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A Death in Vienna: A Max Liebermann Mystery Paperback – May 8, 2007


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Product Details

  • Series: Max Liebermann
  • Paperback: 480 pages
  • Publisher: Random House Trade Paperbacks; Reprint edition (May 8, 2007)
  • Language: English
  • ISBN-10: 0812977637
  • ISBN-13: 978-0812977639
  • Product Dimensions: 7.9 x 5.1 x 1.2 inches
  • Shipping Weight: 12 ounces (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (26 customer reviews)
  • Amazon Best Sellers Rank: #467,165 in Books (See Top 100 in Books)

Editorial Reviews

Review

“An engrossing portrait of a legendary period as well as a brain teaser of startling perplexity . . . In Tallis’s sure hands, the story evolves with grace and excitement. . . . A perfect combination of the hysterical past and the cooler–but probably more dangerous–present.”–Chicago Tribune

“[An] elegant historical mystery . . . stylishly presented and intelligently resolved.”¶
The New York Times Book Review

“[A Death in Vienna is] a winner for its smart and flavorsome fin-de-siècle portrait of the seat of the Austro-Hungarian empire, and for introducing Max Liebermann, a young physician who is feverish with the possibilities of the new science of psychoanalysis.” –The Washington Post

“Frank Tallis knows what he’s writing about in this excellent mystery. . . . His writing and feel for the period are top class.”¶
The Times (London)

Excerpt. © Reprinted by permission. All rights reserved.

Part One

The God of Storms

I
It was the day of the great storm. I remember it well because my
father—Mendel Liebermann—had suggested that we meet for
coffee at The Imperial. I had a strong suspicion that something
was on his mind. . . .

