First of all, I am very hopeful that this is the first of a new series that will view Patricia Cornwall and Kathy Reichs some competition! This book was a fascinating foray into the world of forensic science, with a lot of gritty and realistic details. For example, the main character is a medical examiner named Dr. Jessie Teska. After doing a particularly odious autopsy, she desperately needs a shower and can’t get one, so her odorous self is described in explicit and yucky detail. In fact, there are graphic descriptions throughout the book, so for that reason, it will not be for everyone. I would categorize the book as a thriller/mystery/suspense. Jessie is faced with the challenge of following the clues wherever they follow and ends up being blocked by the police, big tech and her own boss. Her determination and grit made me cheer her on and encouraged me to read faster. This was a quick-paced book with some really unexpected twists as well as a surprise ending. I really encourage fans of forensic science mysteries to read this book, and I applaud the tremendously entertaining plot with the quirky and humorous new medical examiner.
Disclosure of Material Connection: I received a complimentary copy of this book from the publisher via Netgalley. I was not required to write a positive review. The opinions expressed are my own. I am disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255, “Guides Concerning the Use of Testimonials and Endorsements in Advertising.”
Note to my readers: This is a very graphic novel with explicit and gory details included about autopsies.
Author: Judy Melinek & T.J. Mitchell ISBN: 9781335008305
Publication Date: January 7, 2020 Publisher: Hanover Square Press
Judy Melinek was an assistant medical examiner in San Francisco for nine years, and today works as a forensic pathologist in Oakland and as CEO of PathologyExpert Inc. She and T.J. Mitchell met as undergraduates at Harvard, after which she studied medicine and practiced pathology at UCLA. Her training in forensics at the New York City Office of Chief Medical Examiner is the subject of their first book, the memoir Working Stiff: Two Years, 262 Bodies, and the Making of a Medical Examiner.
T.J. Mitchell is a writer with an English degree from Harvard, and worked in the film industry before becoming a full-time stay-at-home dad. He is the New York Times bestselling co-author of Working Stiff: Two Years, 262 Bodies, and the Making of a Medical Examiner with his wife, Judy Melinek.
Wife and husband duo Dr. Judy Melinek and T.J. Mitchell first enthralled the book world with their runaway bestselling memoir Working Stiff—a fearless account of a young forensic pathologist’s “rookie season” as a NYC medical examiner. This winter, Dr. Melinek, now a prominent forensic pathologist in the Bay Area, once again joins forces with writer T.J. Mitchell to take their first stab at fiction.
The result: FIRST CUT (Hanover Square Press; Hardcover; January 7, 2020; $26.99)—a gritty and compelling crime debut about a hard-nosed San Francisco medical examiner who uncovers a dangerous conspiracy connecting the seedy underbelly of the city’s nefarious opioid traffickers and its ever-shifting terrain of tech startups.
Dr. Jessie Teska has made a chilling discovery. A suspected overdose case contains hints of something more sinister: a drug lord’s attempt at a murderous cover up. As more bodies land on her autopsy table, Jessie uncovers a constellation of deaths that point to an elaborate network of powerful criminals—on both sides of the law—that will do anything to keep things buried. But autopsy means “see for yourself,” and Jessie Teska won’t stop until she’s seen it all—even if it means the next corpse on the slab could be her own.
FIRST CUT / Melinek & Mitchell
FIRST CUT / Melinek & Mitchell
Los Angeles May
The dead woman on my table had pale blue eyes, long lashes, no mascara. She wore a thin rim of black liner on her lower lids but none on the upper. I inserted the twelve gauge needle just far enough that I could see its beveled tip through the pupil, then pulled the syringe plunger to aspirate a sample of vitreous fluid. That was the first intrusion I made on her corpse during Mary Catherine Walsh’s perfectly ordinary autopsy.
The external examination had been unremarkable. The decedent appeared to be in her midthirties, blond hair with dun roots, five foot four, 144 pounds. After checking her over and noting identifying marks (monochromatic professional tattoo of a Celtic knot on lower left flank, appendectomy scar on abdomen, well-healed stellate scar on right knee), I picked up a scalpel and sliced from each shoulder to the breastbone, and then all the way down her belly. I peeled back the layers of skin and fat on her torso—an ordinary amount, maybe a little on the chubby side—and opened the woman’s chest like a book.
I had made similar Y-incisions on 256 other bodies during my ten months as a forensic pathologist at the Los Angeles County Medical Examiner-Coroner’s Office, and this one was easy. No sign of trauma. Normal liver. Healthy lungs. There was nothing wrong with her heart. The only significant finding was the white, granular material of the gastric contents. In her stomach was a mass of semidigested pills.
When I opened her uterus, I found she’d been pregnant. I measured the fetus’s foot length and estimated its age at twelve weeks. The fetus appeared to have been viable. It was too young to determine sex.
I deposited the organs one by one at the end of the stainless-steel table. I had just cut into her scalp to start on the skull when Matt, the forensic investigator who had collected the body the day before, came in.
“Clean scene,” he reported, depositing the paperwork on my station. “Suicide.”
I asked him where he was going for lunch. Yogurt and a damn salad at his desk, he told me: bad cholesterol and a worried wife. I extended my condolences as he headed back out of the autopsy suite.
I scanned through Matt’s handwriting on the intake sheet and learned that the body had been found, stiff and cold, in a locked and secure room at the Los Angeles Omni hotel. The cleaning staff called the police. The ID came from the name on the credit card used to pay for the room, and was confirmed by fingerprint comparison with her driver’s license thumbprint. A handwritten note lay on the bed stand, a pill bottle in the trash. Nothing else. Matt was right: There was no mystery to the way Mary Walsh had died.
I hit the dictaphone’s toe trigger and pointed my mouth toward the microphone dangling over the table. “The body is identified by a Los Angeles County Medical Examiner’s tag attached to the right great toe, inscribed LACD-03226, Walsh, Mary Catherine…”
I broke the seal on the plastic evidence bag and pulled out the pill bottle. It was labeled OxyContin, a powerful painkiller, and it was empty.
“Accompanying the body is a sealed plastic bag with an empty prescription medication bottle. The name on the prescription label…”
I read the name but didn’t speak it. The hair started standing up on my neck. I looked down at my morning’s work—the splayed body, flecked with gore, the dissected womb tossed on a heap of other organs.
That can’t be, I told myself. It can’t.
On the clipboard underneath the case intake sheet I found a piece of hotel stationery sealed in another evidence bag. It was the suicide note, written in blue ink with a steady feminine hand. I skimmed it—then stopped, and went back.
I read it again.
I heard the clipboard land at my feet. I gripped the raised lip of my autopsy table. I held tight while the floor fell away.
FIRST CUT is available now at your local bookseller or online.
Barnes and Noble: http://bit.ly/2NkOnDe