Jane Whitefield inadvertently becomes the target of two professional assassins in this “compelling [and] truly frightening” (Chicago Tribune) thriller from the award-winning author of The Butcher’s Boy.

“[Thomas] Perry keeps the screws turned until the final page; suspense novels don’t get much more suspenseful.”—The Cleveland Plain Dealer

Jane Whitefield is a name to be whispered like a prayer. A shadow woman who rescues the helpless and the hunted when their enemies leave them no place to hide. Now with the bone-deep cunning of her Native American forebears, she arranges a vanishing act for Pete Hatcher, a Las Vegas gambling executive. It should be a piece of cake, but she doesn’t yet know about Earl and Linda—professional destroyers who will cash in if Hatcher dies, killers who love to kill . . . slowly. From Vegas to upstate New York to the Rockies, the race between predator and prey slowly narrows until at last they share an intimacy broken only by death. . . .
Pete Hatcher pushed through the warm, dry night air that was trapped between the tall hotels and casinos, feeling the stored heat from the sun still rising from the concrete to his ankles. He had tightened his back muscles to keep his spine straight and his shoulders back, but it felt like a pose, so he tried to lose his self-consciousness and slouch a little. It was hard to do anything for so many days without ruminating on the way it must look, what they must think about it. He had tried to look formidable and alert, as though he would be hard to kill. The idea was worse than childish. It was the reaction of an animal trying to convince a predator that he wasn't weak enough to take down just yet.

The part of Las Vegas that he loved was the Strip, with the exaggerated shapes of its giant buildings lit up in candy colors that burned against the blue-black desert sky, but being downtown like this was different. The carnival neons and incan-descents glared from all sides and bounced off asphalt and concrete, then washed across the faces of the people walking with him as a dead yellow-gray that cast deep shadows in their wrinkles and sunken eyes.

He followed a couple who seemed to sense it. Each eyed the other and the woman became uncomfortably aware that the ghastly light that had skinned the life from her beloved's cheek must have done the same to her own. She bravely forced a smile that only gave her face deeper hollows and the bared teeth of a skull. The pair reached the roofed-over mall, re-treated to the nearest glass door, and escaped into the soft blue of a bar lit with the twinkle of tiny star-white bulbs. When they had taken a few steps into the cool, machine-made air, Pete saw them both give a little shrug-and-shudder to be sure none of the leftover street magic was clinging to them.

Hatcher followed them through the bar into the big casino, then skirted the margin of the gaming floor, ignoring the din of the bells on the slots and the rattle of coins in the collection pans that bounced off the walls above his head to excite the customers. He moved deeper, staying far from the blackjack tables and crap tables, where bright overhead lights shone on the green felt and turned the dealers' starched white shirts into semaphores. He stepped to the little window in the wall a few feet apart from the cashiers' cages.

He said to the middle-aged woman behind the glass, "There was supposed to be a ticket for the midnight show left for me."

"Your name, sir?" He had somehow assumed she would know his face, but her expression was only attentive.

"Pete Hatcher."

Hatcher took the ticket and read the seat number while he was still in the light, then handed it to the girl in the fishnet tights and frock coat at the door and let her lead him into the show. Hatcher never looked back to see whether the two men were still following. They were.

The round walls of the room were lined with big plush booths in three tiers, and the space in front of the stage crowded with rows of long, narrow tables arranged like the spokes of a wheel so nobody in the cheap stackable chairs along them could see better than anybody else.

The woman he had been told to call Jane was already seated in the dark booth when he got there. She was thin, with gleaming black hair braided behind her head, a long, graceful neck, and bare shoulders that showed no trace of a line in the tan and made him want to believe that she was in the habit of sunbathing naked. He felt an unexpected, tearing pain when he looked at her, so he glanced at the stage. This was what he was about to lose--not the money or the fancy office or the clean, hot desert air. It was the women, ones like her. They weren't ever from here, but this was where Pete had always found them. It was as though they were the winners of some quiet beauty contest, judged not by a bunch of potbellied Chamber of Commerce types but by the women themselves, before they were even women. They seemed to take one look in the mirror and know that the creature looking back at them didn't belong in Biloxi or Minneapolis.
“Compelling . . . Truly frightening.”Chicago Tribune

“A fascinating tale written by one of America’s finest storytellers . . . The tension mounts page by page. . . . [Shadow Woman] is the best yet—and that is saying a lot because both Vanishing Act and Dance for the Dead were terrific.”San Francisco Examiner

“Perry keeps the screws turned until the final page; suspense novels don’t get much more suspenseful.”The Cleveland Plain Dealer

“A thriller that is both literate and compelling . . . The ending is terrific.”The Orlando Sentinel

“In this superb book, with its surreal description of the glitter and fakery of Las Vegas, Thomas Perry’s peerless heroine, Jane Whitefield, engineers a disappearance worthy of the Miraculous Miranda. A wonderful mix of plot and character, Shadow Woman dazzles like a house of mirrors.”—Martha Grimes

“[Perry] is powerfully adept at pacing, retaining and renewing suspense, all the while keeping track of how a character thinks and acts through the long, difficult problem of staying alive against great odds. It is no less than a delight to watch Whitefield in action.”Newsday

“The suspense of the chase gives this moody thriller its power.”The Boston Globe

“Another masterfully invented detective story . . . The suspense is unrelenting.”Kirkus Reviews, starred review
New York Times bestselling author Thomas Perry won an Edgar Award for The Butcher’s Boy, and Metzger’s Dog was one of the New York Times’s Notable Books of the Year. His other books include The Face-Changers, Shadow Woman, Dance for the Dead, and Vanishing Act. Thomas Perry died in 2025. View titles by Thomas Perry

About

Jane Whitefield inadvertently becomes the target of two professional assassins in this “compelling [and] truly frightening” (Chicago Tribune) thriller from the award-winning author of The Butcher’s Boy.

