Jun 052013
 
My Bookish Ways: What do you enjoy most about writing crime fiction?
Lange: I choose to write about the people and situations I write about because it allows me to deal directly with issues like race, class, power, crime, and corruption without having to pussyfoot around too much, while at the same time entertaining my readers with a story that draws them in and keeps them interested and introduces them to characters they might not normally get to know.
Mar 112013
 
“Crime fiction weaves its tale in the threshold between right and wrong, just and unjust, good and evil. It is because of its naked confrontation with philosophy and ethics, and its depiction of drifters, confidence men, femme fatales, petty criminals, serial killers, and agents of the law beset by iniquity and caught in the web of moral turpitude, that it is so effectively and naturally able to deal with doubt, faith, and the inner combat of spiritual warfare.”

- The Daily Beast finds much fodder for exploring religious faith in the crime genre, specifically citing Lawrence Block and Michael Connelly. Very interesting.
Mar 052013
 

by Gar Anthony Haywood

We writers are such kidders.  We spend hours and hours online every day, and devote much lip service to justifying it.  We're doing research, building our fan base, learning new promotional techniques, keeping abreast of the latest developments in publishing, blah-blah-blah.  And sure, some of that is true --- but only about sixty percent of the time.  The other forty?

We're goofing off!

Case in point: I blow forty minutes every morning reading The Huffington Post, and while I do it in part to catch up on the news, I'm only religious about it because I get such a kick out of some of the site's headlines.  They practically beg for a punchline, which I'm only too happy to supply.

Let me show you what I mean:

 

But says she has no intention of returning the Royal Lampshade.


(If the guy who wrote this story thinks this is news, he must have a major drug problem.)


She wants to receive an obscene phone call before every performance --- on her hat.

 

Because 174,261 times in 59 years is hardly enough for any man.

 

Because if they made it available in any other part of the world, they'd be laughed out of existence.

 

Number 1: "Was that as pathetic for you as it was for me?"

 

I can't give you 43 million reasons why, but the guy in the picture could.

 

Okay, maybe it's just me, but if I'd gone to see a doctor named "Nikita Levy" for the first time and found this guy waiting in his office, I would have smelled a rat right there.

 

Perhaps.  But what do you say we drive a stake through his heart and chop off his head, just to be on the safe side?

 

. . . made E.L. Grey cry.  But only for 50 seconds.

 

Proving that when you say, "Nyet new taxes," in Russia, you had better mean it.

 

And then she'll go into rehab with Steven Tyler.

 

Man, I knew my new desk lamp smelled funky!

 

"Of course I'd like to go home with you tonight.  But would you mind autographing this bar napkin first?"

 

I don't know, Mr. Gere, and I don't care.

 

No, but let's hope a group of neo-Nazis pay $212,000 for it on eBay, anyway.

 

. . . and 1 thing I simply don't understand: Why in the hell does somebody with his money find it necessary to paint hair on his head every morning?

 

And here I always thought it was the other "Joe Walsh" who wrote "Walk Away."

 

Shouldn't this headline read "MUST-SEE YAHOOS ON VIDEO!"?

 

Help me out with this one: If she's maximum-frowning in the "Before" photo . . .

Jan 052013
 
Finally, after more than a decade of trying to pull my comics projects Perils On Planet X (an interplanetary swashbuckler in the Flash Gordon tradition) and Gravedigger (a hardboiled crime caper inspired by the Gold Medal paperbacks of the 50s) together and out to the readers, I'm pleased to announce that both projects - which originally started life together as online comics on the long-defunct AdventureStrips site - are returning to the Internet as weekly webcomics.

This is something I'd been thinking about for a long time, and thanks to my amazing wife, Brandi, who figured out how to set up proper webcomics sites, I'm finally able to get these comics back online. 

Perils On Planet X, with art by the exceptional Gene Gonzales, will debut on February 1st, with a new page being posted every Friday. Although the previous webcomic version was drawn by Jon Plante, this version is expanded and completely redrawn by Gene, with colors (on the first chapter) by Ian Sokolowski. The plan is to serialize the entire graphic novel (around a hundred pages or so) online, and then collect it in a print version upon its completion. We already have six month's worth of pages completed - and six months' more drawn and lettered - so maintaining the weekly schedule won't be a problem.

Gravedigger, by Rick Burchett and yours truly, will debut on February 4th. We'll be posting a page a week every Monday, starting with the original Gravedigger story, "The Scavengers" (which hasn't been seen online or in print for years) and then serializing the new one... "The Predators." As with Perils On Planet X, the plan is to collect both storylines in a graphic novel format once they are completed.

When we get closer to the launch, I'll announce the website addresses and provide links.
Dec 302012
 

With 2013 just around the corner, it’s the perfect time to sit back and reflect on another year of great content and great books. Check back twice daily in the last days of 2012 for a selection of our favorite MulhollandBooks.com posts from the past year!

