{"id":1777,"date":"2010-06-08T16:31:07","date_gmt":"2010-06-08T23:31:07","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2010\/06\/a_killer_thriller\/"},"modified":"2010-06-08T16:31:07","modified_gmt":"2010-06-08T23:31:07","slug":"a_killer_thriller","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2010\/06\/a_killer_thriller.html","title":{"rendered":"A New Orleans Killer Thriller"},"content":{"rendered":"

Susan Fleet’s first crime thriller, Absolution<\/em><\/a>, is set in pre-Katrina New Orleans. Homicide detective Frank Renzi takes on a serial killer who preys on women. (Click for the Kindle edition.<\/a>)
\nNow why would a cultivated classical musician like Fleet — she plays a mean baroque trumpet<\/a> and also happens to be a feminist music historian<\/a> — bother getting her hands dirty with such a tale?
\n“If you’d like to hear it sometime, I’ve got a long rationale,” she says. “But to cut to the chase, too many of these sickos get off in real life. In my books, the bad guy always gets his in the end.”
\nI’d say she was piping Steig Larsson’s Lisbeth Salander<\/a> if I didn’t know better. I met Fleet years ago in Boston, before she moved to New Orleans. She was a feisty original then. Still is. She doesn’t need to pipe anyone.
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Susan Fleet’s first crime thriller, Absolution, is set in pre-Katrina New Orleans. Homicide detective Frank Renzi takes on a serial killer who preys on women. (Click for the Kindle edition.) Now why would a cultivated classical musician like Fleet — she plays a mean baroque trumpet and also happens to be a feminist music historian […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-1777","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-sF","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1777","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1777"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1777\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1777"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1777"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1777"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}