Still More From Manhunt

Manhunt Dec 1958

Manhunt magazine (1952 – 1967) not only published many of mystery/crime fiction’s best writers, it offered covers that rivaled the best of the era’s competing mystery and private eye series paperbacks, promising chills and sexy thrills the same way the 1930’s – 40’s era crime pulps did, but in a less cartoonish and much more sophisticated style. Check out the preceding posts for more on Manhunt, and I promise I’ll move on to other topics now.

manhunt dec 1953manhunt juy 1956 walter popp covermanhunt m spillane 1953Manhunt Nov

More From Manhunt

Manhunt 5 April 1953

Celebrating Manhunt, the postwar mystery/crime fiction magazine that ran from 1952 to 1967, here with a few exemplary covers. Get your hands on Stark House Press’ new The Best of Manhunt – A Collection of The Best of Manhunt Magazine edited by Jeff Vorzimmer, even if only to read the editor’s excellent introduction, “The Tortured History of Manhunt”, which almost reads like a crime story itself!

The issue above is one of my favorite Manhunt covers, and not because it included stories from two of my personal postwar idols, Mickey Spillane and Henry Kane. No, the cover art just manages to include everything the period’s hard-boiled niche of the genre was about, in all its pulpy glory, but does so in what feels to me like a darker and more mature way than the 1930’s – 40’s crime pulps ever managed to do. Just one fan’s POV, mind you.

Manhunt 1Manhunt 3Manhunt 4Manhunt 6Manhunt 7

The Best Of Manhunt

The Best of Manhunt

I pre-ordered my copy of The Best of Manhunt – A Collection of The Best of Manhunt Magazine edited by Jeff Vorzimmer earlier in the summer. The book arrived weeks ago, but eager as I was to dive right in, I was already committed to other reading, and reluctantly set it aside. Typically juggling two books at once, anthologies often find their way to my car. Short stories are ideal for a quick read over the AM coffee-to-go, during workday breaks or while waiting for an appointment. With 39 stories to devour in this nearly 400-page book, I figured it would hold me for a week or more for sure. Once I got around to it, that is.

The hell with that…I blew through this book in two days, and feel like I’ve just been given an incredibly humbling how-to course in the craft of mystery and crime fiction writing from some of the genre’s masters, and all for a little over twenty bucks instead of a fat tuition check.

Yes, I was puzzled about the story sequence and why Mr. Vorzimmer decided not to put them in chronological order. And yes, I was a teeny-tiny bit disappointed that the book wasn’t illustrated (excluding two small sample page reproductions and one amusing illustration in the editor’s intro). That’s not me grousing about anything, just wondering aloud. This handsome volume from Stark House Press more than makes up for it by not skimping on other extras, including an entertaining anecdotal foreword from Lawrence Block, an explanatory story selection front piece from the editor, Vorzimmer’s 9-page introduction, a reprint of Scott & Sidney Meredith’s introduction from the 1958 The Best From Manhunt paperback (see below) and a reflective afterword from Barry N. Malzburg to close the book.

The author list reads like a rogue’s gallery of postwar mystery and mid-twentieth century short fiction luminaries, including: Nelson Algren, Lawrence Block, Gil Brewer, Erskine Caldwell, Harlan Ellison, Fletcher Flora, David Goodis, Evan Hunter, Frank Kane, John D. MacDonald, Richard Prather, Mickey Spillane, Donald Westlake and Harry Whittington…and that’s only about a third of the roster.

Favorites? Don’t ask, there are too many. Okay, twist my arm and I’ll say that David Goodis’ 1953 “Professional Man” just might be my fave, a dark tale about an always-reliable hit man forced to kill his own lover. And for me, Gil Brewer’s 1955 “Moonshine” was far and away the most disturbing tale in the anthology, dealing with a cuckolded husband driven to murder…make that murders, plural. The closing scene, after he’s killed one of his wife’s lovers, surprised yet another (literally hiding in the bedroom closet) and shot him, murdered his wife, and then, with the still smoking .45 automatic in hand, calls his two children into the room. I’m still getting chills picturing that grim closing scene.

