Jun 142013
 

The Shining Girls by Lauren BeukesLauren Beukes is the author of The Shining Girls, a novel about a time-traveling serial killer…who’s being stalked by his sole survivor. The genre-bending thriller has earned raves from Entertainment Weekly, who calls it “a heart-thumping tale,” and The New York Times, who deems it a “strong contender for the role of this summer’s universal beach read.” Below is Beukes’s Top 10 list of movies about serial killers. How many have you seen?

1. The Silence of the Lambs

2. Se7en

3. Zodiac

4. The Pledge

5. Badlands

6. The Brave One

7. WΔZ

8. Natural Born Killers

9. Memories of Murder

10. Fallen

Jun 072013
 

The Shining Girls is a mash-up of a thing: part serial killer thriller, part old-fashioned romantic buddy caper, part time-travel twister. The TV shows and movies that had a major influence on me generally, which I think played into the writing of this book, are:

Memento for its twisty out-of-order storytelling

Memento

True Grit for a young bolshy heroine set on justice

Zodiac, which perfectly captures newspaper journalism, obsessions, and the years-long frustration of hunting a serial killer

Zodiac

The Secret In Their Eyes is a devastating movie about an Argentinian ex-Justice agent writing about a cold case that that leads him to dark places

Se7en as one of the best classic serial killer thrillers

Se7en
Silence of the Lambs for Jodie Foster’s determination in spite of the odds, including facing down sexism in her department

Silence of the Lambs

Angel Heart for its dark noir, fiendish premise and unreliable narrator


Romancing the Stone as an off-kilter high adventure mismatched rom-com

Romancing the Stone

Broadcast News for the buddy love story, hard news and some incredible writing

Broadcast News

Season 5 of The Wire for its insight into journalism and police work

The Wire

Timecrimes (Spanish-language) about an accidental time-traveller who keeps making things worse as he tries to fix things

Boardwalk Empire for its pitch-perfect rendition of 1920s and 30s America

Boardwalk Empire

Carnivale for its depiction of the 1930s Depression and carneys

Carnivale

The Untouchables for 30s gangsterism and policing and some fine detail and, hey, Capone!

The Untouchables

Road To Perdition for incredible period detail and gorgeous storytelling

North By Northwest had lovely 50s Chicago detail

North by Northwest illustration

The Fugitive was great for showing off 90s Chicago

The Fugitive

Now that you’re familiar with Lauren Beukes’s influences, it’s time to go read The Shining Girls! Pick up a copy this weekend at your preferred retailer.

May 222013
 

Lynne Patrick

We did get to Guernsey, for four delicious days. We walked on the cliff path, explored old haunts, found one or two new ones, watched a sunset, walked some more, ate far too many scrumptious things that weren’t at all good for us and came home yesterday feeling relaxed and recharged. I love Guernsey.

Something else I did was indulge in a long catch-up chat with a friend who lives there, and today’s post comes out of that conversation, albeit in an oblique kind of way.

She’s working on a project that relies heavily on her knowledge of Guernsey, which is encyclopaedic and all-enveloping. And talking about it with her made me think about the way so many TV crime dramas rely on evoking the place in which they’re set and the particular characteristics of the people who live there.

It became something of a cliché for British crime writers a decade or so ago: set your series in a beautiful place and selling it for TV serialization will be a doddle.
Midsomer Murders, based in a kind of generic Cotswold village location, is still going strong, even though it hasn’t had much to do with Caroline Graham’s novels since the first series. Wycliffe, set on the stunningly beautiful Cornish coast, pops up regularly on satellite channels, dated by the huge monitors on the computers and the brick-sized mobile phones. I’ve never seen one of W J Burley’s novels even in the library, but he gets a credit on every episode.

And of course there’s Morse and his spinoff Lewis, set among the ancient dreaming spires of Oxford with its conveniently ever-changing population of students and academics.
There’s even a Morse walking tour now, taking in the picturesque city centre locations the cameras lapped up.

