City of Masks

January 6, 2003
Hecht (Skull Session; The Babel Effect; etc.) introduces empathic investigator ("ghost buster" to the layman) Cree Black in a haunted house tale set—where else?—in a storied New Orleans mansion. Cree, an investigator of paranormal phenomena with a slick Seattle office, is retained by the vaguely sleazy Ronald Beauforte, the last scion of a decaying New Orleans family. His sister, Lila, is losing her mind, and she insists it is because her family's ancestral mansion is haunted. Cree is summoned South to see if she can use her empathic talents to suss out the ghosts and prevent Lila's disintegration. Cree is still nursing years-old grief over the death of her husband, even talking with him in her mind; this accounts for her sensitive psychic antennae, and also explains why she's loath to acknowledge the unsubtle romantic attentions of her business partner, Edgar. Since Edgar is tied up with another case, Cree has to fly solo to bayou country, facing down the Machiavellian Beauforte family matriarch, local hoodoo practitioners, and even a menacing hired gun with the sobriquet "Loup Garou." Hecht explains aspects of modern-day ghost hunting and offers a Faustian red herring in the form of a handsome young psychiatrist. Yet while he paints a rich, compelling picture of the world of paranormal research, the plot holds few surprises, and the characters' psychology and motives tend to be overexplained. Hecht's previous thrillers have been impressively sophisticated, but this predictable—though atmospheric—effort may cause readers to think they, too, have supernatural powers: they know how the book will end well before they've finished it. Author tour.

January 5, 2004
Hecht's New Age ghost story introduces Cree Black, a psychologist of renown transformed years ago into a hyper-empathic ghostbuster by a spectral visit from her beloved husband. Lured from her upscale Seattle offices to a spirit-infested mansion in the heart of decadent New Orleans, she immediately identifies with the haunted socialite Lila Beauforte. This allows reader Fields to showcase her skills, as Cree's somewhat brusque, unaccented speech subtly shifts into a quavering southern drawl. The actress also uses an impressive variety of bayou accents to distinguish the other New Orleanians—from the good ol' boy gruffness of Lila's worried husband to the cultured, iron magnolia locutions of her aristocratic mother. The novel has its share of spooky suspense—courtesy of anthropomorphic furniture, disappearing snakes and a pig-faced man-ghost with rape on its mind—and is filled with enough scientific rationale to make these sinister shades seem surprisingly credible. But the source of the ghosts isn't difficult to discern, and the many repeat analyses of the case elements will lead restless listeners to agree with Cree's assistant Joyce Wu when she complains (in Fields's amusingly on-target Long Island accent), "The metaphysics he-ah are a complete no-brain-ah, and I'm sick 'a goin' over it and over it." Based on the Bloomsbury hardcover (Forecasts, Jan. 6).