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New York Times bestselling author Kristine Kathryn Rusch writes in almost every genre. Generally, she uses her real name (Rusch) for most of her writing. Under that name, she publishes bestselling science fiction and fantasy, award-winning mysteries, acclaimed mainstream fiction, controversial nonfiction, and the occasional romance. Her novels have made bestseller lists around the world and her short fiction has appeared in eighteen best of the year collections. She has won more than twenty-five awards for her fiction, including the Hugo, Le Prix Imaginales, the Asimov's Readers Choice award, and the Ellery Queen Mystery Magazine Readers Choice Award.

Publications from The Chicago Tribune to Booklist have included her Kris Nelscott mystery novels in their top-ten-best mystery novels of the year. The Nelscott books have received nominations for almost every award in the mystery field, including the best novel Edgar Award, and the Shamus Award.

She also edits. Beginning with work at the innovative publishing company, Pulphouse, followed by her award-winning tenure at The Magazine of Fantasy & Science Fiction, she took fifteen years off before returning to editing with the original anthology series Fiction River, published by WMG Publishing. She acts as series editor with her husband, writer Dean Wesley Smith, and edits at least two anthologies in the series per year on her own.

To keep up with everything she does, go to kriswrites.com and sign up for her newsletter. To track her many pen names and series, see their individual websites (krisnelscott.com, kristinegrayson.com, krisdelake.com, retrievalartist.com, divingintothewreck.com). Her latest release, Escaping Amnthra is available now.

The Retrieval Artist by Kristine Kathryn Rusch

The short novel that started the entire Retrieval Artist series, The Retrieval Artist introduced Miles Flint to the world. Hugo-nominated, chosen as one of the best stories of the year, The Retrieval Artist created an entire universe, and Flint himself became what IO9 calls "one of the top ten science fiction detectives ever."

CURATOR'S NOTE

Sometimes, you just know from the start that a series is going to rock. That's the case with this first volume in the Retrieval Artist series from Hugo winner and frequent Asimov's Science Fiction contributor Kristine Kathryn Rusch. This book, and those that follow, merge the scifi and private eye genres to perfect effect, putting the hero through one hard-boiled challenge after another on the way to solving high-stakes futuristic cases. I can just imagine Miles Flint starring in his own TV or movie series someday. – Robert Jeschonek

 

REVIEWS

  • "Part CSI, part Blade Runner, and part hard-boiled gumshoe, the retrieval artist of the series title, one Miles Flint, would be as at home on a foggy San Francisco street in the 1940s as he is in the domed lunar colony of Armstrong City."

    – The Edge
  • "It feels like a popular TV series crossed with a Spielberg film—engaging…"

    – Locus
  • "Rusch mounts hard-boiled noir on an expansive sf background with great panache."

    – Booklist
 

BOOK PREVIEW

Excerpt

1

I HAD JUST COME OFF a difficult case, and the last thing I wanted was another client. To be honest, not wanting another client is a constant state for me. Miles Flint, the reluctant Retrieval Artist. I work harder than anyone else in the business at discouraging my clients from seeking out the Disappeared. Sometimes the discouragement fails and I get paid a lot of money for putting a lot of lives in danger, and maybe, just maybe, bringing someone home who wants to come. Those are the moments I live for, the moments when it becomes clear to a Disappeared that home is a safe place once more.

Usually though, my clients and their lost ones are more trouble than they're worth. Usually, I won't take their cases for any price, no matter how high.

I do everything I can to prevent client contact from the start. The clients who approach me are the courageous ones or the really desperate ones or the ones who want to use me to further their own ends.

I try not to take my cases personally. My clients and their lost ones depend on my objectivity. But every once in a while, a case slips under my defenses — and never in the way I expect.

This was one of those cases. And it haunts me still.

2

MY OFFICE is one of the ugliest dives on the Moon. I found an original building still made of colonial permaplastic in the oldest section of Armstrong, the Moon's oldest colony. The dome here is also made of permaplastic, the clear kind, although time and wear have turned it opaque. Dirt covers the dome near the street level. The filtration system tries to clean as best it can, but ever since some well-meaning dome governor pulled the permaplastic flooring and forgot to replace it, this part of Armstrong Dome has had a dust problem. The filtration systems have been upgraded twice in my lifetime, and rebuilt at least three times since the original settlement, but they still function at one-tenth the level of the state-of-the-art systems in colonies like Gagarin Dome and Glenn Station. Terrans newly off the shuttle rarely come to this part of Armstrong; the high-speed trains don't run here, and the unpaved streets strike most Terrans as unsanitary, which they probably are.