I’ll probably be shot down in flames, or possibly sued, for saying this, but I do wonder if the books would have gained the fame and fortune they did without the TV adaptations. Moving pictures on the TV have a way of getting inside your head and making you come back for more, especially when they’re counterpointed by murder and mayhem in the plot.

That said, creating those pictures in words on the page is a talent some authors have in abundance. I’ve just finished reading a mystery set in the Dordogne (south-west France for the benefit of geographically challenged blog-followers), and I really felt as if I was there. And when I extrapolated on that thought, I began to wonder if one reason I can’t get along with Scandinavian crime fiction is that the authors are too damn good at getting it right; they make it feel so grey and depressing that I simply don’t want to know!

I’m conscious that, aside from the above para, I’ve focused on British crime writers and locations here. That’s because all the examples I could think of of novels turned into picturesque TV series happened to be British. And also because I know them better than their American equivalents: certainly not because America lacks beautiful places. Or writers who set crime novels in them; Tony Hillerman is well represented on my bookshelves, and a certain E J Copperman has introduced me to the Jersey Shore, which I plan to visit one of these fine years.

So now we come to the point I’ve been leading to. I may have said this before, so apologies if I’m repeating myself, but what worries me a little about gory crime set in beautiful places is the credibility factor. It was with a sharp intake of breath that I saw that Ann Cleeves, one of my favourite Brit crime writers, had been persuaded to write a fifth Shetland novel. I heard Ann speak about the Shetland Quartet several times, and she always said that crime in general and murder in particular is so rare in the Shetland islands that even four books pushed credibility a little far. And now there’s a fifth. Will there be a sixth, seventh and eighth? Do I hear the rattle of shekels in the counting house? Who said publishing was run by accountants?

Enough for now, lest I use my soapbox as a ladder to climb on my high horse.

May 202013
 

Jeff Cohen

A few weeks ago, I asked not for suggestions on topics, but more in the area of feedback on categories that I post about here at DEAD GUY. I asked for said feedback to be posted at the DEAD GUY Facebook page as a clever way of steering loyal (and even disloyal) readers there, and because I do wonder sometimes what those who visit each week are hoping to see here.

What I got, of course, were suggestions for future posts, which were made here and not at the Facebook page. I truly do need to work on my clarity.

Nonetheless. Since one of the few topics suggested more than once was a look at the average day of the fairly average author (as far as I know; I rarely watch other authors during an average day and have no point of reference), I thought I would take a look at that idea today. I truly do want to give readers here what they come here to see... up to a point.

So let's see what the average day (not spent teaching, which is a whole other day) is like, shall we?

7 a.m. (or thereabouts): stumble out of bed vowing to work through the day, go downstairs and look at the overnight emails. This consists mostly of deleting spam. About 1% of the email you get overnight is relevant to your life. This practice is followed by going through a scan of the daily web sites, which includes seeing what UnknownGarry Trudeau has thought up today, how things are going in Major League Baseball, who the guest on The Daily Show might be tonight, and whether or not my daughter is available for a Facebook chat. (She comes home in 12 days, but am I counting?)

7:30 (all times approximates, just to save us the trouble): Check the bank statement to see what I've foolishly bought in the past 24 hours. Sometimes I forget. Also a quick check on Chance of a Ghost to see whether I can afford what I've bought in the past 24 hours. Of course, check in on DEAD GUY and the DEAD GUY Facebook page.

7:45: The New York Times. Yes, an actual tree-killing newspaper. Delivered to my home, every day. This is not a page-by-page read because it gets too depressing or infuriating depending on the day. Also because a full read would take me into somewhere around noon. Scan headlines, read articles that interest. Definitely check sports (during baseball season), the Arts (all the time) and the business section on Mondays (media and publishing). 

8:15: The New York Times Unknown-1crossword puzzle. Do not try to contact me then. And as the week goes on, the time spent on it will only increase. After finishing, check with Rex Parker to see whether he and I agree on the puzzle (we usually don't, because he is infinitely better at it than I am).