A roiling mass of black cloud had risen from behind the Opera
House like a volcanic eruption of sulphurous smoke and ash. Its dimensions
suggested impending doom—an epic catastrophe on the
scale of Pompeii. In the strange amber light, the surrounding buildings
had become jaundiced. Perched on the rooftops, the decorative
statuary—classical figures and triumphal eagles—seemed to have
been carved from brimstone. A fork of lightning flowed down the
mountain of cloud like a river of molten iron. The earth trembled and
the air stirred, yet still there was no rain. The coming storm seemed to
be saving itself—building its reserves of power in preparation for an
apocalyptic deluge.
The streetcar bell sounded, rousing Liebermann from his reverie
and dispersing a group of horse-drawn carriages on the lines.
As the streetcar rolled forward, Liebermann wondered why his father
had wanted to see him. It wasn’t that such a meeting was unusual;
they often met for coffee. Rather, it was something about the manner
in which the invitation had been issued. Mendel’s voice had been curiously
strained—reedy and equivocal. Moreover, his nonchalance
had been unconvincing, suggesting to Liebermann the concealment of
an ulterior—or perhaps even unconscious—motive. But what might
that be?
The streetcar slowed in the heavy traffic of the Karntner Ring, and
Liebermann jumped off before the vehicle had reached its stop. He
raised the collar of his astrakhan coat against the wind and hurried
toward his destination.
Even though lunch had already been served, The Imperial was
seething with activity. Waiters, with silver trays held high, were
dodging one another between crowded tables, and the air was filled
with animated conversation. At the back of the café, a pianist was
playing a Chopin mazurka. Liebermann wiped the condensation off
his spectacles with a handkerchief and hung his coat on the stand.
“Good afternoon, Herr Doctor.”
Liebermann recognized the voice and without turning replied,
“Good afternoon, Bruno. I trust you are well?”
“I am, sir. Very well indeed.”
When Liebermann turned, the waiter continued. “If you’d like to
come this way, sir. Your father is already here.”
Bruno beckoned, and guided Liebermann through the hectic
room. They arrived at a table near the back, where Mendel was concealed
behind the densely printed sheets of the Wiener Zeitung.
“Herr Liebermann?” said Bruno. Mendel folded his paper. He was
a thickset man with a substantial beard and bushy eyebrows. His expression
was somewhat severe—although softened by a liberal network
of laughter lines. The waiter added, “Your son.”
“Ahh, Maxim!” said the old man. “There you are!” He sounded a
little irritated, as though he had been kept waiting.
After a moment’s hesitation, Liebermann replied, “But I’m early,
Father.”
Mendel consulted his pocket watch.
“So you are. Well, sit down, sit down. Another pharisäer for me
and . . . Max?” He invited his son to order.
“A schwarzer, please, Bruno.”
The waiter executed a modest bow and was gone.
“So,” said Mendel. “How are you, my boy?”
“Very well, Father.”
“You’re looking a bit thinner than usual.”
“Am I?”
“Yes. Drawn.”
“I hadn’t noticed.”
“Are you eating properly?”
Liebermann laughed. “Very well, as it happens. And how are you,
Father?”
Mendel grimaced.
“Ach! Good days and bad days, you know how it is. I’m seeing that
specialist you recommended, Pintsch. And there is some improvement,
I suppose. But my back isn’t much better.”
“Oh, I’m sorry to hear that.”
Mendel dismissed his son’s remark with a wave of his hand.
“Do you want something to eat?” Mendel pushed the menu
across the table. “You look like you need it. I think I’ll have the topfenstrudel.
Liebermann studied the extensive cakelist: apfeltorte, cremeschnitte,
truffeltorte, apfelstrudel.
It ran on over several pages.
“Your mother sends her love,” said Mendel, “and would like to
know when she can expect to see you again.” His expression hovered
somewhere between sympathy and reprimand.
“I’m sorry, Father,” said Liebermann. “I’ve been very busy. Too
many patients . . . Tell mother I’ll try to see her next week. Friday, perhaps?”
“Then you must come to dinner.”
“Yes,” said Liebermann, suddenly feeling that he had already committed
himself more than he really wanted. “Yes. Thank you.” He
looked down at the menu again: dobostorte, guglhupf, linzertorte. The
Chopin mazurka ended on a loud minor chord, and a ripple of
applause passed through the café audience. Encouraged, the pianist
played a glittering arpeggio figure on the upper keys, under which he
introduced the melody of a popular waltz. A group of people seated
near the window began another round of appreciative clapping.
Bruno returned with the coffees and stood to attention with his
pencil and notepad.
“The topfenstrudel,” said Mendel.
“The rehrücken, please,” said Liebermann.
Mendel stirred the cream into his pharisäer—which came with a
tot of rum—and immediately started to talk about the family textile
business. This was not unusual. Indeed, it had become something of a
tradition. Profits had risen, and Mendel was thinking of expanding
the enterprise: another factory, or even a shop, perhaps. Now that
the meddling bureaucrats had lifted the ban on department stores, he
could see a future in retail—new opportunities. His old friend Blomberg
had already opened a successful department store and had suggested
that they might go into partnership. Throughout, Mendel’s
expression was eager and clearly mindful of his son’s reactions.
Liebermann understood why his father kept him so well informed.
Although he was proud of Liebermann’s academic achievements, he
still hoped that one day young Max would step into his shoes.
Mendel’s voice slowed when he noticed his son’s hand. The fingers
seemed to be following the pianist’s melody—treating the edge of the
table like a keyboard.
“Are you listening?” said Mendel.
“Yes. Of course I’m listening,” Liebermann replied. He had become
accustomed to such questioning and could no longer be caught
out, as was once the case. “You’re thinking of going into business with
Herr Blomberg.”
Liebermann assumed a characteristic position. His right hand—
shaped like a gun—pressed against his cheek, the index finger resting
gently against the right temple. It was a “listening” position favored by
many psychiatrists.
“So—what do you think? A good idea?” asked Mendel.
“Well, if the existing department store is profitable, that sounds
reasonable enough.”
“It’s a considerable investment.”
“I’m sure it is.”
The old man stroked his beard. “You don’t seem to be very keen on
the idea.”
“Father, does it matter what I think?”
Mendel sighed. “No. I suppose not.” His disappointment was palpable.
Liebermann looked away. He took no joy in disappointing his
father and now felt guilty. The old man’s motives were entirely
laudable, and Liebermann was perfectly aware that his comfortable
standard of living was sustained—at least in part—by Mendel’s exemplary
management of the family business. Yet he couldn’t ever
imagine himself running a factory or managing a department store.
The idea was ludicrous.
As these thoughts were passing through his mind, Liebermann noticed
the arrival of a gentleman in his middle years. On entering the
café, the man removed his hat and surveyed the scene. His hair was
combed to the side, creating a deep side parting, and his neatly
trimmed mustache and beard were almost entirely gray. He received a
warm welcome from the head waiter, who helped him to take his coat
off. He was immaculately dressed in pin-striped trousers, a widelapeled
jacket, and a “showy” vest. He must have made a quip, because
the head waiter suddenly began laughing. The man seemed in no
hurry to find a seat and stood by the door, listening intently to the
waiter, who now appeared—Liebermann thought—to have started
to tell a story.
Mendel saw that his son had become distracted.
“Know him, do you?”
Liebermann turned. “I’m sorry?”
“Dr. Freud,” said Mendel in a flat voice.
Liebermann was astonished that his father knew the man’s identity.
“Yes, I do know him. And it’s Professor Freud, actually.”
“Professor Freud, then,” said Mendel. “But he hasn’t been a professor
for very long, has he?”
“A few months,” said Liebermann, raising his eyebrows. “How did
you know that?”
“He comes to the lodge.”
“What lodge?”
Mendel scowled. “B’nai B’rith.”
“...

More About the Author

Dr. Frank Tallis is a consultant clinical psychologist at the Charter Nightingale Hospital in London. He has also written How to Stop Worrying (1990) and is a trustee of Obsessive Action, a charity which helps sufferers of Obsessive Compulsive Disorder and their families.