If you think you know the crime pulps based on the 1930’s-40’s detective magazines – and I’ve read and enjoyed my share of those via reprints as you may have noticed from material appearing here – trust me when I tell you than the stories in Manhunt were quite different. Oh, there are some rogue cops, hard-boiled detectives, gunsels and femmes fatales, of course. Some familiar postwar private eye series characters even make appearances, including Richard Prather’s Shell Scott and Frank Kane’s Johnny Liddell. But they’re hardly indicative of the creatively diverse stories you’ll find here. I’m neither an expert nor an authority on postwar mystery/crime fiction, only an avid fan. But I can think of no better book to provide an overview of what the genre was capable of in the 1950’s than this The Best of Manhunt – A Collection of The Best of Manhunt Magazine as put together by Jeff Vorzimmer. And you’ll just have to indulge me for a few subsequent posts while I celebrate the magazine’s 14-year run with some random covers worth viewing.

Below is the 1958 ‘Best of’ paperback, with its Ernest Chiriacka cover:

best from manhunt 1958 ernest chiriacka cover

 

Strand Magazine: What Else Do You Want?

Strand

If a John Steinbeck 1954 short story (largely unseen in English previously) and a Joyce Carol Oates story (who also has a novella out now from Hard Case Crime) aren’t enough, then perhaps an interview by Andrew F. Gulli with novelist Hank Phillipe Ryan would make you grab the July-November 2019 issue of the Strand Magazine off the stand. I was intrigued by how many of my recent reads were featured in ads or award lists, not all of them new releases, including Edgar Cantero’s This Body’s Not Big Enough For Both Of Us, Laura Lippman’s Sunburn, S.A. Lelchuk’s Save Me From Dangerous Men and Job Copenhaver’s Dodging And Burning. 

 

But my biggest takeaway from this current issue was just how many forthcoming titles I took note of for my own book watch lists. Naturally a new issue of Strand Magazine, Mystery Scene or Publisher’s Weekly will yield a book or two to look for. But for some reason this issue was a cover to cover shout out for new books I need to get. Just a few: Paul Di Filippo’s The Big Get-Even and his The Deadly Kiss-Off,  Lawrence Dudley’s New York Station and Jeffrey Fleishman’s My Detective among them. It’s going to be a busy Fall.

Noir Is Where You Find It.

shaun mcguan taylor swift

“Noir” is where you find it, and it’s not always cloaked in shadowy lighting or filtered through hazy cigarette smoke. The darkness won’t always part to reveal wide-brimmed fedoras shading square jawed private eyes, or purse sized pistols wielded by fetching femme fatales. No, this thing we call “noir” – film noir, neo-noir, domestic noir, rural noir, L.A. Noir, femme noir, whatever noir — is something much more than just all the visual trappings of classic film noir or the pulps, paperback mysteries and crime comics from the same era, or the reimagined pastiches and homages produced since.

Taylor Swift Vanity Fair 2015 1

I was reminded of this when I scrolled past a Tumblr post at the always intriguing comics and art blog Dirty River (link below) with its repost from artist Shawn McGuan’s Tumblr blog (link also below), showing off his illustration (the terrific art shown at the top of this post) for a Tidal article, “The Delectable Neo-Noir of Taylor Swift” by Alex Segura (and again, link below). If I’d bothered to check my email that morning, I’d have already seen a link to the Tidal article at my 8.24.19 Crime Reads e-newsletter.

Taylor Swift Vanity Fair 2015 2

Alex Segura’s essay begins: “Revenge. Betrayal. Bad blood and knives in the back. Getaway cars, heists gone wrong…these aren’t potential plot threads for a treacherous crime novel. They’re references to songs by Taylor Swift, a beloved pop princess who’s built a name with her catchy, teen-friendly and seemingly All-American odes to lost love and shaking it off. But there’s more to America’s sweetheart…a complex, layered, conflicted character who could easily saunter in front of a film noir’s monochrome and stark stylish camera.”