Let's say 8:45: Exercise with the Wii. This is considerably more arduous than you think, so wipe that giggle out of your mouth. I use a fairly strenuous program, especially for someone as massively uninterested in exercise as I am. Also spend this time listening to music, because listening to a computer-generated "trainer" tell you what to do is an intolerable activity for anyone with a functioning neurological system.

9:45: Shower (believe me, you want me to) and change clothes.

10:15: Respond to emails, particularly business related ones. If there's a newspaper assignment, make phone calls. If not, don't.

10:30: Rouse son from sleep. This is not time-consuming (for me).

10:31: Usually there's some teaching stuff to do, like grading papers or preparing for this week's classes. If not, think about writing. Don't write.

Noon: Lunch. Usually spent while flipping around channels to see if TCM has a really weird "classic" movie on or if MLB Network is counting down the 9 best lefthanded relievers whose names begin with an "L." (I hold out hope for Sparky Lyle.)

12:30 p.m.: Give serious consideration to a nap. More likely, watch a Ted_talksTED Talk. And fall asleep for 15 minutes. Not because the talk is boring; it isn't.

12:45: First time checking for mail today. Find none (the mail comes every day between 2:30 and 3 p.m., and you'd think I'd allow for that--I don't). If there are telephone interviews to do for a newspaper article, do them. (Time on this is flexible, like if the phone rings at anytime during the day.)

12:45 and 30 seconds: Read over what I wrote yesterday, decide it isn't as bad as I thought, and do a little editing. 

1:30: Look for daughter on Facebook again. This leads to Internet procrastination. When not actually trying to lose weight, it's possible a snack will be involved. If there is a newspaper deadline, write newspaper article.

3:00: Write beyond yesterday's installment. Probably not very much. Procrastination is so much easier when you think you have time. Read mail, which has arrived. Throw out 95 percent of it.

4:00: Get out guitar by way of "clearing my head." Play as long as nobody can hear me, possibly with headphones on, listening to real musicians and pretending I'm 1/30th as good as them.

5:15: Greet wife at door. Discuss dinner, Decide who will prepare it. Watch wife go out for a run, to show off that she cares more about exercise than I do (but then, who doesn't?).

6:00 Prepare dinner, unless wife has lost argument. Wife never loses argument, but sometimes wants to prepare dinner anyway.

7:00: Dinner with wife and son, unless son is working.

7:30: Watch last night's The_Daily_Show_logo.800w_600h1Daily Show. Laugh uproariously. Possibly check out other television or Netflix movie. If during baseball season, check in on game.

10:00: Get serious about writing 1000 words. Actually write 1000 words.

10:30: Say goodnight to wife, promise to be up in "five minutes."

11:30: Head upstairs vowing to work all the way through tomorrow. After exercising.

7:00 a.m. Repeat.

May 162013
 

Some very good news today from Open Road Media, a company which has been making a significant number of Golden Age mysteries, both from the US and from England, available in electronic editions. The latest author to benefit from this treatment is Stuart Palmer, whose series detective, Hildegarde Withers, is one of my perennial favorites. Palmer frequently referred to her more-or-less affectionately as "that meddlesome old battleaxe," but Hildy Withers is nobody's fool, and she makes an interesting team with New York City Inspector Oscar Piper, with whom she maintains a rather prickly friendship.

Palmer created the character of Hildegarde Withers with actress Edna May Oliver in mind, In fact, Oliver did star as Hildy in several popular movies in the mid-1930s, opposite James Gleason as Inspector Piper.

As a general rule, the stories are well-plotted and told with some nice humorous touches. I've already reviewed nine of Palmer's books on this blog, and you can find a full list on the backlist page - just scroll down (the authors are listed alphabetically). I'll be reviewing more books from the series, now that Open Road is making them available. If you haven't met Hildegarde Withers...now is the time! I should mention that Open Road is also publishing some additional Stuart Palmer titles that do not have Hildy - I'll be looking forward to trying them as well.

May 132013
 

Exciting news for lovers of classic mysteries: Amazon will be republishing all 49 of Leslie Charteris's books featuring the character Simon Templar, known as "The Saint," as well as all 65 of the Mrs. Bradley books by Gladys Mitchell along with six of her other books that do not feature Mrs. Bradley.

