what you'll find preserved between the  pages of an old book.

"Well, I was browsing there with . . . well, I was browsing, and the  cover caught my eye. Then I saw Serena Northbury's bookplate and knew  you'd be interested. It's beautiful, isn't it?"

"Yeah, they really knew how to make books in those days." The title was  stamped in gold on the leather-bound spine of this one, and the dark blue  covers were spackled in green. "A lot of the time it didn't much matter  what was inside, but the book itself had to be a work of art." Finding no  treasures between the ragged-edged pages, I handed the volume to Jill.

She pushed it back toward me with both hands. "Keep it, Karen." She  picked up her ham and Swiss on rye and nibbled. "You're probably the only  person left in the entire universe who cares about Northbury."

"Jill, I can't take this." I wanted the book. It had been owned--been  touched, been read--by a nineteenth-century American novelist with  whom I was becoming increasingly fascinated. But I couldn't afford to  indulge myself in luxuries. On the scale of professional salaries, English  professors rank just slightly above church mice, and the average church  mouse isn't paying tuition for a daughter studying premed at Georgetown.  "This must have cost a fortune."

"Nah." Money was never an object with Jill. It had never had to be; she  was the daughter of a Park Avenue psychiatrist. A psychopharmacologist,  yet. The streets of the Upper East Side are paved almost entirely in  Prozac, and Papa had a great deal of money in his pocket. At the age of  twenty-five, Jill had no education debts, and no one but herself to lavish  her salary on. "It wasn't that much. The book dealer said the book wasn't  a first edition or a particularly valuable one, so basically he was just  charging for the binding."

"Well," I said. "If you're sure . . ." I turned the handsome volume  around and ran my forefinger over the gilt lettering of the title. "I'm a  little surprised to find that Northbury read Jane Eyre. Her own  novels are nothing like it. They're really quite--well--sentimental. But  they're so interesting. . . ."

"'Interesting,' my foot. Why don't you just admit you like trash?"

"It's not trash." I felt defensive; the grip Serena Northbury had on my  imagination wasn't easily explained by any of the usual literary or  feminist rationales. Northbury wasn't a great prose stylist, and she  certainly wasn't a flamboyant feminist rebel. Her forty best-selling  novels were conventional tales of young girls who face hardship and moral  danger, but through unassailable virtue and mind-boggling diligence win  out in the end.

I could relate to that; it sounded like my own life. Well . . . maybe not  unassailable virtue.

"I know she's no Brontë," I admitted, "but there's something quirky  in her stories. I don't know how to describe it, but I think I'm  addicted."

Jill laughed and took a second bite of her sandwich. "A Ph.D. in lit,  huh? A professor at Enfield, one of New England's most respected colleges?  Karen Pelletier, you ought to be ashamed of yourself!"

"Come on, Jill. You of all people should know popular literature is a  perfectly legitimate field of study." Jill is a sociologist, and literary  studies are becoming more like a branch of the social sciences every day.  "I'm simply reconstructing cultural conditions of literary reception."  Yeah. Right. I had read every one of Serena Northbury's books I could get  my hands on. Her popular novels enthralled me in the same way they must  have captivated her multitudes of nineteenth-century readers.

"Lighten up, Karen. Face it; you're reading garbage!" Jill was joking;  with a tattoo just above her left ankle and a gold ring where she didn't  talk about it, Jill was a pop culture nut.

I lightened up. "Yeah, Jill, you're right. I'm a lowbrow." I stroked the  copy of Jane Eyre as if it were still warm from Mrs. Northbury's  hand, and set it down next to my plate. "Thanks for this. I owe you."

Jill made a dismissive motion with a hand that wore a half dozen silver  rings and took another nibble of the sandwich. I picked up my mug of black  coffee--I needed a jump start before I went into the classroom--and  glanced at Jill over the rim.

My young colleague wasn't looking her best. I was used to the untamable  red hair and the funky clothes--today a short, sleeveless cotton shift in  a turquoise-and-lime flying-toasters print worn with black Converse  basketball sneakers and one dangling garnet earring--but the mouselike  appetite and the listless expression were something new. Jill Greenberg  usually had the appetite--and the brute energy--of an adolescent hockey  player.

