There’s a long list of George Pelecanos’ projects that I adore: Novels, short stories, television scripts.
But my favorite remains The Big Blowdown, his 1999 tale of two Washington DC friends (including Nick Stefanos, the Pelecanos character who’s crossed-over into more than one project) set in a post-WWII world of realistically drawn blue-collar Greek neighborhoods filled with rich renderings of everyday people who live and work alongside the small-time mobsters who really run things. Some have compared Pelecanos’ early novels to James Ellroy’s L.A. Quartet, and I won’t argue. They share a spare yet darkly poetic writing style and focus on a specific time, place and cast of characters. How he continues to create excellent books while concurrently working as a writer/producer for high-visibility projects like The Wire, The Pacific and The Deuce among others is beyond me. A person can only do so much. Somehow, Pelecanos does still more.
For me, this particular novel has been a kind of tutorial on how a master wordsmith handles an ethnic milieu, something I’m working with (different ethnicity, but still) in my own projects. Obviously, Pelecanos does it better than many, and better than anything I could ever hope for.
The Big Blowdown will get a careful re-read someday. I’ll just need to give it some time so I can forget the specifics and discover it all anew. As an aside, the nifty Richie Fahey cover art on my well-worn trade pb edition shown above doesn’t hurt.