The ink is still wet on the contract, but Wren Fontaine is already running into trouble as she renovates Cadieux House, a modernist masterpiece on Long Island's exclusive Gold Coast.
The home's architect was the brilliant and eccentric Marius Cadieux, her father's mentor, and Ezra doesn't want Wren to change as much as a doorknob.
And the home itself comes with a dark past: In 1955, it was the site of the never-solved murder of its owner, Dennis Blaine. Cadieux himself was alleged to be having an affair with Dennis's wife, the stunningly beautiful Rebecca. It seems like yesterday's headlines, but then someone starts killing people with a connection to the house.
The home's new owner—bestselling novelist Bronwyn Merrick—may be using the house to launch a fictionalized account of the 1955 crime. But someone may not want to her to. Just how far will Bronwyn's armed bodyguard go to protect her?
As Wren untangles the threads, she finds they all lead back to the house. Rebecca apparently inspired the strange, yet alluring residence, and both the home and its mistress may have caused uncontrolled emotions that led to tragedy. Wren uses all her architectural skills to decipher the hidden message Cadieux cunningly wove into the home's design.
She must think back 20 years to when, as a little girl, she met Cadieux. Deeply impressed with Wren, he gave her a clue about the house—and his unusual friendship with Rebecca. With her girlfriend Hadley at her side, Wren eventually solves the mysteries of the home and the people who lived there, develops a grudging respect for modernist architecture—and learns something about the difference between love and obsession.
Book Details:
Genre: Cozy Mystery
Published by: Level Best Books
Publication Date: October 15, 2024
Number of Pages: 237
Series: The Historic Homes Mysteries, 3
Book Links Amazon | Barnes & Noble | Bookshop.org | Audible | Goodreads | Level Best Books
Read an excerpt:
From Chapter 1
Wren stood on the shore and stared, trying to sort out her feelings about the ineffable house in front of her. She was only vaguely aware that while she looked at the house, her companion looked at her.
"So, Ms. Architect—what say you?" Bronwyn finally asked. Wren saw her wry smile. She knew she'd have to answer, and Bronwyn would expect it to be clever.
"Architecture should speak of its time and place, but yearn for timelessness," Wren said.
"Is that an original observation?" asked Bronwyn.
Wren laughed. "You flatter me. It's the great modernist architect Frank Gehry. This house is very much of its time and place. Look at the white stucco walls, the glass and steel, the absolute cleanliness of lines. The geometric arrangement of the layers is mathematically perfect."
"Why do I sense a 'but' coming?" asked the woman, arching an eyebrow.
Wren knew there could be no softening the message. "I don't find it welcoming. There is something very self-aware about modernist homes. A look-at-me arrogance about them, as if they are doing you a favor of letting you inside." She paused, wondering if she had gone too far. "But maybe I'm being unfair. I haven't been inside it yet. And there's no doubt that it's stunning." She looked at Bronwyn, waiting for her reaction.
"Are you saying I may have made a mistake buying it?" asked Bronwyn. Wren heard the teasing in her voice.
"No. Nobody ever made a mistake buying a house that spoke to them." Yes, even if they spent $30 million for it. "If you are honest with yourself about what you want, you will be happy here. And if you are honest with me, I guarantee I can give you what you want with the renovation."
"Fair enough," said Bronwyn. "Was that Frank Gehry again?"
"No, that was entirely me."
"Ah. But as Gehry said, it should yearn for timeliness. Has this succeeded in that?"
"We'll need to give it another century."
Bronwyn nodded. "Maybe it's because I'm a writer. I become obsessed in making sure my books, the plots and subplots, are exciting. This house looks exciting. I was happy in my nice, simple co-op, and then my financial advisor told me I could do better. Much better. I fell in love with this right away. The more I walked through it, the more I liked it, the idea that I will be able to stay in it a long time, and keep finding something new about it."
"Then you absolutely did the right thing. Indeed, that is the very purpose of a house like this," said Wren. She mulled over her next statement. "When I was a girl, however, I wanted to live in a Victorian manor house, with a great hall with a huge hearth and handmade wooden furniture. I'd wear long dresses and be attended to by maids in starched uniforms." Did I just sound silly?
