Gabriel Lightfoot, a middle-aged chef at London's Imperial Hotel, knows how to run a kitchen. Now, he's ready to strike on his own, and two wealthy Londoners intend to back his new restaurant. But when a night porter's naked corpose is found in a pool of blood in the Imperial's basement, the after effects threaten undo everything Gabriel has worked so hard to achieve.
Read an excerpt of "In the Kitchen" below and head to the "GMA" Library for more good reads.
When he looked back, he felt that the death of the Ukrainian was the point at which things began to fall apart. He could not say that it was the cause, could not say, even, that it was a cause, because the events that followed seemed to be both inevitable and entirely random, and although he could piece together a narrative sequence and take a kind of comfort in that, he had changed sufficiently by then to realize that it was only a story he could tell, and that stories were not, on the whole, to be trusted. Nevertheless, he fixed the beginning at the day of the Ukrainian's death, when it was the following day on which, if a life can be said to have a turning point, his own began to spin.
On that morning in late October, Gleeson, the restaurant manager, sat down with Gabriel for their regular meeting. He had mislaid, so it seemed, his oily professional charm.
"You do realize it's on your patch," said Gleeson. "You realize that, yes?"
It was the first time that Gabe had seen him slip out of character. And the night porter certainly was on Gabe's "patch." What, in that case, was worrying Gleeson? In this business, until you could see all the angles, it was better to keep your mouth shut. Gabe tapped the neck of the crystal vase that sat on the table between them. "Plastic flowers," he said, "are for Happy Eaters and funeral parlors."
Gleeson scratched his scalp and fleetingly examined his fingernails. "Yes or no, Chef? Yes or no?" His eyes were pale blue and disreputably alert. His hair, by contrast, he wore with a sharp side part and a fervid rectitude, as if all his phony honor depended on it.
Gabe looked across the empty restaurant, over the pink-tinged table linens and leather-backed chairs, the silver that glinted here and there in the shreds of autumn sun, the chandelier, ugly as a bejeweled dowager, the polished oak bar that, without a single elbow propped on it, was too dark and infected with loneliness to look at for very long. In the circumstances, he decided, it was unwise to concede anything at all. "The food and beverage meeting, three months ago, at least. You agreed, no more plastic flowers."
"They're silk," said Gleeson smartly. "Silk, please. I have never had plastic in my restaurant."
"Now that I think about it," said Gabe, "there were some other things . . ."
"Chef." Gleeson laced his fingers together. "You are a straight talker. I am a straight talker. Let's not beat around the bush." He tilted his head and sieved the words through a smile. It was how he greeted diners, gliding in with hands clasped and head cocked. "A dead body on the premises. This is hardly the time to be discussing pepper pots." His tone was both ingratiating and contemptuous, the one reserved for the pretheater crowd, tourists, and anyone—easily identified by the way they kept looking around—who had been saving up.