Although I don't think I have ever read any of the original books, I remember The Saint from the series of "B" movies which were always on television when I was growing up, often featuring George Sanders in the title role. And I've written here - frequently - about some of the Mrs. Bradley mysteries, many of which have never been published in the U. S.

Apparently these will start appearing sometime later this year, under Amazon's Thomas & Mercer imprint.

S. T. Karnick has more details at his blog, The American Culture.

May 132013
 

Jeff Cohen

I notice I've been blogging a lot lately about respect for "light" entertainment, like the books I write but also about television and movies that aren't necessarily considered the most "important" examples of their medium.

There is a certain "middle child syndrome" that comes from growing up in New Jersey, constantly stuck between our evil overlords in New York and the cocksure wiseguys in Philadelphia (they boo their own teams there!). But this isn't simply about feeling unappreciated--I have it pretty good, myself, and I have what I think is a reasonably clear picture of the kind of thing I do. I'm fine with it.

But. There is a tendency among critics, media reporters and in some cases those in the industry to look at the supposed "light" entertainments and dismiss them as simple, empty-headed (get ready for the word of the week) "escapism." The idea is that entertainment like books, theater, film and TV (and one assumes now online things like cats on skateboards or something) help the reader, viewer, or absorber--I love it when they talk about us "consuming" entertainment; I can eat pretty prodigiously, but I don't think I could handle that--mentally break with reality and provide some way to avoid dealing with the horrors of everday life.

Let's see how many different things are wrong with that idea, shall we?

First: ALL fiction is some form of escape, in that it insists that the audience member (and that's the term we'll use for all media, okay?) suspend thinking about his/her current circumstance and pay some attention to one of the creator's design. In order for "Crime and Punishment" to work, the reader has to stop thinking about his life and start participating in the ones Dostoevsky310Dostoyevsky dreamed up. And anyone who thinks "Crime and Punishment" is "light escapism" should be kept away from sharp objects.

Beyond that, though, is the assumption that light entertainment (which is code for "anything that's not depressing or, heaven forbid, might try to be funny") is in some way secondary or inferior because it bears no resemblance to the dark, hideous truth that is human existence. 

If your view of life is that it is all misery, you should stop reading this blog immediately and seek out someone who can help you. (Or go make another movie, Woody.) And if you think that comic or "light" forms of entertainment can succeed if they don't reflect reality, you don't understand the concept of entertainment.

In order for a story, a joke, or a piece of music to be successful, it has to connect with an audience. It has to reach people, and they have to find something in it that relates to their lives. That's basic. You can write a book from the perspective of a house plant if you feel like it, but the story had better be about human emotions and human interaction, even if it's reflected in plants. Do you think "Animal Farm" is about, you know, animals?

So if BlazingsaddlesquizBlazing Saddles makes you laugh, at least part of that laughter will be a form of recognition: "I get that because I know people who might act like that, or think that way." Sure, it's exaggerated, but don't tell me it isn't true.

Do people sometimes need a way to distract themselves from their troubles? Of course they do. Some of my favorite emails from readers have been from people who read my book in hospital rooms with desperately ill relatives or after a loved one's death. They say the book takes their mind off difficult thoughts sometimes, and thank me for that.

One of my favorite booksellers (besides you, Marilyn!) recently told me that she'd sold a copy of one of the Haunted Guesthouse books to a special customer, one who had managed to escape (not without injury) from the World Trade Center in 2001. She said her customer had been having a hard time dealing with people, but showed up for a book club meeting to discuss my book.

She said my book was the first one--almost 12 years later--this customer had read all the way through since 9/11.

Escapism? Maybe. But don't you dare tell me it's not important.

May 122013
 

Jessy Randall

Women on screens are usually shown taking their clothes off rather than putting them on, but I have a complaint about the Hollywood bra-putting-on-method. In movies and TV, women are always putting on bras using the reach-around-the-back method. Up until this week, I believed this was a completely unrealistic depiction of the actual way women put on bras. What? A lack of verisimilitude in Hollywood?

