Anatomy of Murder

327 Pages·2016·1.3 MB·English

by  Robertson Imogen

ALSO BY IMOGEN ROBERTSON
Instruments of Darkness
IMOGEN ROBERTSON
ANATOMY
of
MURDER
PAMELA DORMAN BOOKS
VIKING
VIKING
Published by the Penguin Group Penguin Group (USA) Inc., 375 Hudson Street, New York, New York
10014, U.S.A. • Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada
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Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa Penguin Books Ltd, Registered Offices: 80
Strand, London WC2R 0RL, England First American edition Published in 2012 by Viking Penguin, a
member of Penguin Group (USA) Inc.
Copyright © Imogen Robertson, 2010
All rights reserved
A Pamela Dorman Book / Viking Publisher’s Note
This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s
imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business
establishments, events, or locales is entirely coincidental.
LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA Robertson, Imogen, 1973–
Anatomy of murder / Imogen Robertson.
p. cm.
ISBN 978-1-10156022-8
1. Anatomists—Fiction. 2. London (England)—History—18th century—Fiction. I. Title.
PR6118.O2376A53 2011
823'.92—dc23 2011036291
Designed by Carla Bolte No part of this book may be reproduced, scanned, or distributed in any printed or
electronic form without permission. Please do not participate in or encourage piracy of copyrighted
materials in violation of the author’s rights. Purchase only authorized editions.
For Ned
Contents
PROLOGUE
PART I
1
2
3
4
5
6
7
PART II
1
2
3
4
5
PART III
1
2
3
4
5
6
7
8
9
PART IV
1
2
3
4
5
6
PART V
1
2
3
4
5
PART VI
1
2
3
4
5
6
7
8
PART VII
1
2
3
4
5
6
7
8
9
PART VIII
EPILOGUE
HISTORICAL NOTE
ACKNOWLEDGMENTS
hanks are due to a great many people. For particular help and advice I am
T
grateful to the composer Gwyn Pritchard, who first mentioned to me the use of
the castrati in eighteenth-century opera, and the implications of their position in
society; to Maya Magub, Sebastian Comberti, Alex Anderson-Hall and James
McOran-Campbell for speaking to me about the lives of professional musicians
and singers; to the countertenor Iestyn Davies for our discussions of the castrati
repertoire and history; to Gerald Stern for speaking to me about the possible and
plausible effects of brain injury; to Richard Woodman and the excellent staff of
the National Maritime Museum on matters naval; to the staff of the British
Library for their help with much other research and to Christine Woodman for a
particular moment of inspiration.
My friends and family have continued, very kindly, to provide the essential
patience, care and enthusiasm which makes writing possible; I’d also like to
thank Richard Foreman and the writers I have met through working with him
and David Headley at Goldsboro Books for their support, also my agent, Annette
Green, the team at Headline, and all at Pamela Dorman Books for their
enthusiasm, hard work and many kindnesses. Every day of writing this book I
have been cared for, indulged, supported and occasionally scolded by Ned. It
helped.
LONDON, 1871
Key Points of Interest
1 Residence of the Earl of Sussex
2 Residence of Lord Carmichael
3 Mr. Fitzraven’s rooms
4 Mrs. Spitter’s house
5 Adams’s Music Shop
6 Mr. Bywater’s rooms
7 His Majesty’s Theatre
8 The Admiralty Office
9 Mrs. Bligh’s room