PW’s Book Shopping List.

PW

A mid-November issue of Publishers Weekly was stuffed full of interesting things, particularly two special features on mysteries, thrillers & true crime in, “Out Of The Shadows” by Michael J. Seidlinger, and “Open Wounds” by Bridey Heing. The thrust of those two meaty multi-page articles: Gillian Flynn’s Gone Girl has sold nearly four million copies in seven years, during which time the mystery/crime fiction/thriller marketplace might feel overtaken by a glut of domestic thrillers helmed by similarly imperfect narrators. But the genre, its subsets and offshoots are an incredibly rich and diverse landscape of distinctive voices, inventive plot devices and milieus, so both Seidlinger and Heing showcased a wide selection of now-debuting and soon-to-arrive novels and true crime titles that aren’t necessarily Gone Girl derivatives (or even include ‘Girl’ in the title, which so many new releases have been doing). I was pleased to spot some I’d already ordered, reserved or even had in hand. And, just as pleased to see more in Seidlinger and Heing’s articles and the adjacent ads for books I mean to get, including:

After All -

After All by Robert Arthur Neff

Are Snakes NecessaryDouble Feature

Hard Case Crime’s Are Snakes Necessary by Brian DePalma and Susan Lehman, and Double Feature by Donald Westlake

Bonita Palms

Bonita Palms by Hal Ross

That Left Turn At Albuquerque

That Left Turn At Albuquerque by Scott Phillips

The Wrong Girl

The Wrong Girl by Donis Casey: ‘The Adventures Of Bianca Dangereuse’

The Beauty DefenseAnd for some non-fiction, The Beauty Defense – Femmes Fatales On Trial by Laura James

 

 

Cutting Edge.

Cutting Edge Joyce Carol Oates

I noted in a prior post that on top of channeling book buying dollars to independent booksellers, it seems that we also need to consider ordering small and micro-press titles direct from their publishers as well. I’m game for spreading my resources around, such as they are, and will go direct to Akashic Books (akashicbooks.com) to order Joyce Carol Oates’ Cutting Edge – New Stories of Mystery and Crime by Women Writers.

Akashic is the publisher of the long running “Noir” series: Chicago Noir, New Jersey Noir, Amsterdam Noir…well, name a city or region, and they probably have a noir anthology for it. I believe the last one I talked up here at The Stiletto Gumshoe was the then just-released Milwaukee Noir. And since Akashic promotes “25% off all books every day”, I guess I’ll be back for more soon enough. After all, I can’t expect my local bookseller to stock every city/region in the Akashic Noir series.

As for Cutting Edge:

“Is there a distinctive female noir?” Oates asks in the opening line of the anthology’s introduction. I’ll confess to peeking at it online, pleased to see that the editor’s intro is no slapped together half-pager. “Is there, as some have argued, a distinctive female voice, differing essentially from the male voice?” She goes on to talk about just what mystery, crime and noir really are. “It has been noted that noir isn’t a specific subject matter but rather a sort of (dark) music: a sensibility, a tone, an atmosphere.” Certainly not a genre, and hopefully more than a mere subcategory of mystery/crime fiction, whatever ‘noir’ may be, Oates is certain that there are distinct and surely vital differences between the so-called traditional male noir world and the female. “The particular strength of the female noir vision isn’t a recognizable style but rather a defiantly female, indeed feminist, perspective.”

I was pleased to once have a story included in a hardcover anthology alongside Joyce Carol Oates (pay rate aside). Cutting Edge’s list of well-known and less familiar writers is impressive. The intro describes some very diverse settings, subject, styles and plots. I’ll be buying a lot of books this month, whether for myself or as gifts (surprise!), and I’m really looking forward to Joyce Carol Oates’ Cutting Edge – New Stories of Mystery and Crime by Women Writers.

Carrie Cashin

Crime Busters July 1939 - Carrie Cashin

I read my first Carrie Cashin story in Bernard Drew’s excellent Hard-Boiled Dames anthology, but finding more is a challenge, unless you’re ready to fork over significant dollars for collectible pulps (which I’m not). I only recently spotted two Carrie Cashin tales (“Black Queen” and her debut, “White Elephant”) in The Shadow #133 and #138 at Bud Plant’s budsartbooks.com. They’ve been added to my Christmas list, though I suppose I’ll end up ordering them myself after the holidays (no one ever wants to stuff my Christmas stocking with the real fun stuff).

