The #1 New York Times bestselling FBI Thriller series returns with another tour de force in which agents Savich and Sherlock stumble into a bizarre case that’s more complicated and twisted than any they’ve ever encountered.
On a Tuesday afternoon, Agent Sherlock is driving in downtown Washington when her Volvo is suddenly T-boned at an intersection. As her car spins out of control, a man’s body slams against her windshield and then—blackness. When she finally regains consciousness in the hospital, she’s told about the accident and the man she struck. No one knows yet who he is or where he is because he ran away. From DNA, they discover his name is Justice Cummings and he’s a CIA analyst at Langley…and he’s still missing.
Meanwhile, in the small town of Gaffer’s Ridge, Virginia, Special Agent Griffin Hammersmith rescues a kidnapped woman claiming her captor had probably murdered three missing teenage girls. However, the man she accuses is the local sheriff’s nephew and a member of a very powerful family, reputed to have psychic powers. When the sheriff arrests Griffin and the rescued woman, Carson DaSilva, he calls Savich for help. Together they have to weave their way through a labyrinth of lies to find the truth of a terrible secret.
“If there’s one thing that readers can count on in a Coulter novel it is that she always delivers amazingly eerie and complex thrillers” (RT Book Reviews), and Labyrinth is no different. With white-knuckled pacing and shocking twists and turns, this is another electrifying novel that will sink its teeth in you.
In Greek mythology, the Labyrinth (Ancient Greek: Λαβύρινθος labúrinthos) was an elaborate, confusing structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, the monster eventually killed by the hero Theseus. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it.Although early Cretan coins occasionally exhibit branching (multicursal) patterns, the single-path (unicursal) seven-course "Classical" design without branching or dead ends became associated with the Labyrinth on coins as early as 430 BC, and similar non-branching patterns became widely used as visual representations of the Labyrinth – even though both logic and literary descriptions make it clear that the Minotaur was trapped in a complex branching maze. Even as the designs became more elaborate, visual depictions of the mythological Labyrinth from Roman times until the Renaissance are almost invariably unicursal. Branching mazes were reintroduced only when hedge mazes became popular during the Renaissance. In English, the term labyrinth is generally synonymous with maze. As a result of the long history of unicursal representation of the mythological Labyrinth, however, many contemporary scholars and enthusiasts observe a distinction between the two. In this specialized usage maze refers to a complex branching multicursal puzzle with choices of path and direction, while a unicursal labyrinth has only a single path to the center. A labyrinth in this sense has an unambiguous route to the center and back and presents no navigational challenge.Unicursal labyrinths appeared as designs on pottery or basketry, as body art, and in etchings on walls of caves or churches. The Romans created many primarily decorative unicursal designs on walls and floors in tile or mosaic. Many labyrinths set in floors or on the ground are large enough that the path can be walked. Unicursal patterns have been used historically both in group ritual and for private meditation, and are increasingly found for therapeutic use in hospitals and hospices...