“[Thomas] Perry keeps the screws turned until the final page; suspense novels don’t get much more suspenseful.”—The Cleveland Plain Dealer

Jane Whitefield is a name to be whispered like a prayer. A shadow woman who rescues the helpless and the hunted when their enemies leave them no place to hide. Now with the bone-deep cunning of her Native American forebears, she arranges a vanishing act for Pete Hatcher, a Las Vegas gambling executive. It should be a piece of cake, but she doesn’t yet know about Earl and Linda—professional destroyers who will cash in if Hatcher dies, killers who love to kill . . . slowly. From Vegas to upstate New York to the Rockies, the race between predator and prey slowly narrows until at last they share an intimacy broken only by death. . . .

Excerpt

Pete Hatcher pushed through the warm, dry night air that was trapped between the tall hotels and casinos, feeling the stored heat from the sun still rising from the concrete to his ankles. He had tightened his back muscles to keep his spine straight and his shoulders back, but it felt like a pose, so he tried to lose his self-consciousness and slouch a little. It was hard to do anything for so many days without ruminating on the way it must look, what they must think about it. He had tried to look formidable and alert, as though he would be hard to kill. The idea was worse than childish. It was the reaction of an animal trying to convince a predator that he wasn't weak enough to take down just yet.

The part of Las Vegas that he loved was the Strip, with the exaggerated shapes of its giant buildings lit up in candy colors that burned against the blue-black desert sky, but being downtown like this was different. The carnival neons and incan-descents glared from all sides and bounced off asphalt and concrete, then washed across the faces of the people walking with him as a dead yellow-gray that cast deep shadows in their wrinkles and sunken eyes.

He followed a couple who seemed to sense it. Each eyed the other and the woman became uncomfortably aware that the ghastly light that had skinned the life from her beloved's cheek must have done the same to her own. She bravely forced a smile that only gave her face deeper hollows and the bared teeth of a skull. The pair reached the roofed-over mall, re-treated to the nearest glass door, and escaped into the soft blue of a bar lit with the twinkle of tiny star-white bulbs. When they had taken a few steps into the cool, machine-made air, Pete saw them both give a little shrug-and-shudder to be sure none of the leftover street magic was clinging to them.

Hatcher followed them through the bar into the big casino, then skirted the margin of the gaming floor, ignoring the din of the bells on the slots and the rattle of coins in the collection pans that bounced off the walls above his head to excite the customers. He moved deeper, staying far from the blackjack tables and crap tables, where bright overhead lights shone on the green felt and turned the dealers' starched white shirts into semaphores. He stepped to the little window in the wall a few feet apart from the cashiers' cages.

He said to the middle-aged woman behind the glass, "There was supposed to be a ticket for the midnight show left for me."

"Your name, sir?" He had somehow assumed she would know his face, but her expression was only attentive.

"Pete Hatcher."

Hatcher took the ticket and read the seat number while he was still in the light, then handed it to the girl in the fishnet tights and frock coat at the door and let her lead him into the show. Hatcher never looked back to see whether the two men were still following. They were.

The round walls of the room were lined with big plush booths in three tiers, and the space in front of the stage crowded with rows of long, narrow tables arranged like the spokes of a wheel so nobody in the cheap stackable chairs along them could see better than anybody else.

The woman he had been told to call Jane was already seated in the dark booth when he got there. She was thin, with gleaming black hair braided behind her head, a long, graceful neck, and bare shoulders that showed no trace of a line in the tan and made him want to believe that she was in the habit of sunbathing naked. He felt an unexpected, tearing pain when he looked at her, so he glanced at the stage. This was what he was about to lose--not the money or the fancy office or the clean, hot desert air. It was the women, ones like her. They weren't ever from here, but this was where Pete had always found them. It was as though they were the winners of some quiet beauty contest, judged not by a bunch of potbellied Chamber of Commerce types but by the women themselves, before they were even women. They seemed to take one look in the mirror and know that the creature looking back at them didn't belong in Biloxi or Minneapolis.

Reviews

“Compelling . . . Truly frightening.”Chicago Tribune

“A fascinating tale written by one of America’s finest storytellers . . . The tension mounts page by page. . . . [Shadow Woman] is the best yet—and that is saying a lot because both Vanishing Act and Dance for the Dead were terrific.”San Francisco Examiner

“Perry keeps the screws turned until the final page; suspense novels don’t get much more suspenseful.”The Cleveland Plain Dealer

“A thriller that is both literate and compelling . . . The ending is terrific.”The Orlando Sentinel

“In this superb book, with its surreal description of the glitter and fakery of Las Vegas, Thomas Perry’s peerless heroine, Jane Whitefield, engineers a disappearance worthy of the Miraculous Miranda. A wonderful mix of plot and character, Shadow Woman dazzles like a house of mirrors.”—Martha Grimes

“[Perry] is powerfully adept at pacing, retaining and renewing suspense, all the while keeping track of how a character thinks and acts through the long, difficult problem of staying alive against great odds. It is no less than a delight to watch Whitefield in action.”Newsday

“The suspense of the chase gives this moody thriller its power.”The Boston Globe

“Another masterfully invented detective story . . . The suspense is unrelenting.”Kirkus Reviews, starred review

Author

New York Times bestselling author Thomas Perry won an Edgar Award for The Butcher’s Boy, and Metzger’s Dog was one of the New York Times’s Notable Books of the Year. His other books include The Face-Changers, Shadow Woman, Dance for the Dead, and Vanishing Act. Thomas Perry died in 2025. View titles by Thomas Perry
  • More Websites from
    Penguin Random House
  • Common Reads
  • Library Marketing