A senior partner at the most powerful law firm in Chicago has taken associate Henry Mathews under his wing and is determined to quash whatever troublesome morality and shreds of conscience might prevent the young lawyer from being a success. By the author of The Wind in the Wheat. Reissue. Publishers Weekly The strength of Arvin's work is nonetheless his portrait of Mathews, a complicated young man in turmoil over what he wants in life....It's an age-old theme, yet Arvin articulates it with insight about the ambiguous boundaries of morality. -- Review Reed Arvin is an award-winning composer and music producer and author of The Wind in the Wheat. The Will is his second novel. He lives in Nashville, Tennessee. Visit Reed Arvin on the World Wide Web at www.reedarvin.com. Chapter One Margaret Crandall fluttered open her eyes at five-thirty and felt the warm sheets and covers around her. She hadn't needed an alarm clock in years; every day she awoke at the same time, her life a predictable routine of meals and laundry and sleep. She licked her lips, sighed into her pillow, and turned to wake her husband. He lay with his back to her, and she pushed him, her fingers spread against his cotton pajama top. Her hand pressed into his fleshy back, and he rotated forward slightly with the pressure. She pushed harder, and his arm fell suddenly, woodenly down over the edge of the bed. She lowered her hand and felt his skin; he was as cold and still as winter fields. She did not move. For several minutes she lay silently, her breathing unanswered, hands balled up at her chin. Then she rose, put on a pale pink robe, and walked out of the room. She closed the door behind her quietly, carefully, as though not to disturb her husband. She walked down the hallway to the stairs, descending into the living room. Her balance began to disintegrate as she walked, her equilibrium slipping further away with each step. She began listing, leaning. She entered the kitchen but came to a halt just inside the door; focusing her eyes unsteadily on the sink across the tile floor, she righted herself and began inching forward. After a few last steps she collided with the kitchen table, knocking two plates and a cup to the floor. The dishes spun lazily downward and broke into pieces as they struck the tile, scattering sharp, colored chips to every corner of the room. Upstairs, the dead man's son awoke with the sound of smashing china. Roger, tense and listening, pulled on his pants and entered the hallway. He passed his sister Sarah's room, descended the stairs, and saw his mother collapsed into an awkward sitting position on the kitchen floor, slumped over with her back to the sink. Roger took his mother's shoulder in his hand; she moved easily in his grip, her limbs loose. At that moment the house was filled with a high-pitched scream of agony. Roger took the stairs three at a time. He entered the bedroom, saw Sarah, and understood instantly that his father was dead. Sarah was clinging to the body, her head buried in the chest. Roger disengaged her, her nails leaving marks in the pajama top as he peeled them back. He pulled her out into the hallway; she resisted, reaching back uselessly toward her father. But he was too strong, and forcing her away from the door, he managed to reenter the bedroom, close the door behind him, and lock it. Now the dead man and his son were alone. For a moment, he stood close by the door, staring. He could hear his sister whimpering and sobbing through the door, and eventually he moved away from the noise, walking slowly toward his father. A leg had fallen gracelessly off the bed during the struggle, and the body lay like an enormous stuffed doll, mouth open, limbs akimbo. Roger reached a hand out tentatively, but pulled slowly back; the eyes were still open, staring up at the ceiling. The son reached the bed and stood over the body, his eyes locked on his father's. Then, with an abrupt motion, he reached out and slapped the dead man's face, a brutal strike directly across the cheek. The crack of his hand echoed in the bedroom like a gunshot. Tractors were running by sunup all over Cheney County the morning Tyler Crandall died; there was rain in the forecast. Kit Munroe, the chief of the Council Grove volunteer fire department, was already out working his fields when his wife received the call. She had to drive a pickup truck twenty minutes across five gated fields to find her husband. Munroe listened quietly, shut the tractor down, and rode back with his wife. He called for some help; Crandall was a big man, and it would take two people to hoist him onto a stretcher. He didn't want the Crandall boy to have to do it. It was some work getting Ty up off the bed and onto the stretcher with any dignity. Munroe and Carter Dixon wrestled him to the stretcher, lowering it briefly to the floor to rearrange the limbs. Then Munroe pulled a white sheet up over the face and tucked it in over the head.