Sophie Littlefield:  So let’s get the basics out of the way first. You write, I write. You’re the much, much older east coast sibling and I’m the fun-loving west coast one. We both have kids and we both grew up with our noses in books. What else should people know about us to start off with?

Mike Cooper:  We’re bicoastal now but we started in Missouri! – and in a much different time, when children were allowed freedoms that seem extraordinary to me now.  My memory, perhaps unreliable, is that we were completely unsupervised after school and on weekends.  The woods and fields just over the backyard fence were a place of fantastical play: ponds to swim in and skate on, the cemetery and the quarry, the derelict airport with runways like the Bonneville Salt Flats.  How could we not become people who live by our imaginations?

Of course, my stories involve ruthless banksters and exploding helicopters, and some of yours have decidedly noir, even dark elements.  In some ways our lives were difficult and complicated, and that’s as essential as the sunny memories.

We both came to write seriously somewhat later in our lives.  In my case it was after my daughter was born – my wife and I decided that I’d be the stay-at-home parent, and what with two naps a day, I suddenly had time to try what had been only a hobby.  (I took one of those naps myself, true.)  I recall you publishing stories, fiction and non-fiction, for many years before you buckled down to novels.  What was the impetus?

SL: I think the better question is, “What took you so long?” And the answer, of course, is fear. I’m astonished at how much I’ve given away to fear over the years. Oh well, middle age took care of that in a hurry. My first novel was tentative, limp, diluted, and derivative. But I learned something from it and from every one that followed, until I finally ended up writing a novel with teeth.

Nowadays, I seek out opportunities to be brave. Lots of extra points if someone chokes on their coffee when I propose a new project. For instance, when I first told my agent my idea for my January ’13 book (A GARDEN OF STONES, MIRA) the pitch was “Japanese internment in WWII, plus taxidermy.” I stubbornly believe there is an audience out there that longs to be challenged.

Which reminds me. Do you remember when you wrote that short story a few years ago and I read it and told you “that story’s a best-seller for sure, drop everything and turn it into a novel”? And then you spent the next few months writing and polishing and submitting it?

All that's left !

MC:  Well, the short story sold… The full-length version never found its audience, unfortunately, although it remains my favorite unpublished novel.  That’s how it goes sometimes.  I’ve always written stories that I’d like to read myself, but I forget that I’m not an accurate representative of the American reading public.

SL:  And then you wrote CLAWBACK.

MC:  Indeed.  I’d actually wanted to write a full-length Silas Cade story for a while – I’d published some short stories with him as a protagonist.  The original concept was a hit man accountant.  I was amusing myself there; after years in finance, who wouldn’t want to bring automatic weapons into an audit?  Anyway, the character and setting were ready to go – then Wall Street cratered the world economy, and the plot practically wrote itself.  (The novel’s tag line could be “Don’t bail them out, take them out!”)

My new agent – the inestimable Heide Lange, at Sanford Greenburger – liked the idea, got an auction going, and sold the book to Josh Kendall at Viking.  Josh is a wonderful editor, by the way.  However good the book is now, it’s a lot better for having him work it over … three times.

SL: I’ve learned to appreciate a demanding editor. I do not appreciate being let slide. I rewrote a book four times once – it was terrible; it got so I was beginning to doubt my very existence, or at least my relevance to this word-thing I’d created, which seemed to have taken on a life of its own, whose sole purpose was to reveal my own inadequacies. But that process taught me lessons which inform everything I’ve written since.

Incidentally, my editor for that book was roughly half my age. She has since shared with me that sometimes, younger authors are reluctant to work with her due to her relative lack of experience. That’s a mistake, all you aspiring writers out there: I believe you should set your sights on juice and determination, not length of time in the industry (some might argue that there’s a calcification that takes place, a loss of flexibility and innovation, from certain hoary corners).

Of course, it’s often the longest-tenured folks who control the taps for what authors want: rivers of cash and juggernaut-style promotion. So it’s a tricky balance, right? I guess my ideal team would be a fearless, energetic editor who’s still green enough not to have become jaded…and a publisher who’s unflappable, ruthless, and capable of seeing the long view. Strategic rather than reactive. And smart enough to appreciate me. With a lot of cash.

What about you? What do you think goes into the mix for creating quality fiction in 2012?

MW:  Here are some things that don’t matter much:  Relevance.  Plot.  Martial arts.  And I say this having just published a plot-driven Wall Street novel with lots of action :)

Seriously, readers want to be entertained.  To me that means heroic characters, good and bad; clear conflict over things that matter; and a constant sense of discovery.  Every page should offer something new; yet everything new should fit perfectly into the story and world the author has already established.

