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About The Penalty
Product Description “Peet’s prose is both lyrical and unflinching. . . . A bold exploration of ageless themes of power, fame, love, and trust, all seen through the deceptive lens of modern celebrity culture.” — Booklist As the city of San Juan pulses to summer’s sluggish beat, its teenage soccer prodigy, El Brujito, the Little Magician, vanishes without a trace—right after he misses a penalty kick and loses a big game for his team. Sports reporter Paul Faustino is reluctantly drawn into the mystery of the athlete’s disappearance and, as a story of corruption and murder unfolds, must confront the bitter history of slavery and the power of the occult. Review Stunning, original and compelling. —Kirkus Reviews (starred review) About the Author Mal Peet (1947–2015) is the acclaimed author of the Carnegie Medal–winning novel Tamar as well as the Boston Globe–Horn Book Honor Book Life: An Exploded Diagram and three Paul Faustino novels: Keeper, The Penalty, and Exposure, a winner of the Guardian Children’s Fiction Prize. He is also the co-author of Cloud Tea Monkeys, Mysterious Traveler, and Night Sky Dragons, all of which he wrote with his wife, Elspeth Graham. Excerpt. © Reprinted by permission. All rights reserved. PROLOGUE: DEVOTION You would think the boy is alone, but he is not. Facing him is the Brazilian defense. That plastic beer crate is Michel. The little heap of stones is Luisao, who today is holding the center. The almost-leafless sapling that grows magically out of nothing is the magisterial Cafu. The ancient bicycle frame propped up with bricks is Maicon, whose ferocious tackling is legendary. Beyond them, between the two thin timbers the boy has somehow uprighted in the hard earth, lurks the goalkeeper, Rubinho. He will be substituted for Cesar at halftime, but that will make no difference. The boy knows he can beat them both. He can drive the ball in a powerful curve that will take it a finger’s breadth inside the post. He can send in a long-distance shot that seems destined to fly over the invisible bar but that will dip horribly at the last possible moment. He can do these things, and more, but often does not bother. He is less interested in the final shot than in the move that leads up to it. In the beauty of the move, in its speed and complexity. And the boy is not alone, because — as always — his head is full of spirits with whom he talks and in whom he confides. Nor is he lonely. He practices in solitude because the other boys are not as good as he is. Their failure to understand what he intends to do frustrates him. They are slow to read the game. They fail to predict what the Brazilians will do. And they are not serious. They want only to score goals so that they can celebrate with their ridiculous gymnastics, reveling in the silent roar of eighty thousand imaginary spectators. The ball the boy bounces from knee to knee is old, cheap, and scuffed. In places the plastic coating is peeling away. He knows that soon, somehow, he will have to get another one. But in the meantime, the sad condition of the ball makes the game a little more unpredictable, and he likes that. The boy’s field is a large patch of bare, uneven ground where once, long ago, a church stood. He has set up the goal where the altar used to be, although he does not know this. Since the destruction of the church, nothing has been built here because the place is considered unlucky. He is aware of this, feels the wrongness that lingers in the air, but he welcomes it because bad luck is part of any game. It is something else to test himself against. He catches the ball on his instep, holds it there for five seconds, and begins another attack. After a burst of extremely sudden acceleration that takes Michel by surprise, he plays a one-two with a low chunk of broken masonry, the stump of a wall. The return pass is perfectly weighted; it evades Luisao’s desperate attempt at interception, and the ball drops into a space that