I now believe I was only half right. An informal email and Facebook poll of about sixty people who wear back-hook bras suggests that about half of us use the Hollywood method and the other half, my half, prefer to hook the hooks where we can see them, in front, and then twist the bra around. 26 responders said they use the Hollywood method; 28 use the twist-around method; 4 said it depends; and 2 use a different method altogether (they pull the already-attached bra over their heads).

When one is trying to solve an interesting mystery, one often gets interesting results. Here are some quotes from the responses:

HOLLYWOOD

R2d2bra"Note that I am not particularly chesty, thus the hooks are not elaborate or extensive. Also, I have fairly flexible rotator cuffs which make this an easy maneuver."

"I am sure I learned this from watching my mother, and while I'm not going to go into details, I can attest that our place further in the alphabet is not a problem here."

"Hollywood style, but I can say that I have never gotten up from my bed and wrapped the sheet around myself."

"Me neither, nor have I ever sat on the toilet going #2 for eons with the door open whilst having a pleasant chat with my girlfriends."

NON-HOLLYWOOD

Rubikscubebra"Lately I noticed I've been putting both arms through the straps simultaneously -- like I'm trying to work fast and save time! My life is too damn frantic."

"The other way is only for Bond girls. Or ninjas."

"Women put their bras on that other way in movies because we all look weird and awkward twisting it around on ourselves."

"I think that men must find it sexier if women stick their arms through and hook the back, but I’ve never known a woman dexterous enough to pull that off."

"From time to time I try hooking it in the back just to see if I can do it, but find it too hard to get three hooks into the right loops. Maybe if I only had to hook one, I'd do it, but that's a fantasy!"

"DEFINITELY hook first, spin, put arms through. Not sexy? Perhaps. Possible? Yes!"

"For those of us larger women a bit farther in the bra alphabet, the non Hollywood way would be very difficult. Mine has 4 hooks and underwire."

"Despite having very bendy arms, I do it the non-hollywood way. And it's become so automatic that front-hooking models always throw me for a loop."

IT DEPENDS

Support"Depends on the bra. One hook, no worries. Two hooks, might take one or two misses. The three hook ones? Forget it. It's like solving a Rubik's cube."

"Back. Except when I was nursing and needed an 'I' cup bra (I! as in 'Ice Cream!') and then needed a special construction bra made by the Army Corps of Engineers. It came with a six-step set of instructions..."

OTHER

"Verisimilitude would be a good brand name for a push-up bra."

May 062013
 

Jeff Cohen

There are two things you are never supposed to say out loud (actually, there are plenty of things you are never supposed to say out loud, and I believe you should say most of them): You're never supposed to say that you don't like listening to FrankSinatra_1402870cFrank Sinatra sing, or that you're not crazy about The Godfather.

Well, I'm here to say both. So you can start yelling at me as soon as you've finished reading the rest of the post. 

Sinatra: Yeah, the guy had a nice voice. It is also true that he was not a terribly wonderful human being. That's not always a deal breaker with me, but in his case it's hard to get around. Overlook the way he and his Rat Pack pals misinformed generations of young men on how to behave. Forget the treatment of women and the palling around with organized crime (we'll get to that in a minute); I'm just not that moved by his singing. It's all about technique and rarely about the song being sung; each note seems to want to draw attention to itself and say, "Listen! I'm being sung really skillfully!" Until, of course, we reach the dooby-dooby-doo period, at which time even the "nice voice" thing is in serious doubt. If I never hear his version of "New York, New York" again, I'd only be sorry because it would mean the Yankees hadn't won the game.

But more egregious than that declaration, perhaps, is the lack of respect for Francis Ford Coppola's adaptation of the Mario Puzo novel The-Godfather-007The Godfather, which pretty much anybody who's ever seen a film has decided is, if not the greatest movie ever made, certainly in the top five.

Except me.

