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The Angel of Darkness Mass Market Paperback – May 27, 1998

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Product Details

  • Mass Market Paperback: 768 pages
  • Publisher: Ballantine Books; 1st Ballantine Books Ed edition (May 27, 1998)
  • Language: English
  • ISBN-10: 0345427637
  • ISBN-13: 978-0345427632
  • Product Dimensions: 4 x 1.2 x 6.9 inches
  • Shipping Weight: 10.4 ounces (View shipping rates and policies)
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (409 customer reviews)
  • Amazon Best Sellers Rank: #296,068 in Books (See Top 100 in Books)

Editorial Reviews

From Library Journal

Boyd Gaines skillfully delivers a wide range of voices and characterizations in narrating this potboiler (LJ 10/15/97), the sequel to Carr's The Alienist. The time is June 1897. The place is New York City. The story is narrated by 13-year-old, streetwise Stevie Taggart, who is a member of a team of detecting irregulars. The kidnapping of an 18-month-old child sets the story in motion. The ongoing investigation uncovers a sociopath named Libby Hatch, who is a suspect in the deaths of a frightening number of children, including her own. Using the relatively new fields of forensics and psychoanalysis, and calling on the assistance of some well-known "names" (Teddy Roosevelt, Franz Boaz, Cornelius Vanderbuilt), the team runs Libby Hatch to earth. But where is the child she recently abducted? The clever zigzags of this thriller finally answer this question. Well recommended.?Joanna Burkhardt, Univ. of Rhode Island Sch. of Continuing Education, Providence
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Kirkus Reviews

An absorbing if overlong sequel to Carr's popular 1994 thriller, The Alienist. As in that novel, the figures of ``alienist'' (i.e., psychologist) Dr. Laszlo Kreizler, investigative journalist John Schuyler Moore, and Kreizler's assistant Stevie ``Stevepipe'' Taggert (who tells the story) figure prominently in the investigation of a peculiarly dastardly crime. The year is 1897, and Carr's plot is initiated by the kidnapping of a Spanish diplomat's baby--then thickens, quite pleasurably, as suspicion falls on Elspeth Hunter, a malevolent nurse who is actually Libby Hatch, a malevolent gang moll and the suspected murderess of her own children. The pursuit, capture, and attempted conviction of Libby involve such notable historical figures as painter Albert Pinkham Ryder, women's-rights crusader Elizabeth Cady Stanton, Libby's defense attorney Clarence Darrow (who dominates a fascinating extended courtroom scene), and (back also from The Alienist) New York City Police Commissioner Theodore Roosevelt, who commandeers the US Navy to aid in the story's climactic pursuit. Carr overloads his tale with digressive comments on ever-worsening political relations between the US and Cuba (though one can argue such passages' relevance to the novel's initial mystery), and disastrously slows down the otherwise absorbing courtroom scenes by including needless detailed summaries of cases of child murder offered as precedents. But these are minor blemishes. Carr has learned to plot since The Alienist, and this novel usually moves at a satisfyingly rapid pace. The ambiance is convincingly thick and period-flavorful, the murderous details satisfyingly gruesome, and even the somewhat shaky central ethical question--whether ``a woman's murdering her own kids . . . could actually be looked at as her trying to gain control over her life and her world''--is quite convincingly presented. As for the nefarious Libby--presented, with perfect appropriateness, only as others see and hear her--she rivals Lydia Gwilt of Wilkie Collins's Armadale as the pluperfect villainess, and the centerpiece of an enormously entertaining and satisfying reading experience. (Author tour) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

The characters and dialogue are both interesting and well written.
John Howard
Caleb Carr brings late 19th century New York City using much research, so the reader can be confident that the details are true.
It did get a little tedious in some places and I skimmed a bit here and there.
judith hill