Carrie Cashin 1

Created by Theodore Tinsely, Carrie Cashin appeared in over forty stories in Street & Smith’s Crime Busters and Mystery pulp magazines between 1937 and 1942.  A former department store detective, Carrie looks “like a demure brown-eyed stenographer in a tailored jacket and tweed skirt”, and often defers to her “broad-shouldered assistant Aleck, to allay any clients’ concerns about a woman detecting” when they’re with clients. But Miss Cashin is the real head of the Cash & Carry Detective Agency, the first to leap into danger, and clearly the brains of the outfit. Like Lars Anderson’s Domino Lady, Carrie has a derringer strapped to her thigh beneath her skirt, sometimes surprises with a bigger weapon hidden in her purse, and rarely balks when the bad guys are up for some fisticuffs.  The Hard-Boiled Dames anthology included Tinsley’s “The Riddle In Silk”, in which Carrie (with assistant Aleck in tow) investigates a bloody murder in a remote mansion on the requisite dark and stormy night, which leads them back into the city and ultimately to the waterfront docks on the trail of a stolen pair of silk stockings which “may mean the difference between peace and war in Europe”, the hose containing secret coded messages.

I’ll have to keep looking for an affordable pulp reprint or anthology I’ve overlooked to locate Carrie Cashin in “The Man With The Green Whiskers” novelette from the July 1939 Crime Busters magazine depicted above at the top. Looks like the bad guys got the drop on Carrie this time, and maybe her lilac frock and slip contain something they want bad enough to hold her at gunpoint. Fear not: Carrie will get out this predicament.

Carrie Cashin

 

One Good Deed

One Good Deed

We’ve been here before. If you’re a fan of postwar paperback originals, you’ve been probably here quite a few times, in fact. But that doesn’t mean we don’t want to be here all over again if a talented writer can make it worth the trip.

A stranger arrives in a made-up big town/small city, typically in some vaguely Midwest or southwest locale, only to wind up in trouble with the local law, corrupt power brokers and – inevitably – the resident femme fatale. It’s been a standalone mystery/crime fiction novel staple since the 1940’s. Paw through musty paperbacks in a used bookstore and you’re bound to come up with one or more. Familiarity (even occasional redundancy) doesn’t undermine this viable noir-ish story setup, any more than seascapes, still life’s and figure studies would be invalidated simply because painters frequently explore them like an artistic right of passage. Two examples of this type of story that immediately come to mind are Ross MacDonald’s Blue City from 1947 and The Long Wait, a rare non-Mike Hammer novel from Mickey Spillane in 1951. And I bet you could name some others.

Blue City MontageThe Long Wait Montage

So, there’s nothing surprising about David Baldacci giving this time-honored theme a go in his current One Good Deed, other than the fact that this NYT bestseller already knocked out nearly 40 novels (his first novel, Absolute Power, adapted to a successful film as well) before contemplating his first retro postwar setting. Based on some online reviews I’ve spotted, it caught a few of his loyal fans off-guard. Well, they better get used to it, since it sounds like One Good Deed is the first in a new series Baldacci has planned.

In 1949, Aloysius Archer steps off the bus in Poca City in ill-fitting clothes, a measly few dollars in his pocket and a three day stay prepaid at the only hotel. He’s due to meet his parole officer, find a job and start over after a three-year prison stint on trumped-up charges. But Archer (which is the handle he prefers) endured far worse as a decorated infantryman in WWII’s Italian campaign, and is a man to reckon with.

An ill-advised but understandable urge for a forbidden drink and some barroom banter with a local lounge looker are among his first mistakes. Followed by a bigger lapse in judgement when he agrees to collect a debt for Poca City’s big shot, Hank Pittleman, who owns the local bank, the town’s only industry (a hog slaughterhouse), the hotel Archer’s staying in…hell, even the cocktail lounge they’re drinking in. And the girl who’s got Archer’s head spinning. As will happen in such tales, Archer winds up in bed with Pittleman’s seductive mistress…the same night Pittleman’s murdered, his throat slit ear-to-ear. All of which finds Archer in one hell of a lot of trouble with the local law, the State Police homicide investigator who takes over, and Archer’s own parole officer…who just happens to be an intriguing woman with a mysterious past and is every bit as alluring as the Poca City bad girl he’s already mixed up with.

There’s enough small-town drama and family secrets to fill both a Grace Metalious novel and a Tennessee Williams drama here, mixed in with a puzzling murder mystery (and a few other dustups and deaths along the way), all capped off with a climactic courtroom scene, which may sound like a bit much for any one book, but then Baldacci’s a real pro and more than up to the task. I’d never read one of his novels before, but knowing he plans more Archer novels after One Good Deed, I’ll be watching for the next one. The fact is, when I stumble across some musty old paperback by a long-gone writer in a used bookstore with some other loner stepping off the bus in a made-up town’s Main Street, I’ll probably give it a try too, no matter how many times I’ve been there already.