"That's very romantic," said Bronwyn, and Wren wondered if that was a criticism, a put-down for a flighty young girl. "But then again, I feel romantic about this, about men in classic tuxedos and women in Chanel dresses, with cigarettes and dry martinis and Dave Brubeck playing in the background. I guess we're both emotional that way, so despite our differences about favorite eras, I'm thinking hiring you is going to turn out to be a good decision as well."
Wren felt relief wash over her. She felt confident building houses but closing a deal—that involved people. She still didn’t trust her abilities when people were involved. Of course, there was still one more feature of the house they needed to discuss: The "tragedy." That's how the papers had described it.
But Wren wasn't going to bring it up first.
Bronwyn hugged her leather jacket. "It's a great view, but it's getting cold. Let's go inside."
Yes. Wren always looked over the outside first, but she was especially excited about seeing the interior. Until Bronwyn had bought it a few weeks ago, no one had been inside the house since the 1950s, except for the caretaker staff.
The house overwhelmed Wren despite herself. Oh yes, she thought, Marius Cadieux knew it would. He would be so amused. So very proud. No—smug. Even if it wasn't to her taste, there was no denying what Cadieux had achieved here: the soaring ceiling, the clever use of windows filling the house with light even on a dreary day, the unexpected curves and angles, the steel staircase, which also served as a sculpture. Wren just stared. There really was nothing to compare it to—a Cadieux house was always unique. She could see him standing over her, "Very nice, isn't it, little one? And of course, your client is overwhelmed by it, as she should be."
"I'm glad I bought a house that even knocks the socks off another architect," said Bronwyn, grinning.
"It certainly does," said Wren. "I've seen pictures, but they're not the same as really being inside it." Wren took in Bronwyn, with her attractive, angular face and the matching pixie haircut. Did the author indeed have a modernist personality, a match for this home, a connection with Cadieux? Indeed, did Bronwyn know how perfect she looked in her new house?
Wren walked among the rooms, taking note of the artful ways Cadieux had divided the house—very few true walls and doors, just a series of levels and passages, rectangular pillars clad in stone. Cadieux loved granite and marble, quartzite and sandstone, and merged them with oak and walnut, teak and lyptus. Wren saw Bronwyn marveling over it, even though she had already visited her new home several times. That was the thing about a Cadieux home, that Bronwyn had already realized: You could live there 40 years and marvel over it every day for the rest of your life.
"I'd like to see upstairs." Wren smiled. "But as you no doubt noticed, 'upstairs' is relative in a Cadieux house, with its intersecting layers. It just flows. That was a hallmark of Cadieux, but none I've seen are quite as…" She let her voice trail off.
"You can't find the word?" said Bronwyn.
"You're the writer—can you? Architectural journalists struggled to describe him. But here we go…'intriguing.' No other Cadieux house is as intriguing as this one. It may take me a while to figure it out."
"You mean, how it's put together?" asked Bronwyn.
"Oh no. That's easy. I meant what is its personality? Marius Cadieux stamped a personality on this house. It has a reason, and I will find out what that is. For now, we look at it: See the extraordinary flow of the house, the ways the rooms are separate and yet merge into each other, the way the light plays along the floors and walls. The materials blend into each other, and Cadieux is taught in every architecture school—as if you could teach this."
"It sounds like you studied him," said Bronwyn. "It sounds like you knew him. Did you?" She fixed her eyes on Wren, who gave that question some thought.
She didn't want to go there, not yet.
***
Excerpt from The Cadieux Murders by R.J. Koreto. Copyright 2024 by R.J. Koreto. Reproduced with permission from R.J. Koreto. All rights reserved.
Don't Miss The Previous Historic Homes Mysteries
Over the years, R.J. Koreto has been a magazine writer, website manager, textbook editor, novelist and merchant seaman. He was born and raised in New York City, graduated from Vassar College, and has wanted to be a writer since reading The Naked and the Dead.
In addition to his novels, he has published short stories in Ellery Queen’s Mystery Magazine, Alfred Hitchcock’s Mystery Magazine, the 2020 Bouchercon Anthology and Paranoia Blues: Crime Fiction Inspired by the Songs of Paul Simon.
His current series features Wren Fontaine, an architect who finds mysteries in the historic homes she renovates. He and his wife have two grown daughters, and they divide their time between Rockland County, N.Y., and Martha’s Vineyard, Mass.
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Thanks for the shout out!
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