"You okay, Jill?" I buttered my crusty whole-wheat roll and took a  bite.

"I'm fine." Her tone was abrupt. "I'm just a little tired is all." She  put the nibbled half sandwich back on her plate, aligned it with its  untouched mate, and pushed the plate away. "And the food here gets worse  every day."

The food in the Enfield College faculty dining room is okay. It's  more than okay. It's downright good. And most days Jill  proved that by putting away a full dinner entree at noon and then topping  it off with a sundae from the self-service ice-cream bar. For a college  professor--even for the child prodigy she was--Jill usually ate, well,  prodigiously. I narrowed my eyes at her. Something was definitely wrong.  Could Jill be having boyfriend trouble? As far as I knew, she hadn't been  seeing anyone lately. Come to think of it, though, with Jill, that in  itself was worth notice.

"Jill?" I ventured.

But she was gazing past me. "Karen, don't look now, but something weird  is going on over at the Round Table."

I immediately swiveled around and stared.

The large round table in the far corner of the Faculty Commons is  reserved for group luncheon meetings. On Thursdays, for instance, it's the  women's studies table; once or twice a month, black studies has dibs on  it. Today it was crowded with college administrators and department heads.  From where I sat I couldn't see everyone, but it would have been  impossible to miss Miles Jewell, English Department chair. Miles was  holding forth in a voice that had begun to rise beyond a decorous decibel  level. He was ignoring President Avery Mitchell's attempts to quiet him.  His round face was even more flushed than usual, and a cowlick of thick  white hair had flopped down boyishly over the ragged white eyebrows.  Halfway across the large dining room I could hear the outraged tones of  Miles's protest--something about insupportable assault on traditional  standards.

"Karen, don't gape."

Jill was right; I was gawking with prurient curiosity as my department  head made a public spectacle of himself. I turned back to my tablemate.  "That's a pretty high-powered bunch there, and they don't look like happy  campers."

"Sure don't. I wonder what's going on. Look--I mean, don't you  look, for God's sake; you're too obvious. I'll tell you what's  happening. Now Avery's got the floor. The voice of sweet reason, as usual.  God, he's a beautiful man. Those hands--like a concert pianist. Oh,  baby--he can play me anytime. Now Miles is sulking. You know how  pink his face is? Well, now it looks like a humongous strawberry.  Jeez, I hope he doesn't have a coronary. Sally Chenille is jabbering on  now, probably "interrogating the erotic subtext' of something or other."  Jill laughed. "You should see Sally's hair--no, Karen, don't turn around.  I'll tell you. Today, Professor Chenille's hair is a lovely Day-Glo  orange, a very, very nice visual contrast to Miles's  strawberry--no--raspberry complexion. Okay, now your pal Greg  Samoorian is talking--why do only bearded men seem to have that deep  authoritative voice? I can't hear exactly what he's saying, but it looks  like he's on Avery's side. At least Avery's nodding, and--"

"Okay, okay, I don't need a blow by blow. If Greg's involved, I know what  it's about. He told me Avery was getting together an exploratory committee  to investigate collegewide curriculum reform. As the new chair of  Anthropology, Greg's part of that. This is probably the planning  group."

Jill whistled softly between her teeth. "Whew, no wonder Miles is so  upset. The college might actually stop requiring his course in the  Literature of the Dark Ages."



"Yeah." I laughed, but it wasn't funny. In the current culture wars, the  English Department faculty was factionalized between the old-guard  professors who taught Literature (with a capital L) as high art, and the  avant-garde who taught almost anything that had ever appeared in  print--and had completely discredited the very idea of art. And now it  looked as if the contest for the hearts and minds of Enfield students was  about to draw blood. Miles Jewell was representative of the older  contingent, utterly conventional in his approach to literature: Chaucer,  Shakespeare, and Milton were his gods. Henry James deserved serious  consideration--maybe. Jane Austen--well, okay, she wrote nice little  stories. But beyond that, no woman had produced anything worth  consideration. And minority literature? A contradiction in  terms.