A Career Cut Short: Bertil Hegland

Bertil Hegland 2

Bertil Hegland (1925 – 2002) was a Swedish illustrator known in the Scandinavian market for popular children and teen book series covers — including the Nancy Drew series (apparently called “Kitty”) — as well as hard-boiled mystery and crime fiction covers. Initially an advertising illustrator, Hegland migrated more and more to publishing. By the late 40’s and still only in his mid-twenties, his main clients were book, digest and magazine publishers.

Bertil Hegland 10

But at only 42, Hegland was the victim of an unfortunate car battery accident that severely injured his hand, to the point that he could no longer draw. Apparently, he gave up art altogether at that point. Whether his hand was crushed by a battery (they can be pretty heavy) or it exploded (which we’re often warned about) isn’t clear.

You can point out that Mickey Spillane, James Hadley Chase, Peter Chaney and other writers’ work was packaged in more handsome cover art in the U.S., UK and elsewhere, and I won’t argue. Publishers in smaller markets deal with substantially shorter press runs and surely looked for proportionately smaller fixed upfront costs. Many encouraged illustrators to freely ‘adapt’ U.S./UK covers, and you can see that at work here with some of Hegland’s illustrations.

Bertil Hegland 4

Biographical info is spotty at best on Bertil Hegland, and most of that in Swedish, which I can confirm translates pretty poorly in standard online translation. Check the next post tomorrow for additional examples of Hegland’s work.

Bertil Hegland 5

Love, Libel And Murder

Invasion Of Privacy

“He was head over heel – in love and libel and murder…”

Illustration by Joe Bowler for Harry Kurnitz’ “Invasion Of Privacy” from Collier’s magazine, 1955.

1955 joe bowler

And I Haven’t Read A Single Story Yet.

2

It’s over a month ago that I reserved a copy of Otto Penzler’s The Big Book Of Reel Murders – Stories That Inspired Great Crime Films, warned at the time that it might not arrive till mid-November. In fact, I got it almost two weeks ago and have been burrowing through this nearly 1,200-page monster of a book since.

And yet – so far, I haven’t actually read a single story.

The Big Book Of Reel Murders

Each of the 61 stories by writers like Robert Bloch, Ian Fleming, Dashiell Hammett, Dennis Lehane, Sinclair Lewis, Daphne du Maurier, W. Somerset Maugham, Budd Schulberg, Cornell Woolrich and others was the basis of a mystery/crime/noir film. Some you’d know, of course. Some, perhaps not. (I’d never heard of a few!) The movies inspired by the anthology’s tales include Woman In The Dark (1934), The Big Steal (1949), Fear In The Night (1947), Gun Crazy (1950), Tip On A Dead Jockey (1957), Mr. Dynamite (1951) and many others — some stills, publicity shots and posters for those shown here with this post.

1

Many anthologies seem to be hastily put together, with little more than a brief genre celebrity preface, editor intro and — if the reader’s lucky — author bio’s. Not this book. Each of the 60+ stories are preceded by a two or three-page introduction providing author, story or publication background info, plus details and anecdotes about the film inspired by that story. Add it up: These intro’s almost form a book on their own, with the insights into familiar films being informative treats, the others being prompts to hunt up the movies as yet unseen.

3

Oh, I’ll go back and read the stories, of course. The Arthur Conan Doyle, Robert Louis Stevenson, Edgar Allan Poe and Agatha Christie tales I already have elsewhere and have read more than once might be skipped, but there’s some choice material in this big book. And though it might seem a little weird, some of the choicest content is actually the story introductions, as much as the stories themselves.

4

 

Nobody Move.

nobody move

We’ve been here before with writers and filmmakers like Elmore Leonard and Quentin Tarantino (quotes from both of whom lead off this novel). But that doesn’t mean it’s not worth another trip through So-Cal Neo-Noir, especially when we’re in the hands of a talented storyteller, and based on this debut novel (or so I assume it to be), that’s precisely what Philip Elliott is.