Taylor Swift Vanity Fair 2015 3

A Taylor Swift expert I’m not. Diana Krall, Beethoven, Joan Jett — those I know, which tells you how screwed up my musical tastes are. But you’d have to be a hermit not to have heard Swift’s music or surfed past her award show performances, each treated like an event. Arriving at the day job’s Friday morning’s staff meeting, for instance, a coworker was being teased for not getting enough sleep Thursday night, everyone but me presuming the dedicated Taylor Swift fan stayed up to get and then give a few listens to Swift’s brand-new album Lover, a midnight release.

It takes more than a pop star – particularly one who started out as a teenage country & western sensation – donning saucy thigh-highs for a duet with Madonna, performing in some provocative cinematic style music videos or sidling up to a bar in a slit dress for Vanity Fair (which is where the 2015 photos for this post all came from, BTW) to make her a purveyor of anything we’d label noir or even neo-noir. But as Alex Segura points out in his essay, “The driving force that propels all noir stories can be summed up with one word: desire…the best works of noir also feature ostensibly good people forced or tempted to do bad things – then dealt some harsh consequences they can’t recover from”.

Taylor Swift Vanity Fair 2015 4

I love the clichés, stereotypes and tropes of classic noir and get a kick out of their redeployment in contemporary neo-noir. But I know full well that the genre – if it is one – isn’t comprised of props, wardrobes, sets and lighting cues. Probing further than the mere look of noir films, crime pulp magazine illustrations and 1950’s private eye paperback covers is what leads us into the dark netherworld of noir, a grim place filled with larceny, lust, greed, amorality, vapid evil and small hope for redemption or escape. Yum. Let me buy my ticket now, please.

So, Taylor Swift as a noir princess instead of just a princess of pop? Well, when you read Alex Segura’s article, you may just agree. Not because of some provocative photo shoots or music videos, but because of the themes in so many of her songs and the canny word-smithing she employs to convey them.

Taylor Swift Vanity Fair 2015 5

Check out Alex Segura’s article. No one’s trying to convert you into a Taylor Swift pop music fan, least of all me. But for dedicated mystery/crime fiction fans and what might be called noir culture enthusiasts, it’s always good to ponder what makes “noir”…well, noir, even when it challenges our notions of what the genre really is.

And while you’re at it, take a look at Dirty River and Shawn McGuan’s blog, though I’ll be posting a few of McGuan’s pieces here shortly, and it isn’t the first time he’s shown up at The Stiletto Gumshoe.

https://dirtyriver.tumblr.com/

https://mcgone.tumblr.com/

http://read.tidal.com/article/neo-noir-of-taylor-swift

Where Do The Dead Girls Live?

lily james by cuneyt akeroglu

There is no dry erase board hanging on my writing lair’s wall, and no tally maintained for my in-progress projects’ body counts. But if there was, the completed manuscript for The Stiletto Gumshoe currently making the rounds in the querying process would show eight: Five men and three women. None could be labeled innocent victims, though two of the women might be considered ‘collateral damage’ of the novel’s primary crimes, while the last of the three ought to ignite some cheers when she finally goes down.

No, I didn’t track my body count, much less categorized by gender, and the ‘dead girl’ trope wasn’t even on my radar when work on that novel began. But by the time it was deep in revisions and I’d also started its sequel (for a hoped-for hard-boiled crime fiction series, that one still in-progress), there was no ignoring an expanding dialog about the dismissive and disturbing reliance on murdered women — often anonymous victims — deployed in the mystery/crime fiction genre and pop culture/entertainment in general as convenient plot devices, all too often for voyeuristic thrills and with fetishistic relish, and customarily used as prompts for male protagonists’ stories.