Since I'm in the opposing camp--I'd been hired to teach American women's  literature--I was at frequent odds with my department chair. As an  untenured professor, I could be made pretty uncomfortable at times. Miles,  and the other old boys, seemed to think that the department got more than  it bargained for when they hired me. My work on Emily Dickinson was  acceptable, of course; after all, the woman had somehow wormed her way  into the canon of American literature, that body of texts professors had  taught since time immemorial. But now, two years into my position at  Enfield College, I--young upstart that I was--was exposing my students to  all sorts of noncanonical stuff: slave narratives, sentimental  novels, working-class literature--the books people actually read in  the nineteenth century. Garbage. And now, God help me, I was also  thinking about writing the biography of an obscure woman novelist named  Serena Northbury. I hadn't told the department yet, but Miles would freak  out when--and if--I mentioned it in my annual faculty activity report.

I sighed and nudged my empty plate away. Time to get back to work. There  were papers to grade, classes to teach. And I needed to make time to write  a good long letter to my daughter. Even though Amanda had been away at  college for two years, I missed her. We talked on the phone all the time,  but letters were better: You got to slit the envelope, pull the missive  out, smooth it open--and read it over and over again.

Jill picked up her sandwich, examined it with a curl of her lip, dropped  it back on the plate. "I guess I'm not hungry. Are you finished?"

I slid the canvas strap of my book bag over my shoulder and picked up the  copy of Jane Eyre. "Yeah," I said. "But I actually ate something.  Are you sure you're okay?" Jill had the milk white skin of the  authentic redhead, but today she was paler than usual, and her mouth had  an uncharacteristic pinched look. She drained her water glass, then rose  from the chair.

"I'm fine. It's just that--Karen, watch out!"

But it was too late. As I moved from the table, intent on Jill's  response, Miles Jewell stormed away from the curriculum meeting and  barreled into me. He hit me broadside and, in a blind fury, kept on going.  I staggered, fell back, and caught my balance by grabbing hold of the  table. My book bag slipped from my shoulder, my arm jerked painfully, and  the old book in my hand plummeted to the floor.

Miles continued his retreat. As he exited the wide French doors of the  Commons, I stared after him in astonishment. Miles may be conservative,  even retrograde, but he was never rude. What could possibly have  been said at the Round Table to cause this gentleman of the old school to  forget his manners so shockingly?

"Karen." Avery Mitchell, Enfield's president, was at my side, his hand on  my elbow. His tone was solicitous. "Are you all right?"

I wasn't sure. I didn't know whether Miles had knocked the bejesus out of  me, or if my current inability to breathe was due to the close presence of  Avery Mitchell. Our distinguished president tends to have that effect on  me. Tall, lean, and elegant, Avery is the consummate American aristocrat,  the type of man my working-class origins had taught me to think of as  effete and dangerous. A member of the power elite. A parasite on society.  I get palpitations of the heart every time he comes within six feet of me,  but I doubt it has anything to do with my politics.

"I want to apologize for Miles," Avery continued. "He's extremely  upset."

"I could tell." I had worn my long hair loose today, for a change, and  now, pushing strands away from my face, I struggled to control my ragged  breathing. That was particularly difficult because Avery still had hold of  my arm.

"Yes, well . . . You know he would never behave like that if, ah, well .  . . under normal circumstances. Please don't take offense." Avery reached  for the copy of Jane Eyre sprawled open on the parquet floor. "You  dropped this." As he handed me the volume, something fell from between the  pages. He stooped again, retrieved a photograph, gave it a cursory glance,  and held it out to me. I took the picture by its corner without really  looking at it.

"I've got to get back." Avery waved his hand in the general direction of  the Round Table, smiled at me ruefully, then strolled over to reconvene  the disrupted meeting.

"Always the old smoothie, isn't he?" Jill was at my elbow. "God, that man  has all the moves." Without responding, I took the book bag she  held out to me. I had no intention of being sucked into any gossip about  our exalted president.

"What's that?" Jill asked, motioning toward the sepia photograph in my  hand. I glanced at it, suddenly curious. A picture of a baby, the old  photo must have been pushed deep into the center of the book, or I would  have come across it earlier when I'd rifled through the pages. The infant  was about six months old, propped against a plump pillow with intricate  lace edging, and dressed in smothering layers of white mid-Victorian  ruffles.