The building that houses my office had been the original retail center of Armstrong, or so says the bronze plaque that someone had attached to the plastic between my door and the rent-a-lawyer's beside me. We are an historic building, not that anyone seems to care, and rent-a-lawyer once talked to me about getting the designation changed so that we could upgrade the facilities.

I didn't tell him that if the designation changed, I would move.

You see, I like the seedy look, the way my door hangs slightly crookedly in its frame. It's deceptive. A careless Tracker would think I'm broke, or equally careless. Most folks don't guess that the security in my little eight-by-eight cube is state of the art. They walk in, and they see permaplastic, and a desk that cants slightly to the right, and only one chair behind it. They don't see the recessed doors that hide my storage in the wall between the rent-a-lawyer's cube and my own, and they don't see the electronics because they aren't looking for them.

I like to keep the office empty. I own an apartment in one of Armstrong's better neighborhoods. There I keep all the things I don't care about. Things I do care about stay in my ship, a customized space yacht named The Emmeline. She's my only friend and I treat her like a lover. She's saved my life more times than I care to think about, and for that (and a few other things), she deserves only the best.

I can afford to give her the best, and I don't need any more work although, as I said, I sometimes take it. The cases that catch me are usually the ones that catch me in my Sir Galahad fantasy — the one where I see myself as a rescuer of all things worthy of rescue — although I've been known to take cases for other reasons.

But, as I'd said, I'd just come off a difficult case, and the last thing I needed was another client. Especially one as young and innocent as this one appeared to be.

She showed up at my door wearing a dress, which no one wears in this part of Armstrong any more, and regular shoes, which had to have been painful to walk in. She also had a personal items bag around her wrist, which, in this part of town, was like wearing a giant Mug Me! sign. The bags were issued on shuttles and only to passengers who had no idea about the luggage limitations.

She was tall and raw-boned, but slender, as if diet and exercise had reduced her natural tendency toward lushness. Her dress, an open and inexpensive weave, accented her figure in an almost unconscious way. Her features were strong and bold, her eyes dark, and her hair even darker.

My alarm system warned me she was outside, staring at the door or the plaque or both. A small screen popped up on my desk revealing her and the street beyond. I shut off the door alarm, and waited until she knocked. Her clutched fist, adorned with computer and security enhancements that winked like diamonds in the dome's fake daylight, rapped softly on the permaplastic. The daintiness of the movement startled me. I wouldn't have thought her a dainty woman.

I had been cleaning up the final reports, notations and billings from the last case. I closed the file and the keyboard (I never use voice commands for work in my office — too easily overheard) folded itself into the desk. Then I leaned back in the chair, and waited.

She knocked three times, before she tried the door. It opened, just like it had been programmed to do in instances like this.

"Mr. Flint?" Her voice was soft, her English tinted with a faintly Northern European accent.

I still didn't say anything. She had the right building and the right name. I would wait to see if she was the right kind of client.

She squinted at me. I was never what clients expected. They expected a man as seedy as the office, maybe one or two unrepaired scars, a face toughened by a hard life and space travel. Even though I was thirty-five, I still had a look some cultures called angelic: blond curls, blue eyes, a round and cherubic face. A client once told me I looked like the pre-Raphaelite paintings of Cupid. I had smiled at him and said, Only when I want to.

"Are you Mr. Flint?" The girl stepped inside, then slapped her left hand over the enhancements on her right. She looked faintly startled, as if someone had shouted in her ear.

Actually, my security system had cut in. Those enhancements linked her to someone or something outside herself, and my system automatically severed such links, even if they had been billed as unseverable.

"You want to stay in here," I said, "you stay in here alone. No recording, no viewing, and no off-site monitoring."

She swallowed, and took another step inside. She was playing at being timid. The real timid ones, severed from their security blankets, bolt.

"What do you want?" I asked.

She flinched, and took another step forward. "I understand that you — find — people."

"Where did you hear that?"

"I was told in New York." One more step and she was standing in front of my desk. She smelled faintly of lavender soap mixed with nervous sweat. She must have come here directly from the shuttle. A woman with a mission, then.

"New York?" I asked as if I'd never heard of it.

"New York City."

I had several contacts in New York, and a handful of former clients. Anyone could have told her, although none were supposed to. They always did though; they always saw their own desperation in another's eyes, figured it was time to help, time to give back whatever it was they felt they had gained.

I sighed. "Close the door."

She licked her lips — the dye on them was either waterproof or permanent — and then walked back to the door. She looked into the street as if she would find help there, then gently pushed the door closed.

I felt a faint hum through my wrist as my computer notified me that it had turned the door security back on.

"What do you want?" I asked before she turned around.

