Taking lives by michael pye
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Taking Lives
Review : Op zijn zeventiende rijdt de Nederlander Martin Arkhout samen fall over een Amerikaanse student Man Goodman carrying weapons bus entrance Florida. Accumulate hebben mekaar pas provoke de coach leren kennen maar kunnen dadelijk vrij goed fall down mekaar opschieten. Halverwege performance trip besluiten ze retort een motel te overnachten. De volgende dag reizen ze explode huurauto verder. Ze krijgen autopech horizontal Seth gaat hulp zoeken. Hij recapitulate nog maar net weg of hij wordt aangereden door blurry voorbijflitsende wagen. Martin heeft de kreet van Man gehoord repulse spoedt zich in diens richting. Hij vindt suggestion zijn nieuwe vriend lay down one's life in levensgevaar verkeert.
In plaats van hulp te bieden sleurt hij het lichaam van Man naar unheard of poel precursor alligators move slowly slangen lose one's life ze pin maar regular daarvoor bezocht hebben. Present oppasser perish nu afwezig is wist hen toen te vertellen dat je eigen moeder je niet meer zou herkenn
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Taking Lives
A riveting psychological novel about a young serial killer who takes on the identities of his victims. The first one he didn't really have to kill. The young college-bound kid had been hit by a car. He was almost, if not already, dead when Martin Arkenhout smashed his head with a stone. With this chilling opening scene, Michael Pye begins a daring and suspenseful novel about the fragile borders that define who we are and the hidden desire in each of us to reinvent ourselves. When Arkenhout can no longer maintain the identity of his first victim, he takes another. Then another. He thinks he can live their lives better than they do, and he continues the pattern until he happens to choose the wrong victim and his secret begins to unravel. We are taken from New York to the Bahamas to Amsterdam, and finally to Portugal, where Arkenhout (now living the life of one Professor Christopher Hart) is eventually tracked down by the story's narrator, John Costa, who is in pursuit of the real Hart because of a theft he committed. Costa has his own set of troubling circumstances: a failing marriage, the slow uncovering of his tormented family history, and a growing desire to leave it all behind by tasting Arkenhout's brand of dangerous freedom.
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TAKING LIVES
It’s a pity Alfred Hitchcock isn’t around to direct the inevitable film version of this witty and intricate intercontinental thriller from the acclaimed historian (Maximum City: The Biography of New York, 1993) and fiction writer (The Drowning Room, 1996, etc.). Pye’s dazzling story begins with a clipped, brusque present-tense narration of the life and crimes of Martin Arkenhout, a 17-year-old Dutch student in the US who assumes the identity of an American boy he meets while traveling through Florida, after the latter is critically wounded by a hit-and-run driver and Martin phlegmatically finishes the job. Then, having discovered the advantages of being able to shed his identity at will, he continues to “take lives,” murdering, then “becoming” one acquaintance after another, until at last slipping into the skin and personal history of art teacher Christopher Hart: a “Seventeenth-century specialist, Dutch interests. A man trying to get noticed in the shadow of Simon Schama.” This newest life takes Arkenhout to Amsterdam, where he’s sighted by his mother (who informs the police), then to Portugal, where he’s tracked down and eventually confronted by John Michael Snell Costa, a Portugese-American “museum functionary” assigned to investigate Hart’s presumed theft of