So, updating that imaginary dry erase board for The Stiletto Gumshoe’s in-progress sequel might still show a relatively benign body count, the story including the demise of two women at this point (once again, far from innocent bystanders) and several bad guys getting their just desserts, their final tally still undetermined. (It is a work-in-progress, after all, so we’ll let creativity and writerly caprice lead where it will, already-discarded outlines aside.) Still, I know all too well that one of the women who dies near the beginning of this novel does so in a grisly manner (though ‘off-camera’, so to speak), doesn’t even merit a line of dialog before her demise, and may fit the profile of the dreaded ‘dead girl’ trope closer than I’d like. Nothing intentional, just how the story worked out.

dead girl book

I’d already finished Alice Bolin’s Dead Girls: Essays On Surviving An American Obsession (2018) at the time the sequel was underway, and could hardly plead ignorance about the issue. To be fair, the title of Bolin’s book, which earned its share of accolades (NYT Notable Book of 2018, NYT Editor’s Choice, Edgar Nominee, etc.) is a bit misleading, being more personal memoir, and only the first fourth (if that) actually dealt with the ‘dead girl’ trope. Still…the topic was already out there for discussion elsewhere.

For example, last week’s first Literary Hub e-newsletter included a CrimeReads link to “Inverting – And Avoiding – The ‘Dead Girl’ Trope”, its subhead: “Writers Carolyn Murnick And Alex Segura Discuss The Dangers And Pitfalls Of The Crime Genre’s Most Problematic Trend” (Link Below). Please give it a look. Here are writers themselves grappling with the issue, just as we’ve seen others do recently in roundtables, essays and posts. The question: Why does so much crime genre material rely on male investigators (private eyes, cops, the FBI, whomever) solving the murders of more or less anonymous women? Further, why does so much crime genre material (novels, stories, film, TV series, comics, art) use the stalking, assault, abduction, rape, torture and murder of women for entertainment? Why do writers choose to write this, and why do readers seem to gobble it up?

Dead Girl Trope

Don’t look for answers here. It’ll take a more widely read authority than me (not being an authority on anything, really) to plumb the psyches of writers or readers, and a much smarter observer to analyze the drives, impulses and interests of modern American society. That the ‘dead girl’ trope is very much alive and well (so to speak) and even thriving in entertainment is apparent. But as this piece’s title asks, precisely where do the ‘dead girls’ live? Where is the ‘dead girl’ trope most prevalent, and is it really in the crime genre?

Genre may be no more than a convenient publishing industry term, something writers use to steer submissions to the proper agent, those agents use to pitch editors, publishers use to organize lists, booksellers (and librarians) use for merchandising and readers use to navigate bookstore aisles. After all, charming sweet shoppe and kitty-cat cozies are shelved in the same mystery genre section as hard-boiled P.I. series and grisly shoot ‘em ups. But they have as much in common as dystopian sci-fi and a Regency romance.

I’m not convinced that the ‘dead girl’ trope is deployed by mystery/crime fiction writers as ruthlessly and dismissively as we might naturally assume. I’d suggest that where ‘the dead girls live’ — that is, where the ‘dead girl’ trope is most prevalent – is actually in aligned categories like ‘Thrillers’, ‘Suspense’, ‘Psychological Suspense’ and many other similar labels that dustjacket copywriters concoct.  I just finished one myself this week, albeit a comparatively tame novel. Still, it was just one of the the many, many, many novels where the dead girls reside in the company of an army of stalkers and serial killers. These novels often adhere to very successful formulas which seem to pit writers in competition with one another to dream up ever increasing levels of sadistic torture and cruelly sex-ified deaths. If the cover art doesn’t give it away, the opening pages will, inevitably featuring a woman abducted, restrained, enduring some unimaginable horror and then finally being murdered (or about to be). There are oodles of these books, many by incredibly successful and popular writers, and while some are shelved in the ‘Mystery’ section, just as often (if not more so) they’re in ‘Fiction & Literature’. In fact, I’ve read my share of author interviews in which the writers distance themselves from the mystery/crime fiction ‘genre’ altogether, presumably leery of the perceived ghettoization a genre label can lead to.

