In the discipline of forensic science an investigator looks at death abstractly, considers it to be merely an event that gives rise to a series of tasks. Good forensic cops view that event as if through the lens of history; the best see death as fiction, and the victim as someone who never existed at all.

Detachment is a necessary tool for crime scene work, just like latex gloves and alternative light sources.

As he sat in the red-and-gray Merits wheelchair in front of the window of his Central Park West town house, Lincoln Rhyme happened to be thinking of a recent death in just this way. Last week a man had been murdered downtown, a mugging gone wrong. Just after leaving his office in the city’s Department of Environmental Protection, mid-evening, he’d been pulled into a deserted construction site across the street. Rather than give up his wallet, he’d chosen to fight and, no match for the perp, he’d been stabbed to death.

The case, whose file sat in front of him now, was mundane, and the sparse evidence typical of such a murder: a cheap weapon, a serrated-edge kitchen knife, dotted with fingerprints not on file at IAFIS or anywhere else, indistinct footprints in the slush that had coated the ground that night, and no trace or trash or cigar-ette butts that weren’t day- or week-old trace or trash or cigarette butts. And therefore useless. To all appearances it was a random crime; there were no springboards to likely perps. The officers had interviewed the victim’s fellow employees in the public works department and talked to friends and family. There’d been no drug connections, no dicey business deals, no jealous lovers, no jealous spouses of lovers.

Given the paltry evidence, the case, Rhyme knew, would be solved only one way: Someone would carelessly boast about scoring a wallet near City Hall. And the boastee, collared for drugs or domestic abuse or petty larce, would cut a deal by giving up the boaster.

This crime, a mugging gone wrong, was death observed from a distance, to Lincoln Rhyme. Historical. Fictional.

View number one.

The second way to regard death is from the heart: when a human being with whom you have a true connection is no longer of this earth. And the other death on Rhyme’s mind on this blustery, grim day was affecting him as deeply as the mugging victim’s killing was not.

Rhyme wasn’t close to many people. This was not a function of his physical condition – he was a quadriplegic, largely paralyzed from the neck down. No, he’d never been a people person. He was a science person. A mind person.

Oh, there’d been a few friends he’d been close to, some relatives, lovers. His wife, now ex.

Thom, his aide.

Amelia Sachs, of course.