There’s No Cure for Murder…Yet
At Brier Hospital in Berkeley, patients are dying. While that’s not particularly unusual in hospital, the causes are. One woman, admitted for disorders caused by anorexia, is killed with a triple dose of antifreeze. A heroin addict is given a massive overdose. A man with a life-threatening blood clot is administered so much heparin, he is bleeding out. What do these cases have in common? Dr. Jacob Weizman. Would killing a doctor’s patients somehow satisfy a gripe someone has against him? Yes, if that someone is a psychopath.
Written by a doctor, Lawrence W. Gold, M.D., No Cure for Murder is a who’s-doing-it with a few twists. In addition to the murders, which hospital administrators would like to believe are accidents until the antifreeze case, someone is stealing drugs, a creepy chaplain is preying on teenage girls, and one of the nurses is so nasty she makes Nurse Ratched look like a candy-striper. In the meantime, 88-year-old Dr. Weizman, a holocaust survivor, goes about the business of doctoring—making house calls, making rounds, maintaining office hours, and answering emergency calls—oblivious to the fact that he’s on someone’s death wish list.
Dr. Gold fills the pages of No Cure for Murder with insider information, exposing politics, public relations, and personal relationships, gently seasoning it with bits of his own philosophy. His Dr. Weizman has seen the worst (Auschwitz) and the best (his wife, Lola) of life, is somewhat cantankerous, and loved by his patients for his concern and help. So why does someone hate him?
No Cure for Murder is a very quick, enjoyable read; the reader has a variety of suspects from which to choose, and may find him- or herself vacillating between several. The identity of the serial killer is not a total surprise (there are many indications throughout the book), but—as murderers go—this is one is especially evil.
Note: No Cure for Murder is published by Moongypsy Press, and—as is common with many books from small publishing houses—could use tighter editing/proofreading. While the typographical errors and few inconsistencies do not detract from the story, there is one aspect—either stylistic choice or technical error, that is distracting. There are many instances throughout the book where a scene ends and another begins, but they are not separated by chapter, spacing, or other indicators. Example: three people are in an office talking, when a fourth adds a comment; that fourth person and the added comment are actually the beginning of another scene. The reader may find it necessary to reread the previous section, or its last several paragraphs, to become reoriented.