violent-death

To kill was to be doomed. To kill was to die, yourself.

Snapping shut his mobile, Dalgliesh reflected that murder, a unique crime for which no reparation is ever possible, imposes it own compulsions as well as it's conventions. He doubted whether Macklefield [the murder victim's Will attorney] would have interrupted his country weekend for a less sensational crime. As a young officer he, too, had been touched, if unwillingly and temporarily, by the power of murder to attract even while it appalled and repelled. He had watched how people involved as innocent bystanders, provided they were unburdened by grief or suspicion, were engrossed by homicide, drawn inexorably to the place where the crime had occurred in fascinated disbelief. The crowd and the media who served them had not yet congregated outside the wrought-iron gates of the Manor. But they would come, and he doubted whether Chandler-Powell's [owner of the Manor where the murder was committed] private security team would be able to do more than inconvenience them.

Violent death erase[s] more than the semblance of life.

Then his fingers trembled on her ankle__ightened around her foot. His head shifted, turning toward her. With a growl, she crashed the poker down onto his head. His hand jerked. A gurgling noise arose, not from his throat but from his chest, from deep down, as if he were fighting for something. Struggling. His eyes shifted toward her. Joan raised the poker again. The gurgling stopped__ot abruptly but in a final, lingering, prolonged, exhalation of breath. His lungs gradually expelled every last atom of oxygen.