Admittedly, my own reading tastes lean towards mid-twentieth century crime fiction from the 1930’s – 1950’s pulp shorts to the postwar paperback originals and series, along with contemporary material that revives, honors and reimagines their tropes, whether noir pastiche or hard-boiled homage. Not surprisingly, my own work attempts to do the same. Oh, all that material’s brimming with violence and bloodshed, full of brawls and gunplay, yet seems to feature as many (if not more) mobsters, thieves, muggers, blackmailers, drug dealers, embezzlers, pimps, femmes fatales and rogue cops duking it out with private eyes, detectives, reporters, attorneys and sundry investigators as it does ‘dead girls’ used only as triggers for hard-boiled dicks’ heroic quests, with victims reduced to mere props. In the mystery/crime fiction genre, women definitely die. And men die. Lots of them. Good ones and bad ones and various in-betweeners. But as for inhumanly crafty serial killers and the endless horror-show of women in bondage and sexualized torture that populate the pages of so many ‘thrillers’? Maybe not as much as you might suppose, or so it seems to me, and at least in my own reading.

isebelle huppert guy bourdin 1988 copy

My point is only this: The ‘dead girl’ trope is indeed very real, much more than a trend, and it’s something each and every mystery/crime fiction writer needs to confront when outlining, plotting and eventually pounding the keys. Further, it’s something readers might want to consider when choosing their next books. We’re bound to encounter no shortage of squirm-worthy sexism, racism and politics in a lot of classic mystery/crime fiction, even in works by cherished legends. Each of us can compartmentalize that in the way we choose. Or not. But before we paint the entire mystery/crime fiction genre with too broad a brush of complicity – intended or not — let’s think about where the ‘dead girl’ trope prevails. Is it in the ‘crime genre’? Well, yes…some, to be sure. But perhaps, it thrives much more visibly among the innumerable ‘thrillers’ on the drug store, supermarket and mass-merchandiser bestseller racks and in the bookstores’ Fiction & Literature sections. My observation tells me that it’s where the ‘dead girls’ really live.

Top photo: Lily James by Cuneyt Akeroglu; above: Isabelle Huppert by Guy Bourdin, 1988

https://crimereads.com/inverting-and-avoiding-the-dead-girl-trope/

 

At The Rap Sheet

The Rap Sheet

Thanks to J. Kingston Pierce’s always excellent The Rap Sheet blog (link below) for a mention and link to The Stiletto Gumshoe site and my recent post on James Ellroy’s This Storm. If you already follow The Rap Sheet, you know what a treasure it is. If you don’t, then why the hell not? The emailed updates are always welcome in my inbox and likely to send me foraging online through endlessly intriguing articles and sites. So be warned: A quick peek at The Rap Sheet will inevitably lure you into some well-spent time delving deeper into that site and many others.

Sweet Cheat, 1959 - ernest chiriacka cover

Seemed fitting that on the day The Rap Sheet included a mention of The Stiletto Gumshoe, it led off with a pic of Peter Duncan’s Sweet Cheat (“She Was The Nicest Bad Girl In Town”) with its gorgeous Ernest Chiriaka cover, that paperback from 1959, the very same year The Stiletto Gumshoe’s hoped-for noirish crime fiction series is set in. Serendipitous indeed! The Duncan novel’s a link to a 2010 page from the great Bill Crider’s (1941- 2018) own blog — Bill Crider’s Pop Culture Magazine (link below), which ran for sixteen years, is yet another incredibly informative and entertaining site you can get lost in, and is sorely missed by many.

https://therapsheet.blogspot.com

http://billcrider.crider.blogspot.com/

The Los Angeles Epic.

this storm

Epic? Horror fans (or at least the vampire enthusiasts among them) might point to Anne Rice’s Vampire Chronicles books. Heroic fantasy readers would naturally hold up J.R.R. Tolkien’sThe Lord Of The Rings trilogy and all of its many, many prefaces and repackaged source materials. I don’t know if mystery/crime fiction readers and critics expect the genre to spawn anything that ought to be called ‘epic’, but I’ll nominate James Ellroy’s original L.A. Quartet and now the new L.A. Quartet, including 2019’s This Storm.