Most Helpful Customer Reviews

37 of 37 people found the following review helpful By Leonard Fleisig VINE VOICE on October 27, 1997
Format: Hardcover
Carr has done an excellent job. The story line and the characterizations were excellent.
To his credit, Carr manages to refer the reader to the protagonists' earlier adventure (see The Alienist) while at the same time providing enough information about the earlier adventure so that it stands alone. This serves both the reader familiar with the Alienist but who needs to have their recollections refreshed, and the first time Carr reader. (I am often frustrated and annoyed at authors who presume reader familiarity with their collected works.)
Carr also manages to portray early-day feminists and feminist theory in what I perceive to be an authentic fashion. In other words, I felt he accurately portrayed feminist thought in its incipient stages. Any so-called immaturity of thought on the parts of those characters seems, in historical context, appropriate.
My only complaint was the voice of the narrator, Stevie. The intonation, accent, and method of speaking may very well be accurate. However, I found it grating to see the obligatory "what" every few paragraphs. (E.G. The girl what had the burney.) I am both relieved and intrigued to hear that Carr plans to write additional Alienist volumes and put each one in a different voice. All in all, an excellent work.
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67 of 74 people found the following review helpful By Rissa on July 6, 1998
Format: Mass Market Paperback Verified Purchase
If you've already read "The Alienist" you can skip the first 100 pages of this book, it takes that long for Carr to settle into telling the story of Libby Hatch. Whereas "The Alienist" was told from the viewpoint of John Moore, a journalist for The New York Times, "The Angel of Darkness" is narrated by Stevie Taggart, one of the characters from that first book. Once the book actually gets going, however, it's first-rate, in particular the courtroom scenes with Clarence Darrow and the sections in which Stevie and Miss Howard (also from the first book) drive around upstate New York searching for information about the elusive Libby. Theodore Roosevelt makes a reappearance in this book as well although I thought his whole reason for getting involved in the case was a bit contrived. On the whole, however, it's a well-written and interesting book. Carr twice hints that the next book will be written from the perspective of the independent and energetic Sara Howard, which should be most interesting.
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22 of 23 people found the following review helpful By Patricia Beninato VINE VOICE on April 1, 2000
Format: Mass Market Paperback
"A sequel to 'The Alienist'? YES! " I actually shouted that out loud in a library when I was told about "The Angel of Darkness." Again, Caleb Carr paints an intricate portrait of Golden Age New York, and brings back all the great characters from "The Alienist," utilizing a unique twist in changing his narrator from society reporter John Moore to the street-smart Stevie Taggert, whose less-than-perfect grammar doesn't obscure his keen observations. Again, Carr utilizes real-life historical figures, most notably a young Clarence Darrow, to bring authenticity to the story of a female child-murderer and the investigation that brings her heinous crimes to light. So why only four stars? Those of you who have read Ann Rule's "Small Sacrifices" will see a lot of Diane Downs in murderer Libby Hatch--in fact, Carr cites Rule's book as an influence. Overall, though, a great sequel--can't wait for the next one!
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11 of 12 people found the following review helpful By A Customer on January 4, 2000
Format: Mass Market Paperback Verified Purchase
This book could have used an entire TEAM of brutal editors to chop it down and hone it into an effective, gripping story. But no, somehow this overlong book made it out to the public. The storyline simply collapses under the weight of too many words, too many pages. I nearly abandoned the book after 100 pages, but I'm glad I didn't, as the story started to roll along at that point like an engine with a faulty starter that you have to crank and crank before it fires.
The story is very interesting, as are the characters and their interactions with each other. Oftentimes, though, the characters are too one-dimensional and stereotypical.
The attention to period details was nearly flawless, although oriented towards a cynical 1990's audience. All those winking references to famous people from the 1890's were highly entertaining.
Like many of the other reviewers here, I was extremely annoyed at the narrator's irregular substitution of "what" in place of "that". See, there's dialogue writing that gives the reader a genuine sense of regional speech, like in Steinbeck's "Grapes of Wrath," and then there's lame attempts at "genuine" dialogue that bothers and slows down the reader. "Angel" falls solidly into the latter category.
The story moved along toward a fairly satisfying conclusion. There wasn't a lot of suspense involved. No, this was more of a long puzzle of a book, with a few anticipated surprises thrown in to keep you reading.
Ah well. Not a bad effort, overall. You could do worse. If Carr writes another one of these novels featuring the same cast, I hope he doesn't write it from Stevie's perspective and stops pandering to his audience. Like THAT will happen.
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7 of 7 people found the following review helpful By BookAddict44 on January 5, 2005
Format: Mass Market Paperback
It pains me to say anything derogatory about a Caleb Carr novel, as no one was more lavish in his praise of The Alienist than I was. First of all, while The Alienist was told by a journalist, this one is told by a former street urchin/hoodlum, Steve Taggart, nicknamed "Steve Pipe" for the weapon that saved him from being raped by a prison guard. It's a wonderfu idea to switch narrators, but it soon contradicts itself when Stevie says he's a simple man, so a simple way of telling things is the approache he'll take. Then he proceeds to write like Henry James channeling through Caleb Carr, using language and images that are far from simple. And the first several chapters are slow, over written, and the ending is a bit unsatisfying. All the said, there are still the marvelous Caleb Carr trademarks: the depth and breadth of New York society, complex plots, story twists and turns, and a feel that were are really there, walking down Broadway and riding through Gramercy Park and meeting another wonderful cast of characters. Like Robert Harris, whose brilliant Enigma was followed up by what I thought was a far inferior Pompeii, Mr. Carr has set his personal bar so high that matching himself is a great challenge. This book is long, detailed, will require some effort. But Caleb Carr's "B" game is better than many writer's "A" games, and when I finished, I would not have missed it. Just push yourself through the first few chapters and see if it hooks you like it did me and most of my reader friends.
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