Also, humor.  Not slapstick, not zany, not absurd; just a sly wit, emerging every so often.

Finally, two things to avoid:  exploitative violence against women, and bad slang (especially placed in the mouths of ethnicities and ages different from the author’s own).

Of course, all I’ve described here is what I myself like to read.  As for relevance, you’ve probably noticed how little contemporary fiction deals with people’s actual lives, and rightly so.  Who needs the reminder?  There aren’t many authors who can make a typical office job interesting (Joshua Ferris, THEN WE CAME TO THE END, is one example).  I’m sure there are several reasons you’ve written about, say, the zombie apocalypse; surely this is one?

SL:  I’d say it’s not that most people’s lives are boring – it’s that everyone’s life is interesting at certain times and in certain circumstances, and the trick is to create a story that focuses on those moments, in a way that is recognizable to everyone. Most people know what it’s like to fall in love or feel terror or regret or to long for vengeance – but most of what happens in between these moments would make for crushingly dull prose.

That’s why we turn to genre – the genre elements are a cheat to get us to the place where we can talk about the truly interesting bits without a lot of distractions. The story is never the heist or the airplane crash, but why people feel and act the way they do. Stephen King’s THE MIST features a killer fog not because that fog is interesting – it really isn’t – but so that we can understand David Drayton and his relationships with his wife and son and neighbors. James Sallis’ CYPRESS GROVE isn’t really about the brutally-murdered body that turns up in a small town – yawn – but about Turner, the ex-cop/con/shrink who is pulled into the case, and his uneasy relationship with both past and present. My own AFTERTIME series isn’t really about the end of the world but about Cass Dollar’s redemption.

David Drayton and Turner and Cass are all fiction-worthy, but write about them making toast and you don’t have much of a story. Toss in some rotting bodies or carnivorous insects or zombies and we have something to work with.

Okay Mike, since you’ve got the upcoming release, how about if you have the last word? I’d love to know how CLAWBACK has changed you as a writer – what lessons writing this book taught you, what you’d like to repeat or avoid in the future.

Midtown Manhattan at Night, New York CityMC:  Thanks for asking!  At a mundane level, here’s one useful lesson:  you don’t have to do any research at all!

For the first draft, that is.  Although CLAWBACK is chockablock with detail of all sorts, I filled most of it in during the revisions – after it was clear what I needed.  Much more efficient that way.  For example, I didn’t bother figuring out every NYC location beforehand.  I just imagined the settings I wanted – and then I found places in the city that fit my mental picture.

Which I think illustrates a larger point:  story is all.  Rhythm and character and making the world right – those are the fundamentals.  Everything else is trim.

Second, first-person thrillers are much harder to plot than third-person POV.  That’s advice you hear a lot, and as it turns out, for good reason.  I’m deep in the sequel now, and it would make things so much easier if I could duck out into omniscient, or even third-close, for just one teeny scene.  Or two.  On the other hand, much of the appeal of Silas Cade (to me, at least) is his voice, and that would be diluted by other POVs.

Lastly, luck matters.  CLAWBACK is all about rotten financiers and one-percenter psychopaths getting what they deserve – but I wrote it a full year before Occupy first showed up on Wall Street.  The timing’s been great, and I can’t take any credit at all.  Sometimes the stars align.  Sometimes they don’t, as my drawer full of unpublished material proves.  All you can do is write the best story you can, and try to make yourself laugh and shiver and maybe even sniffle now and then, and trust that readers will be out there.

Sophie, you and I talk often, but usually on the phone, with each other.  Sharing thoughts this way and more openly has been fun!  Someday we should do a joint appearance or something.  Big thanks to Mulholland for giving us this platform.

The concluding book in Sophie Littlefield’s Aftertime trilogy, HORIZON, was released in January.  Mike Cooper’s CLAWBACK has just been released by Viking.  More at www.sophielittlefield.com and www.mikecooperbooks.com.

Dec 292012
 
I would really like to return to calling crime fiction mysteries. It saves typing or saying two words. And also the general public often thinks I am talking about true crime when I say crime fiction despite the word fiction.

And truthfully doesn't all crime fiction have a mystery in it. It may not be a puzzle to solve.But there is always a mystery as to why someone did it, how will they be caught, where they are, what led to the crime, etc.

Mysteries carries the whole genre with it--it embraces different stories. Crime fiction seems to want to cut off what came earlier.

What do you think?
Dec 282012
 

Sink HoleWith 2013 just around the corner, it’s the perfect time to sit back and reflect on another year of great content and great books. Check back twice daily in the last days of 2012 for a selection of our favorite MulhollandBooks.com posts from the past year!

Mulholland Books is looking for English and writing students to contribute writing to Triggers Down, a social writing project that will be a testament to writers building off of other writers’ work to create bigger and better stories.