Customer Reviews

4.1 out of 5 stars
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And I look forward to reading the next few books in the series.
Irishgal
This novel has a good story line with some interesting historical background, and some engaging characters.
Armand F. Baker
If you enjoyed The Empty Mirror or are a mystery fan in general, I highly recommend A Death in Vienna.
Philip R. Heath

Most Helpful Customer Reviews

28 of 28 people found the following review helpful By Christine Zibas on August 4, 2007
Format: Paperback
This murder mystery is as charming as Vienna itself. Like the city's famed waltz, Frank Tallis moves his book, "A Death in Vienna," along at the perfect tempo. The year is 1902, and Vienna is at its height of social and scientific development. Tallis uses all the history and social background of the city to infuse his story and characters with a historical interest that at times makes the central murder almost secondary to the setting. Almost...for the twists and turns and inscrutable details of the murder are never too far from our minds, whether we are sitting with the characters in a Viennese cafe enjoying its famous coffees and pastries or sitting in a darkened room for a seance with the dead medium.

Ultimately, the story rests on not only this fantastic setting, but also all of the strong characters that Tallis has created here: the dead medium, Fraulein Lowenstein; the detective, Oskar Rheinhardt; the psychologist, Max Liebermann, follower of none other than Sigmund Freud, who makes his appearance here too, albeit briefly. This story captures the tug of war between criminology and psychology, between the paranormal and the scientific, between the old and the forces of change that have engulfed the city during this time frame. They are all played out through the mysterious circumstances of Lowenstein's death and the subsequent investigation by Rheinhardt, aided by his good friend Herr Doctor Liebermann.

The beautiful Lowenstein's prime suspects are her seance circle, an unusual group of people who reflect a wide range of personalities and quirks. Through Tallis's story, we see a complete society of Vienna, the triumphs of the new century and the social problems yet to be resolved.
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13 of 13 people found the following review helpful By P. Lozar on February 19, 2008
Format: Paperback
In general, I greatly enjoyed this book, both as a character study and as a portrait of a fascinating time and place. The author knows turn-of-the-(20th)-century Vienna well, both the social and political issues that people were dealing with and the nitty-gritty details of daily life, but he uses his knowledge to create a believable setting for the story rather than becoming pedantic. His understanding of the cross-currents in the nascent psychoanalytic movement gives the story depth. Dr. Max Liebermann is an intriguing character because he embodies many of the contradictions of that time and place: he's a rebel in his profession, and his artistic tastes run to the avant-garde; but he's also a member of a prosperous Jewish family and community to whom he's strongly loyal. The detective Rheinhardt is less complicated, but his friendship with Dr. Liebermann is based on a shared love of music as well as their fascination with the human mind, so it rang true to me. I felt that the mystery itself wasn't all that strong: any reader who's familiar with the genre could figure out the disappearing bullet and the locked room rather easily, although the author did a good job of dropping hints and red herrings to keep you guessing who done it. I quibbled with some of the psychoanalytic material, e.g., multiple personalities usually develop from a long history of abuse, not ... well, the way it happens here. And I concur with other readers that the author's use of short chapters became confusing -- I disagree that there are "too many characters," but the choppy narrative made it hard to remember what X was doing the last time we met him. All in all, however, it's a good story, well written, and I'm hooked enough now to read the next novel in the series.
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23 of 26 people found the following review helpful By Jane Q. Doe on December 10, 2007
Format: Paperback
This is a well-written and interesting mystery, but be aware that "Mortal Mischief" and "A Death in Vienna" are the same book! One is the British title, the other the title used in the States. Don't buy both.
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5 of 5 people found the following review helpful By Philip R. Heath TOP 500 REVIEWERVINE VOICE on November 1, 2009
Format: Paperback
A Death in Vienna is the first in a three part series by Frank Tallis set in earlier 20th century Vienna. This is the reader's first introduction to the protagonist pair of Inspector Oskar Reinhardt and Professor Maxim Liebermann, the latter being a disciple of Sigmund Freud. This first novel centers on the investigation of the mysterious death of a spiritual medium Frauline Lowenstein. The circumstances of the murder are such that many believe that the killing was supernatural at the hands of the ancient Egyptian god Seth. However the mortal suspects include the unusual circle of people who met regularly with Lowenstein.

This story is a little longer than your typical 300 pager so both the plot and characters are developed to a greater degree. The novel is very well paced, and Tallis uses a teaser approach at the end of some chapters such that the characters know more than the reader does. Sometimes I found that this made me want to continue reading (which I did), but it was also somewhat frustrating if I was at the end of my allotted reading time for a particular sitting. I guess that is the true mark of a good book! I was not able to figure out who perpetrated the crime or who until the characters did. However, I didn't find the resolution to be contrived either so Tallis did a great job of striking the balance between being obtuse and transparent.

Tallis also weaves in what seem to be unrelated threads throughout the novel yet they join together nicely. He also does a good job of bringing in historical bits to give the work a feeling of authenticity. In addition to Freud who makes a few actual appearances, Tallis mentions the master detective Hans Gross and the artist Gustov Klimt.
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