Action-filled stories like Nobody Move’s plot are hard to summarize, but I’ll give it a try: What ought to be a routine collection call by a couple of low-level enforcers goes bad, resulting in a pervy narcotics distributor and his innocent wrong-place-wrong-time mistress shot dead, their bodies none too well hidden (and promptly discovered) in the hills. And that results in the dead man’s much-more-dangerous brother arriving from Texas and out for vengeance, and a world-weary single mother homicide detective assigned to the case. Meanwhile, an enigmatic young woman shows up, hunting for the half-sister gone missing from their South Dakota Oglala Reservation home (who was the murdered mistress, of course), and the crime lord who initiated the whole affair is determined to silence everyone involved…permanently. Bottom line: Everyone’s looking for Eddie, the inept crook who stupidly pulled the trigger and set things in motion. Colorfully quirky characters provide ample cannon fodder for the sudden bursts of explosive violence that erupt on cue in Elliott’s (thankfully) straightforward linear narrative: A retired gay porn star (now pre-op trans) turning traitor, a sleazy lawyer, a strip club dancer, a Puerto Rican hitman and other assorted thugs among them. The characters’ multiple paths converge, sometimes violently, sometimes humorously, and ultimately in a harrowing daylight bank robbery and then a major shoot-out. If this is Elliott’s debut novel, then he handles a complex multi-character plot handily and keeps everything moving along at a fast-paced clip. People toss the term ‘page turner’ around a lot (myself included) but this one really was, at least for me.

If you give Nobody Move a try, I challenge you to not picture your own dream cast for each character’s role, or to constantly visualize Elliott’s well laid out scenes in the quirky, jump-cut violence-filled big screen version it ought to be. Philip Elliott is the editor in chief of the print and online literary magazine, Into The Void, and this novel is from their small press publishing operation. That suggests no literary agent was involved, but I sure hope the author has someone working overtime to drop this novel onto appropriate Hollywood producers’ desks.

Chicago 1946 – 1957

46 chicago

Late 1950’s Chicago wasn’t much on my radar back in 2000 when Steve Monroe’s ’57 Chicago came out. I’ve probably seen it on shelf in used bookstores, even recently when I’ve been laser focused on 1959 Chicago for my own projects (as in, The Stiletto Gumshoe). Even if I have spotted Monroe’s debut novel, I probably decided to pass, not being much of a fan of the boxing scene, which is the what that novel deals with.

But, it’s on order through my local bookseller now, in the newer 2015 trade pb edition. I requested it along with some other books when I was barely 20 pages deep into Monroe’s second novel, ’46 Chicago from 2002, which I recently bought at a used bookstore. Boxing scene or not, if Monroe’s debut is even half as good as his follow-up, I know it’ll be good.

’46 Chicago deals with semi-rogue cop Gus Carson, recently returned to the force after a harrowing time in the Pacific war, only to find himself suspended over an off-duty shooting in a whorehouse. Where he was a patron at the time. So, let’s be clear: Gus is no angel. Tempted by five hundred easy but obviously suspicious dollars from a Chicago bigwig endorsed by the police brass, Gus is tasked with locating the man behind the numbers game on the south side…who’s been kidnapped. Or, may be dead already. Who’s behind it? The cops? Rivals? The mob? Gus’ search drags him down through the underbelly of the city and up to the sprawling estates of the North Shore’s millionaire power brokers, forced to confront his own violent and less than honest past along the way. He may solve this mystery, but there’s no redemption for Gus Carson at its end. It’s all loosely based on the Chicago mob’s real-life takeover of the south side numbers/policy racket, engineered by Sam Giancana under Tony Arccado’s leadership.

57 chicago

Monroe’s novel is truly harder than hard-boiled, darker than the most noir-ish of noirs, utterly grim and gritty throughout. I just finished ’46 Chicago after work tonight (Tuesday), and now I’m itching for ’57 Chicago to arrive, so I can dive in to that one, fight scene and boxers or not. But only three of the five books I’d ordered have come in so far (those picked up today), ’57 Chicago still en route. Steve Monroe did one more novel in 2015, Pursuit, in what looks like a contemporary setting. According to his website (stevemonroebooks.com) there are a couple more languishing in a file cabinet, including a sequel to ‘46 Chicago. I don’t know if Monroe’s retired (he is or was a successful real estate broker) or if the current publishing/bookselling marketplace conditions have those projects permanently stuck in limbo, but I hope they see the light of day. Some day.

Side note: I did buy ’46 Chicago at a used bookstore, my copy a like-new hardcover with a perfectly clean dustjacket. Only a little way in, what should tumble out from between the pages? The author’s own day-job business card, which may well have been hiding in there since the book’s release in 2002. (The company’s since been absorbed by another in a mega-merger.) And based on the card and his title at the time, I don’t think Mr. Monroe’s hurting for a tight-fisted publisher’s advance minus agent’s commission. Just guessing.

 

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