This book’s been sitting on my to-be-read end table since its release, the huge red swastika emblazoned on its cover doubly eerie in light of current events. I wanted to clear the deck of other reading and projects to devote a few days to This Storm. For me, no skimming’s allowed with Ellroy. I won’t speed-read through a passage to jump to the next ‘good part’. Every single word is a ‘good part’. I couldn’t imagine trimming random notes from a Beethoven symphony and I can’t conceive of skipping a single sentence, phrase or word in an Ellroy novel. At just under 600 pages, This Storm is not a quick read. The plot’s incredibly complex, the cast of characters enormous (there’s actually a six page Dramatis Personae appendix to guide you…and you’ll need it), and when you crack the book open, you just assume that you’ll be living with it for a few days.

If you love James Ellroy, you loved (or will love) This Storm. But I recognize that not everyone is quite so enamored with the writer as I am. The rhythmic syncopated jazz score that is an Ellroy manuscript is off-putting to some. The dense, complex plotting, the sheer bleakness of his milieus and the relentless greed, duplicity and violence his characters exhibit can almost be too much to bear. In James Ellroy’s world, no one’s ‘good’ and everyone has an agenda, which often as not is an evil one. Sometimes it’s on a grand scale. Just as often, it’s a vapid, banal evil that’s somehow even more disturbing.

Ellroy’s original L.A. Quartet comprised four books: The Black Dahlia (1987), The Big Nowhere (1988), L.A. Confidential (1900) and White Jazz (1992), all of which dealt with an intricately intertwined group of post-WWII LAPD detectives, criminals, bureaucrats, wives, girlfriends, crime victims and not-so-innocent bystanders spanning 1947 through 1958. Over twenty years later, Ellroy launched his second L.A. Quartet with Perfidia (2014), revisiting some of the very same characters a few years earlier at the very outset of the U.S. involvement in WWII.

This Storm opens on New Year’s Eve 1941 and continues through early May 1942, just before the tide began to turn in the Pacific War with the Battle Of The Coral Sea and the more decisive Battle Of Midway. But in the early months of 1942, news from the front was not good. War hysteria has the entire west coast on edge. This is the time of the Japanese internment and rampant fear of saboteurs, Nazi spies and Russian fifth columnists. But crime can still flourish during war time, and the line between simple crooks, the merely corrupt and the downright traitorous is a blurry one.

La Confidential 1LA Confidential 2

Two of Ellroy’s original L.A. Quartet novels have been made into films, one a double-Oscar winning masterpiece, L.A. Confidential in 1997, and the other a dismal failure: The Black Dahlia, 2006. Familiar characters from those films populate This Storm, including Dudley Smith (James Cromwell in L.A. Confidential), Sid Hudgens (Danny DeVito), Kay Lake (Scarlett Johansson), Elizabeth Short (Mia Kirshner) and relegated to bit parts here, Lee Blanchard, ‘Buzz’ Meeks and others. L.A. Confidential is a magnificent film which does an impressive job of condensing a sprawling, complex novel into a taut feature film. Why The Black Dahlia didn’t work, considering the talent assembled with visual stylist Brian DePalma directing Hillary Swank, Scarlett Johansson, Aaron Eckhardt and Mia Kishner, is more of a mystery. I hope Johansson and Kishner consider another period noir role some day, the critical and box office failure of The Black Dahlia notwithstanding. Kirshner in particular garnered her share of rave reviews, even if the film didn’t.

