50 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of gender discrimination, antigay bias, sexual violence, rape, graphic violence, and cursing.
At 2:33 am on Friday, June 6, in Richmond, Virginia, medical examiner Dr. Kay Scarpetta gets a phone call from police detective Pete Marino. He informs her that Lori Petersen, a 30-year-old white woman, has been found dead in her home by her husband. This is the fourth woman murdered in the area in the past two months. Dr. Scarpetta calls her babysitter, Bertha, to look after her 10-year-old niece, Lucy, and heads to the crime scene.
When she arrives at the crime scene, reporters are already there, and they press her for answers. Scarpetta particularly resents the aggressive crime reporter Abby Turnbull. She does not respond to their questions.
Scarpetta enters the house. Marino, whom she feels instantly took a dislike to her when she began her job as medical examiner two years ago, is interviewing the victim’s husband, Matt Petersen, at the dining room table. Matt is visibly distraught. Marino believes the murderer entered through an unlocked bathroom window, but there are no footprints.
Marino shows Scarpetta the body. Lori Petersen is bound, strangled with a cord, and there is evidence of semen on her legs and back, the same as the other three murder victims. Scarpetta knows that the murderer is a nonsecreter, meaning they cannot get a blood type from his semen or sweat, but she hopes they can use new DNA technology to identify him.
Marino tells Scarpetta that Lori’s husband Matt had recently returned home from Charlottesville, where he is getting a doctorate in literature at the University of Virginia and participating in the student production of Hamlet as an actor. Scarpetta feels a connection to the victim, who was a female doctor like Scarpetta herself. Bill Boltz, the Commonwealth’s attorney, arrives on the scene, but he does not greet Scarpetta.
Scarpetta drives to the morgue. While she waits for Lori’s body to arrive, she calls Bertha to check on Lucy. She feels bad that she will not be able to take Lucy to Monticello that day as she had promised.
Once the body arrives, Scarpetta works with Neils Vander, the fingerprint technician, to gather fingerprints and other evidence. They use a special laser to identify trace evidence, like fibers. It is tedious, methodical work. They manage to find three latent fingerprints, made with a high concentration of reactive material. They also see some kind of material that glitters under the laser light. This material has been found on the other three victims, but they are not sure what the material is.
While taking a break, Scarpetta wonders why Marino seems to dislike her. She calls Marino and tells him to search the house for something that could leave the glittery residue. Marino tells her he thinks the husband committed the murder and that the residue could be from greasepaint used by actors. Scarpetta is skeptical, but she says she will compare Matt’s fingerprints to those on the body.
While working at her desk to write Lori’s autopsy report, Scarpetta is uneasy when she hears someone rattling the chains on the front door of the building, but the security guard tells her no one is there.
Scarpetta returns home. The babysitter, Bertha, tells her that she tried to hide the newspaper reporting on the murder from Lucy. Lucy is a prodigy who enjoys spending time on Scarpetta’s home computer and the internet. Scarpetta goes up to her home office to check on Lucy. She apologizes for not being able to take Lucy to Monticello.
Lucy replies defensively, saying she would rather spend the time on the computer. She says she reformatted Scarpetta’s hard drive to clear up space. Lucy has the newspaper with her; she asks Scarpetta about the murder. She grows frantic with worry that Scarpetta is going to die.
Scarpetta does her best to comfort Lucy and gives the girl a glass of red wine to calm her nerves. Scarpetta takes Lucy to bed. She tells Lucy that “some people would rather be bad […] it’s just an ugly, unfortunate part of life” (41), but she reassures Lucy that God will take care of them, even though she does not entirely believe it herself.
Later that night, Scarpetta gets a phone call, but no one speaks when she answers. She can only hear spooky music before she hangs up.
The next morning, Scarpetta checks in with Vander. She notes that Vander does not remember she prefers black coffee, just like her ex-husband Tony never remembered it, either. They talk about the press coverage of the case. Vander uses an FMP (fingerprint matching processor), one of the first automated fingerprint identification systems, to identify the fingerprints they found on Lori’s body. They are a match for Matt Petersen.
Scarpetta reflects that she is not surprised to find Matt’s fingerprints because people often reflexively touch a dead body to check for signs of life. However, the fact that his fingerprints were in the system suggests that he has had previous run-ins with law enforcement. Marino arrives, and she shares the news with him about the fingerprint match.
He has brought a “survival knife” owned by Matt, which was found in a drawer in the bedroom. Vander confirms that Matt’s fingerprints are on the knife. Marino feels confident that the material that fluoresced on Matt’s hands is the same material found on Lori and the other bodies, but Scarpetta is not sure. She tells Marino to bring in Matt’s stage makeup for testing.
Scarpetta and Marino review Matt’s doctoral dissertation draft on the lab computer. It is about Tennessee Williams, a Southern playwright known in part for his “controversial treatments of homosexuality and cannibalism” (50). Marino feels this interest confirms that Matt has a “pornographic imagination.” Scarpetta is unconvinced.