"Poor thing. She looks uncomfortable." I assumed the child was a girl--a  waterspout curl on the top of her head was tied with a white bow, and on a  chain around her neck she wore a heart-shaped locket of what looked like  gold filigree.

"Who do you think it is?" Jill asked. "One of Mrs. Northbury's kids?"

I turned the stiff photo over. On the back was written Carrie, August  1861.

"No," I said. "Serena Northbury had her children in the 1840's, when she  was in her early twenties. They were named Lavinia, Josephine, and  Hortense. There was no Carrie."

"A grandchild?"

"Too early. Her daughters weren't married yet. Must be the child of a  friend. Or maybe she just liked the picture, used it as a bookmark."

Jill took the photo from me. "This looks like a studio shot."

"Yeah," I said. "The table with the paisley cloth, the ornate book, the  vase of flowers: they're all photographic conventions. Cameras weren't  easily portable, then. This isn't a casual snapshot. Somebody really  wanted a picture of this baby."

"I don't blame them; she's a beautiful child," Jill said. "Those dark  eyes, the curls."

I retrieved the photo and looked at it more closely. "Huh. That's  interesting."

"What?" Jill seemed enthralled with this long-vanished baby.

"Look." I took the picture over to the window, where the light was  better. "Yes," I said, "Jill, I think this is a black child. What do you  think?"

She gazed intently at the sepia print. "It's hard to tell, the image is  so dim. She's light-skinned, but her features do have an African-American  look. I wouldn't be surprised; there were a great many biracial children  coming off those plantations."

"Yeah. Right." I shook my head sadly. The rape of slave women by their  masters was well documented by nineteenth-century slave narratives. "I  wonder what Serena Northbury was doing with a photograph of an  African-American baby?"

"Was she an abolitionist?"

"Well, yes--she seems to have been. But she was never outspoken in the  way that women like Harriet Beecher Stowe and Lydia Maria Child were. She  was--genteel, you might say."

"Sounds deadly. I'm surprised you're interested in her."

"Yeah, well . . . There's something there. . . ."

I shrugged, tucked the photograph back into the pages of Jane  Eyre, where it had reposed for at least a century, and slipped the  book into my big canvas bag for safekeeping.

Crossing the quad on my way back to the office, I sipped carefully at a  second cup of coffee and recalled the farcical scene with Miles Jewell.  Then I thought about the chaos certain to descend on the English  Department when we began to reassess our course offerings and curriculum  requirements. If Miles and I hadn't been at loggerheads before, we  certainly would be now.

It wasn't until I slipped my key into the lock of my office door that I  realized Jill had never told me what was bothering her.
Joanne Dobson

About Joanne Dobson

Joanne Dobson - The Northbury Papers
Joanne Dobson is the author of three previous Karen Pelletier mysteries — The Raven and the Nightingale, The Northbury Papers, and Quieter Than Sleep, which was nominated for an Agatha Award. An associate professor of English at Fordham University, she lives in Westchester County, New York.
Praise

Praise

"For a modern mystery of academic  proportions, you can't beat Joanne Dobson's series!"
--Mystery Lovers Bookshop News

"Amanda Cross, move over. There's a new literary mystery novelist in town."
--Great Neck Record

"Publish or perish has never had such personal meaning....Dobson has created an attractive heroine with the courage and wit to take on the toughest adversaries."
--The Dallas Morning News

"One of the Year's Best Mysteries!"
--Salon Magazine

Don't miss Joanne Dobson's Agatha Award-nominated Quieter Than Sleep, featuring Professor Karen Pelletier:

"A truly stunning academic mystery."
--Mystery Lovers Bookshop News

"A fine debut...a pleasure to read."
--The Boston Globe

and The Raven and the Nightingale: A Modern Mystery of Edgar Allan Poe, coming soon in hardcover from Doubleday.  Look for it at your favorite bookstore.

  • The Northbury Papers by Joanne Dobson
  • August 03, 1999
  • Fiction - Mystery & Detective
  • Bantam
  • $6.50
  • 9780553576610

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