Praise for

Fatal Lies

“Elegant.… Tallis has come up with a particularly ingenious method of murder.… His novels show the modern world coming into existence in one of Europe's great cities, and are all the more poignant for the knowledge that the first world war will soon cast its shadow over his deeply human characters.”

The Sunday Times

(London)

“[Tallis's] handling of the psychoanalysis and criminal pathology are fan tastic… a romping tale.”

Scotland on Sunday

Praise for

Vienna Blood

“A murder mystery of great intelligence… a fascinating portrait of one of the most vibrant yet sinister cities of fin-de-siecle Europe.”

—The Times

(London)

“Tallis uses his knowledge of medicine, music, psychology and history to create an endlessly fascinating portrait of 1902 Vienna.”

—Kirkus Reviews

(starred review)

“Brilliant.… Tallis can ratchet up the suspense.”

The Globe and Mail

“Gripping…. The clever plotting and quality writing elevate this above most other historicals.”

Publishers Weekly

(starred review)

“Excellent.… Tallis handles his themes adroitly.”

—The Sunday Times

(London)

“Exhilarating…expertly crafted.… The layers of Viennese society are peeled away as delicately as the layers of each mouth-watering Viennese pastry that the portly Rheinhardt makes it his business to devour.”

—The Daily Telegraph

(London)

Praise for

A Death in Vienna

“[An] elegant historical mystery… stylishly presented and intelligently resolved.”

The New York Times Book Review

“[A Death in “Vienna

is] a winner for its smart and fin-de-siecle portrait of the seat of the Austro-Hungarian empire, and for introducing Max Liebermann, a young physician who is feverish with the possibilities of the new science of psychoanalysis.”

The Washington Post

“Frank Tallis knows what he's writing about in this excellent mystery.… His writing and feel for the period are top class.”

—The Times

(London)

“An engrossing portrait of a legendary period as well as a brain teaser of startling perplexity… In Tallis’ sure hands, the story evolves with grace and excitement.… A perfect combination of the hysterical past and the cooler —but probably more dangerous—present.”

—Chicago Tribune

“Holmes meets Freud in this enjoyable… whodunit.”

—The Guardian

(London)

Also by Frank Tallis

A Death in Vienna

Vienna Blood

1

THE BAROQUE BALLROOM was filled with flowers. Beneath three radiant chandeliers more than a hundred couples were rotating in near-perfect synchrony. The men were dressed in black tails, pique shirts, and white gloves, the women in gowns of tulle and crepe de chine. On a raised platform a small orchestra was playing Strauss's Rosen aus iem Suien, and when the waltz king's famous heartwarming melody was reprised, a number of onlookers began a sympathetic humming chorus—smiling with recognition and benign sentimentality.

Liebermann felt Amelia Lyd gate s right hand tighten with anxiety in his left. A vertical line appeared on her forehead as she struggled to follow his lead.

“I do apologize, Dr. Liebermann. I am such a poor dancer.”

She was wearing a skirted decollete gown of green velvet, and her flaming red hair was tied up in silver ribbons. The pale unblemished planes of her shoulders reminded the young doctor of polished Italian marble.

“Not at all,” said Liebermann. “You are doing very well for a novice. Might I suggest, however, that you listen more carefully to the music. The beat.”

The Englishwoman returned a puzzled expression. “The beat,” she repeated.

“Yes, can you not”—Liebermann paused, and made an effort to conceal his disbelief— “feel it?”

Liebermann s right hand pressed gently against Amelia's back, emphasizing the first accented beat in each bar. However, his guidance had no noticeable effect on her performance.

“Very well, then,” said Liebermann. “Perhaps you will find the following useful: the natural turn consists of three steps in which you move forward and rotate clockwise by one hundred and eighty degrees, followed by three steps in which you move backward and rotate again by one hundred and eighty degrees. For the forward turn you move forward on your right foot, rotating it to the right

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