Black Dahila 2Black Dahlia 1

A plot summary of This Storm is impossible. Paring down the labyrinthian story to its fundamentals finds cops and crooks alike conspiring to pit the right against the left, the schemers unaware that the two sides are already working hand in hand, their political ideologies only empty rhetoric, their quests driven by short term greed and for more far reaching postwar power. In This Storm, run of the mill blackmailers, pimps, pornographers, perverts, thieves and murderers mix it up with closet fascists, the German Bund, Mexican paramilitary police, Imperial Japanese spies and NKVD agents, some orchestrated by and some manipulated by corrupt LAPD detectives and bureaucrats. Here, life is cheap. Sex is currency, fists and bullets fly with impunity, the thugs with badges often more violent than the worst of the criminals. Aside from a particularly horrid lead character getting a bit of a comeuppance (though only a bit, and only a temporary one at that), there’s little to console you at This Storm’s conclusion, and that includes the fact that it’ll be a long wait for the third novel in James Ellroy’s second L.A. Quartet.

Elmore Leonard wrote that “reading (James Ellroy’s) The Black Dahlia aloud would shatter wine glasses”. I don’t doubt it. In fact, I truly wish I could read all of Ellroy’s novels out loud in order to fully appreciate the staccato rhythm and musicality of the rapid-fire prose. Books like This Storm leave me humbled, and almost feeling presumptuously arrogant for having the impudence to aim my own fingers at a keyboard to try my hand at crime fiction. So…epic? I don’t think that’s hyperbole. This Storm and James Ellroy’s original and second L.A. Quartets really are, to me at least, crime fiction’s epics.

Beach Reads, Murder & Mayhem.

NYT Summer Thrillers

Last Sunday’s New York Times Book Review feature “Murder, Betrayal, Sweet Revenge: A Summer’s Worth Of Thrillers” could prod any mystery/crime fiction fan to head straight to the bookstore. Laura Lippman’s Lady In The Lake was treated to a full page review by none other than Stephen King, a fellow who’s knocked out a book or two himself. King’s review opens with an anecdote about Edmund Wilson’s 1945 essay in which the critic dismissed most detective and mystery fiction as little more than crossword puzzles, wondering why anyone would even care who-killed-who (insert a novel’s victim here). Well, as King rightly pointed out, clearly millions care, evidenced by the many, many millions of mystery/crime fiction books sold in the nearly 75 years since Wilson first rankled readers with his snooty observations. And, as King further explained, he cared specifically who killed Eunetta Scherwood and Tessie Fine, whose mid-1960’s Baltimore murders are investigated by Madeline “Maddie” Schwartz in Laura Lippman’s Lady In The Lake.

Lady In The Lake

Terri Gerritsen, Karin Slaughter, Lee Child and several other thriller writers responded to the Times’ question, “What’s the most memorable murder you’ve ever dreamed up?”, with some pretty grisly (and funny) answers. Author Lisa Gardner explained where a thriller writer goes to research her latest murder in “A Visit To The Body Farm”, forensic anthropologist Bill Bass’ University Of Tennessee three-acre wooded Anthropology Research Facility which contains nearly a thousand decomposing corpses, ready for educational use by budding crime lab students. (Ugghhh.) Ross MacDonald and Tina Joran put together a two page “Murder Map” (the illustration sans callouts shown here) with an exemplary true crime book highlighted for each of the fifty states. It’s like a mystery/crime fiction enthusiast’s centerfold pinup, suitable for hanging over your writing desk or reading chair.

NYT Book Review

And after reading multiple mystery/crime fiction reviews, there was Kate Tuttle’s piece, certainly the most thought provoking in last week’s edition. Tuttle notes that over 70 percent of Amazon’s  true crime book reviews are by women, and her essay “Why Are Women Such Devoted Readers Of True Crime?” recalls grisly summer camp serial killer storytelling: “When the lights go out, we talk about what scares us: The near miss, the victim that could have been us.” Kate Tuttle wonders, “Why did we thrill so to these stories? What possible benefit could we derive from hearing about someone like us who had met the worst possible fate – not dying from a freak accident or a sudden illness but dying the way girls are killed: Intimately, sexually, compulsively, fueled by jealousy or entitlement or rage?” The question wasn’t fully answered, perhaps, leaving us all to ponder it on our own.

NYT Summer Thrillers 2

 

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