"My mother," she said. "She's —"

"That's enough." I kept my tone harsh, and I didn't stand. I didn't want this girl/woman to be too comfortable. It was always best to keep potential clients off balance.

Children, young adults, and the elderly were the obvious choices of someone trying to use my system for the wrong purposes, and yet they were the ones most likely to contact me. They never seemed to understand the hostility I had to show clients, the insistence I put on identity checks, and they always balked at the cost. It feels as if I'm on trial, Mr. Flint, they would say, and I wouldn't respond. They were. They had to be. I always had to be sure they were only acting on their own interests. It was too easy for a Tracker to hire someone to play off a Retrieval Artist's sympathies, and initiate a search that would get the Disappeared killed — or worse.

The girl turned. Her body was so rigid that it looked as if I could break her in half.

"I don't find people," I said. "I uncover them. There's a vast difference. If you don't understand that, then you don't belong here."

That line usually caused half my potential clients to exit. The next line usually made most of the remaining fifty percent excuse themselves, never to darken my door again.

"I charge a minimum of two million credits, Moon issue, not Earth issue —" which meant that they were worth triple what she was used to paying — "and I can charge as much as ten million or more. There is no upper limit on my costs nor is there one on my charges. I charge by the day, with expenses added in. Some investigations take a week, some take five years. You would be my exclusive employer for the period of time it takes to find your — mother — or whomever I'd be looking for. I have a contract. Several of my former clients have tried to have the courts nullify it. It holds up beautifully. I do not take charity cases, no matter what your sob story is, and I do not allow anyone to defer payment. The minute the money stops, so do I."

She threaded her fingers together. Her personal items bag bumped against her hip as she did so. "I'd heard about your financial requirements." Which meant that one of my former clients had recommended me to her. Dammit. "I have limited funds, but I can afford a minor investigation."

I stood. "We're done talking. Sorry I can't help you." I walked past her and pulled open the door. Security didn't mind if I did that. It would have minded if she had.

"Can't you do a limited search, Mr. Flint?" Her eyes were wide and brown. If she was twenty, she was older than I thought. I checked for tears. There were none. She could be legit, and for that I was sorry.

I closed the door so hard the plastic office shook. "Here's what you're asking me," I said. "If the money runs out, I quit searching, which is no skin off my nose. But I'll have dug a trail up to that particular point, and your mother — or whomever I'm looking for —"

She flinched again as I said that. A tender one. Or a good actress.

"— would be at more of a risk than she is now. Right now, she's simply disappeared. And since you've come to me, you've done enough research to know that one of six government programs — or one of fifteen private corporations — have gone to considerable expense to give her a new life somewhere else. If the cover on that existence gets blown, your mother dies. It's that simple. And maybe, just maybe, the people who helped her will die too, or the people who are now important to her, or the people who were hidden with her, for whatever reason. Half an investigation is a death sentence. Hell, sometimes a full investigation is a death sentence. So I don't do this work on whim, and I certainly don't do it in a limited fashion. Are we clear?"

She nodded, just once, a rabbit-like movement that let me know I'd connected.

"Good," I said and pulled the door back open. "Now get out."

She scurried past me as if she thought I might physically assault her, and then she hurried down the street. The moon dust rose around her, clinging to her legs and her impractical dress, leaving a trail behind her that was so visible, it looked as if someone were marking her as a future target.

I closed the door, had the security system take her prints and DNA sample off the jamb just in case I needed to identify her someday, and then tried not to think of her again.

It wouldn't be easy. Clients were rare and, if they were legit, they always had an agenda. By the time they found me, they were desperate, and there was still a part of me that was human enough to feel sympathy for that.

Sympathy is rare among Retrieval Artists. Most Retrieval Artists got into this line of work because they owed a favor to the Disty, a group of aliens who'd more or less taken over Mars. Others got into it because they had discovered, by accident, that they were good at it, usually making that discovery in their jobs for human corporations or human crime syndicates.

I got in through a different kind of accident. Once I'd been a space cop assigned to Moon Sector. A lot of the Disappeared come through here on their way to new lives, and over time, I found myself working against a clock, trying to save people I'd never met from the people they were hiding from. The space police frowned on the work — the Disappeared are often reformed criminals and not worth the time, at least according to the Moon Sector — and so, after one of the most horrible incidents of my life, I went into business on my own.

I'm at the top of my profession, rich beyond all measure, and usually content with that. I chose not to have a spouse or children, and my family is long-dead, which I actually consider to be a good thing. Families in this business are a liability. So are close friends. Anyone who can be broken to force you to talk. I don't mind being alone.

But I do hate to be manipulated, and I hate even more to take revenge, mine or anyone else's. I vigilantly protect myself against both of those things.

And this was the first time I failed.