Tuesday, December 11, 2018

Power Couple: Augusta and Malcolm


Writing about Augusta McKee, former opera singer, professor of music, fashionista, amateur sleuth, known for her independence and her stilettos, has elicited some great responses from readers:

Professor Augusta McKee, just introduced in Susan Moore Jordan’s mystery The Case of the Slain Soprano, will take her place among the lady detectives you wish you knew in person. She’s a no-nonsense voice teacher in spike heels, tough and tender and smart as all get-out.

Augusta McGee, (Jordan’s) heroine, is well-drawn for us and we are soon thoroughly intrigued by this well-dressed and extremely well-shod woman in midlife with many roles - professor of music, voice teacher, stage play director, and supportive mentor to faculty and students.”

When Augusta crosses paths with experienced Homicide Detective Malcolm Mitchell, there has to be much more to what begins as an adversarial encounter.

“Augusta, a strong force to be reckoned with, isn’t the type to take bad news lying down. Instead, she decides to do a bit of snooping on her own, especially when her red stilettos and sassy wit cross paths with the hunky, smart homicide detective, Malcolm Mitchell. Sparks sure do fly!

The beautiful, spiked-heel McKee encounters romance with an unlikely match (who turns out to share her love of opera, no surprise there!) in the detective assigned to the case, Malcolm Mitchell. McKee makes a strong protagonist and I liked her instantly as she asserts herself in defiance of the detective, who seems a bit overwhelmed by her, but later regains his composure sufficiently to woo her.

While that initial encounter may at first appear to be instant dislike, it turns out to be a great deal more. Augusta’s thoughts about the detective evolve, and this scene at Linnea Murphy’s funeral could be the beginning of their romance. (Informational note: the books are set in Cincinnati in the 1960s.)

The Case of the Slain Soprano
Excerpt from Chapter 7

Arriving at the church, Augusta was somewhat taken aback to see a number of police officers on hand, including Detective Malcolm Mitchell and his partner, Jim Edmonds.
“Crowd control, Detective?” she said to Mitchell.
“Something like that,” he replied, rather curtly.
“It appears you’re looking for someone.”
He glanced at her briefly, continuing to scan the crowd as he spoke. “One of our suspects has cut and run. There’s a chance he might show up today.”
Augusta had to catch her breath and realized she was shaking slightly; the emotions she was already experiencing intensified. “I don’t suppose you’ll tell me who it is.”
“You suppose correctly, Professor McKee.” He gazed directly at her and said quietly, “You should take your seat, don’t you think?”
She nodded and walked down the aisle to the soothing strains of the prelude, Mascagni’s haunting “Intermezzo” from Cavalleria Rusticana, to sit with Sisters Norbert and Vincent. As Augusta listened to the angelic Fauré Requiem, she found herself from time to time studying the crowd which filled the church. Who are they looking for?
The sopranos began to sing the lovely “Pie Jesu” and Augusta’s mind took her back to the concert in October when Linnea had performed it flawlessly, and she let the tears flow. The mass concluded; Father Culhane spoke of Linnea with love and compassion, and there were few dry eyes in the congregation.
The casket was wheeled to the front of the church and removed, and the congregation began to exit to the gentle, ethereal strains of Theodore Dubois’ “In Paradisum.” Augusta was jostled slightly from behind, and she glanced back to apologize but the person behind her hurried forward.
Augusta almost stopped still as she stared at the woman who had brushed past her. She was wearing too heavy a coat for this late April day and had a scarf wound around her head. With a shock Augusta realized it wasn’t a woman at all; it was a man. When she reached the steps leading from the church she received a second shock: after a brief scuffle, the “woman” was being arrested by Mitchell and Edmonds. Augusta hurried down the steps and Terry Jenkins locked eyes with her.
Terry’s voice broke as he called out, “Professor McKee, you know I didn’t kill Linnea. I loved her.” Detective Edmonds pressed the fugitive into a police car, which sped away fairly quickly. While Augusta realized the police had managed to avoid too much of an uproar, there was some consternation among the mourners who had witnessed the arrest. Furious, she confronted Mitchell.
“Was that absolutely necessary?” She struggled to keep her voice under control.
“Unfortunately, it was. I’d have preferred to arrest him elsewhere, but if we hadn’t done it here, he would have been on the run again.”
“I simply can’t believe that boy killed Linnea.”
“Well, he sure didn’t help his case by taking off the way he did. Not smart to come to the funeral, either. And he compounded his problems by taking a swing at Detective Edmonds.”
Augusta’s jumbled emotions had been in high gear all morning, and she found herself weeping and unable to speak. To her surprise, Detective Mitchell reacted with sympathy.
“I’m sorry this happened, Augusta.” He handed her his handkerchief. “I know you loved Linnea and this has all been difficult for you.”
She still couldn’t speak. Malcolm Mitchell put a gentle hand on her shoulder. “The Sisters are waiting to take you to the cemetery,” he said quietly, his mouth close to her ear. “You need to be there for the conclusion of the funeral.”
Still clutching the handkerchief, Augusta allowed Sister Vincent to lead her to one of the limousines that had been hired for the day.
The car pulled away slowly as Augusta glanced through the back window at Mitchell. How caring he was with me. I didn’t expect that.

The Case of the Slain Soprano and The Case of the Disappearing Director, Books #1 and #2 in “the Augusta McKee mysteries,” are both available on Amazon, Kindle and paperback:

Covers by Taylor Van Kooten


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