Marino plays the tape of his interview with Matt. On the tape, Matt tells Marino that he talked to his wife regularly. He reports that she had heard a noise in the backyard a week prior and had called the police, only for it to be discovered that it was cats. Matt tells Marino that he was struck by a strange maple syrup smell in the room when he found the body. He is unsure if he touched the body. He tells Marino that his knife was usually kept on the desk, and he does not know why it had been placed in the drawer. He denies any involvement in the crime.
Marino feels Matt was acting during the interview, because Matt is an actor. Scarpetta feels that Matt is simply an expressive person. She wonders if the murderer used the knife when he found it on the desk and then put it in the drawer to make the police think that Matt was the culprit. She does not feel a husband would commit such a violent, depraved crime against his wife. She thinks it was a stranger.
When Marino points out that no one else mentioned the maple syrup smell but Matt, Scarpetta retorts that Matt found his wife’s body very shortly after the murder, whereas the other victims were found the next day, meaning the smell could have dissipated before the bodies were found in the other cases. Marino storms off, muttering, “Goddam women…” (67).
Postmortem is a classic detective story with a unique focus on the technical aspects of forensic science. It is written entirely in first-person perspective from the point of view of the chief medical examiner, Dr. Kay Scarpetta. This structure provides insight into Scarpetta’s internal thoughts and feelings as she investigates the culprit of a series of violent murders of women. Scarpetta is outwardly a rigorous and scientific investigator. The text provides great detail about the technological aspects of her forensic analysis, as when she describes how she uses a laser to identify trace evidence on the body because “if light of a certain wavelength is impinged upon it, an atom can be stimulated to emit light in phase” (24). However, as the first-person perspective reveals, her professional rigor is sometimes at odds with her human, emotional reactions to unsettling events; she feels a creeping paranoia caused by hang-up phone calls and a sense of being isolated by her peers. This tension is key to her character development throughout the novel.
The competing aspects of Scarpetta’s personality are reflected in the tone and atmosphere of the work overall. Postmortem relies heavily on realism, meaning events and descriptions adhere closely to real-world events. This is reflected in, for example, the lengthy descriptions of Scarpetta’s technical analysis of evidence as described above. However, Postmortem is not strictly a realist work. In keeping with its setting of Richmond, Virginia, Postmortem also incorporates elements of the Southern Gothic and particularly Southern noir genres, a subset of Gothic fiction. Southern Gothic is a genre that relies on melodrama, or heightened emotional moments, and frightening or atmospheric elements of the setting to create pathos, or sympathy, for the main characters. As the name implies, Southern Gothic is particularly associated with the Southern United States. Well-known authors who write in this genre are Flannery O’Connor (Wise Blood), William Faulkner (As I Lay Dying), and Tennessee Williams (The Glass Menagerie), the last of whom is cited in Postmortem as the subject of Matt Petersen’s dissertation, indicating a connection to this genre in the work. The above-mentioned writers also often wrote crime dramas, as in William Faulkner’s famous Intruder in the Dust (1948). These Southern Gothic crime novels came to be loosely known as Southern noir, which combines a realistic focus on socioeconomic issues with the Southern Gothic use of setting to create mood, often with supernatural elements.
In Postmortem, this Southern noir aspect is introduced in the opening paragraphs:
It was raining in Richmond on Friday, June 6.
The relentless downpour, which began at dawn, beat the lilies to naked stalks, and blacktop and sidewalks were littered with leaves. There were small rivers in the streets, and newborn ponds on playing fields and lawns. I went to sleep to the sound of water drumming the slate roof, and was dreaming a terrible dream as night dissolved into the foggy first hours of Saturday morning.
I saw a white face beyond the rain-streaked glass, a face formless and inhuman like the faces of misshapen dolls made of nylon hose. My bedroom window was dark when suddenly the face was there, an evil intelligence looking in (5).
The opening line relies on a classic trope of crime literature, one that has become a cliché since its original use in the 1830 novel, Paul Clifford, by Edward Bulwer-Lytton: “It was a dark and stormy night…” This opening line emphasizes the dark and gloomy weather, creating a sense of foreboding. The lines that follow vividly describe the natural setting as a world where the flowers, lilies, are “beat […] to naked stalks” (3). This is another classic trope of the genre, in which the setting has a metaphorical, figurative meaning in addition to its literal one. Here, the lilies being beaten by the rain are representative of the women who have been beaten and killed by the murderer. In the final lines, Scarpetta dreams of the murderer, which proves to be a premonition of the call she is about to receive about another dead woman. As is typical of Southern noir, the incorporation of dreams and premonitions adds a supernatural element to the otherwise hard-boiled detective story.
These distinct and sometimes competing elements contribute to the overall pacing of the work. It opens in media res, or in the middle of the action: Three women have already been killed, and Scarpetta is being informed of a fourth. This early inciting incident creates suspense and intrigue. In later chapters, as Scarpetta begins to conduct her realistic technical investigation, the pace slows, reflecting her painstaking analysis. These slower moments are punctuated by Gothic spooky or supernatural “jump scares” that create tension, as when Scarpetta thinks she hears someone shaking the chains on the office’s front door, only to be told there is no one there.



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