Michael Gruber – författare

Jane Doe was a promising anthropologist, an expert on shamanism. Now she''s nothing, a shadow living under an assumed identity in Miami with a little girl to protect. Everyone thinks she''s dead. Or so Jane hopes.

Then the killings start, a series of ritualistic murders that terrifies all of Miami. The investigator is Jimmy Paz, a Cuban-American police detective. There are witnesses, but they can recall almost nothing of the events, as though their memory has been erased -- as if a spell has been cast on each of them. Equally bizarre is the string of clues Paz uncovers: a divination charm, exotic drugs found in the bodies of the victims, a century-old report telling of a secret place in the heart of Africa.

These clues point Paz inexorably toward the fugitive, Jane Doe, and force Jane to realize that the darkness she has fled is hunting her down. By the time her path intersects with Jimmy Paz''s, the two will be thrust into a cataclysmic battle with an evil unimaginable to the Western mind.

Performed by Margaret Whitton.

Chaz Wilmot makes his living cranking out old-master parodies for ads and magazine covers. When he''s offered a job restoring a Venetian palace fresco, he is at first, skeptical—he immediately sees it is more a forgery than a restoration. But he is soon seduced by the challenge and throws himself into the work, doing the job brilliantly.

This feat attracts the attention of Werner Krebs, a shady art dealer who becomes Wilmot''s friend and patron. Wilmot is suddenly working with a fervor he hasn''t felt in years, but without warning, he finds himself reliving moments from his past—not as memories but as if they are happening all over again. Soon, he believes he can travel back to the 17th century where he lived as the Spanish artist Diego Rodriguez de Silva Velazquez. Wilmot begins to fantasize that as Velazquez, he has created a masterpiece and when the painting actually turns up, he doesn''t know if he painted it or if he imagined the whole thing.

Little by little, Wilmot enters a secret world of gangsters, greed and murder, with his mystery patron at the center of it all, either as the mastermind behind a plot to forge a painting worth hundred of millions, or as the man who will save Wilmot from obscurity and madness.

Miraculously inventive, this book cements Gruber''s reputation as one of the most imaginative and gifted writers of our time.

“Like settling down with a Gabriel Garcia Marquez novel—if it was rewritten by James M. Cain.”

—Denver Post

Michael Gruber’s Night of the Jaguar—like his earlier novels featuring Miami detective Jimmy Paz (Tropic of Night, Valley of Bones)—transforms the conventional thriller into something extraordinary, taking the crime novel to a place it has never gone before. Combining a grisly murder investigation with chilling supernatural elements and provocative thought, Night of the Jaguar is a bravura display of the originality and artistry that has won Gruber the title, “the Stephen King of crime fiction” while inspiring the Washington Post Book World to name the Jimmy Paz trilogy, “among the essential novels of recent years.”

Jane Doe lives in the shadows under an assumed name. A once-promising anthropologist and an expert on shamanism, everyone thinks she''s dead. Or so she hopes.

Jimmy Paz is a Cuban-American police detective. Straddling two cultures, he understands things others cannot.

When the killings start -- a series of ritualistic murders -- all of Miami is terrified. Especially Jane. She knows the dark truth that Jimmy must desperately search to uncover. As their lives slowly interconnect, Jane and Paz are soon caught in a cataclysmic battle between good and an evil as unimaginable as it is terrifying . . .

The startling reviews of Tropic of Night announced Michael Gruber as one of the most talented thriller writers to debut in many years. Now, with the much-anticipated publication of Valley of Bones, Gruber fulfills that genre-bending promise as perhaps no writer since Graham Greene, with a genuinely exhilarating thriller that simultaneously offers a profound, deeply provocative exploration of the nature of faith itself.

The setting is Miami. Rookie cop Tito Morales arrives at the Trianon Hotel to investigate a routine disturbance call -- and, to his shock and horror, watches as a wealthy oilman plunges ten stories and impales himself on a nearby fence. Soon Morales is joined by detective Jimmy Paz, famous throughout the city for solving -- or at least providing a plausible solution to -- the so-called Voodoo Murders that left Miami burning months earlier.

Together Paz and Morales enter the hotel and discover, in the dead man''s room, a most unusual suspect, an otherworldly woman by the name of Emmylou Dideroff. She emerges from a rapturous, prayerlike state and admits that she had a motive for killing the oilman. Ultimately, she says she wants to confess, and asks for a pen and several notebooks in which to convey the details of her confession.

What Emmylou writes is nothing like what Paz expects; he enlists psychologist Lorna Wise in an effort to make sense of things that go beyond Emmylou''s explanation of the murder: details of childhood abuse, of other crimes committed, of regular communion with saints -- and with the devil. Is she mentally disturbed or playacting in hopes of getting declared unfit for trial? Or does she really believe herself to be an instrument of God? And why is it that so many people -- including Paz''s biological father -- are suddenly interested in the contents of these notebooks and in preventing them from becoming public?

As Valley of Bones moves toward its startling and dramatic finale, Emmylou''s "confessions" lead Jimmy Paz, Lorna Wise, and Tito Morales down a series of unexpected and dangerous turns that puts them in the path of perhaps the most terrifying evil imaginable and forces each of them to confront questions about faith, love, and the possibility of the miraculous.