For one thing, I resent the legacy of the movie--since its incredibly successful release, I've had to deal with fictional gangsters ranging from the ridiculous to the just plain annoying. No, I wasn't a fan of The Sopranos, for the record, and not only because it helped fuel the prejudices of just about everyone about my home state. I'm not watching Steve Buscemi--an actor I usually like a lot--in his Atlantic City gangster show, either. 

Because the fact of the matter is, I'm sick of gangsters. How the hell many ways are there to dramatize organized crime from the sympathetic perspective of the criminals? And why is that a good idea? Those who think Al Pacino and Marlon Brando were bringing something new to the party in 1972 because they were showing us that gangsters are people apparently had missed 80 percent of the movies Edward G. Robinson and James Cagney ever made.

On top of that, guess what: Gangsters are not nice people. They tend to steal from those who can't afford it, kill those whom they are not especially crazy about, corrupt law enforcement and government, deal drugs (or, in the good old days, alcohol), cause pain and generally contribute to a system that doesn't need any help in making things tough for the little guy.

From a movie standpoint: The Godfather is too damn long. Its dialogue is often hard to hear. Its lighting is intentionally dark (we're making an existential point here, people, so pay attention!). Its performances are certainly compelling, but its characters are uniformly unpleasant and hard to watch. We are encouraged to side with one group of gangsters--the good ones, I guess--and against others, including the scheming Jews. (I would not for one second deny there were Jewish gangsters, by the way.) 

So don't come to me and quote chapter and verse from the sacred Book of Harpo-marx-norman-z-mcleod-horse-feathers-1932Michael Corleone, okay? I realize I'm demonstrating my awful taste when I say I'd rather watch any of a hundred movies again before I check out the grand opera that is the "masterpiece" of The Godfather; I don't care. 

You are unquestionably entitled to believe that it's the greatest single achievement in all of Cinema. Just as I am entitled to prefer Horse Feathers. This is America. See the movie you want.

Apr 222013
 

Jeff Cohen

There's wings to the thought behind fancy;

There's wings to the thought behind play

--Michael Nesmith, "Rio"

 

Those of us who traffic in "lighter" fare are used to a certain level of condescension. After all, books that might make you laugh are rarely called "important" or included on Best of the Year lists. Even the terms associated with comedy based writing--"light," "breezy," "humorous" (ugh!) or "comfortable"--are backhanded compliments. 

But by far, my least favorite is "effortless."

Let's sum that one up: An author comes up with a story idea. That is developed into a full plot, given characters to populate it, twists to its plot and words for its people to say. It is expected to have the same depth of character, intrigue of plot, pacing, believability and level of involvement that a "serious" book would have.

Now, add laughs. Legitimate ones. Not the cheap stuff that any writer might concoct. We're talking professional comedy that is aimed at a readership that could be comprised of just about anyone. And those of us who do that hope that we're reaching you with all those elements at once.

Effortless?

Believe me, there's effort involved. 

Now. When a reviewer or other observer says that the work "reads effortlessly," or "seems effortless," I am flattered. That's the goal--comedy shouldn't show the sweat; it should feel like it's spontaneous and natural. That's a good thing.

But when "effortless" is used independently--"the comedy is effortless"--that is insulting. There was effort; the craft is in not showing it. But it should be acknowledged.

Nitpicking? Maybe I am; I do tend to get defensive about this stuff. That doesn't mean the observation isn't legitimate. Respect the effort by noting its invisibility. End of sermon.

 

I don't believe in Writer's Block. I DO believe in another ailment, however: Blogger's Block. The only time I ever spend staring at a blank screen with no idea what's coming next is on some occasions when I'm facing a posting date and I don't know what I'm going to be writing about. I don't know what regular readers of this space (on Mondays) want to see, necessarily: Personal insights? Writing tips? Humor? Recipes (don't ask for recipes!)?

So I'm asking visitors who have suggestions--and I know you have suggestions--to drop by our Facebook page and offer them. Drop us a line. Let us know what you like, what you get from DEAD GUY, what you'd like to see. I can't speak for anyone from Tuesday to Sunday, but let me know what you want to see on Monday, and I'll TRY to provide it.

Just don't expect that it'll be effortless.

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