The goal is to create a crime story. Here’s how it works: Mulholland Books will assign interested students specific passages, each student will write a section that branches off of the one before it (except for the first paragraph, of course), and that process will continue until students have composed a cohesive narrative.

Each passage will be posted online until completion, so students can see how the story evolves. And here’s the best part. Mulholland Books will feature the final story on MulhollandBooks.com. We want this project to not only be a testament to appropriation, but also an opportunity for young writers to publish.

How to submit: Write Dominic Viti at dominicviti@gmail.com and tell him you’re interested.

First section by Evan Walker.

Edited by Wes Miller.

John found the body after he’d had his share of sightseeing the dune. He’d scrambled over it as he had in ‘72, sixteen and obliterated, once he’d yanked himself out of the rear window of the VW Squareback and waded through the black water to the shore.

He gave a satisfied hmph and walked the same way he’d walked that night, alongside the ditch and back to the house he’d grown up in—shallower than he remembered, dried up too. He had sloshed through the front door and the two of them just stared as he spoke. Joy riding again. Imagining the way his mother had turned back to her reading after he’d returned, soaking wet, without the car, he’d meandered back toward the edge of the ditch, and found her.

She was dumped in a pile, her sundress, black shorts and pixie brown hair  damp from the humid air, one hand slung over her side and curled up with rigor mortis except for her pointer finger, outstretched in timid protest.

Second section by Amelia Spriggs.

Edited by Dominic Viti.

John jumped to the other side of the ditch to look at her face and landed heavily, slipping to one aching knee and sending a few small white crabs skittering away. He had seen a lot of dead bodies over the decades, not a few of them young and formerly pretty. But this one pinched his sense of tragedy, niggling the worn callus of his compassion.

There was something familiar about her slim frame, even in its rigid heap. The angular jaw and the set of those large, inert eyes. He crouched down and sat on his haunches for a moment before falling back onto the sand. What felt like the vague pricking of tragedy swiftly turned into the keen piercing of horror. Lena.

Third section by Joe Oslund.

Edited by Dominic Viti.

John stumbled forward in a haze of shock that rang in his skull like the reverberating toll of a church bell, hid behind a shallow hollow of sand, and threw up. He took a few deep breaths before calling Julius, who let the phone ring six times before picking up—a subtle reminder that the old man had more important things to do.

“What is it?” Julius barked.

“They got her,” John croaked. “I mean, somebody got her.”

“Who?” Julius said. “Who got who? Use your words.”

John had no words.

“Is it Lena?” Julius said. “Did something happen to Lena?”

“She’s dead, Dad. Somebody killed her.”

There was silence on the line, and with a soft click, Julius hung up.

Fourth section by Ezra Salkin.

Edited by Dominic Viti.

John lit a cigarette and waited for his bastard father. Lena didn’t deserve this. She wasn’t a drug-addicted whore, a convict, or some train-hopping drifter who thought she had had it bad and had something to prove. John felt like crying, but the many cadavers he encountered throughout his life only made his usual sense of detachment return.

Blank faces played in a slideshow in his mind before he allowed Lena’s dirty face—half shrouded in kelp—to blot out all the others. Decomposition had set in, something he had rarely witnessed. Half hidden under her sundress, something glinted. John nudged it out from under Lena’s other cold hand, the one that wasn’t pointing, her fingers curled in a confused repose, as if undecided whether they should let go or hold on. A locket.

‘You’re different,’ he thought, flicking the half smoked cigarette, flavorless like all things had become despite this “new lease on life” the parole board had promised. He began snubbing the vermeil medallion into the ground with the heel of his sneaker. Disappearing into the wet sand, the locket winked at him with dull amusement.

He guessed it was given to her by her trust fund boyfriend, Michael, whom John had never met but had heard only good things about, though he hadn’t cared to open it so he wasn’t sure. By the time he wondered why he hadn’t, it was buried altogether in a neat pile beside the braided chain that had once held the heart shaped trinket around Lena’s bruised neck.

Snapped at the toggle, it hardly looked strong enough to strangle someone, but the bluish lines that wrapped around her neck in intermingling, jagged patterns told it different. The marks left behind were deep, a cruel mimicry of its supposed function. Her throat appeared to have not been far from bursting. John had seen people murdered with less, but he wasn’t in the Florida State Pen anymore.

He reached into his pocket, pulling the wrinkled letter Lena had left for him at the halfway house. September 4, 1992—Lena’s entreaty for John to meet her at the spot they’d enjoyed so often all those years earlier. A place where they could “clear the air.” She had still wanted him in her life.

John crushed the letter into a ball before igniting it with his lighter. He watched the black writing run from the pink stationary before the whole thing blackened and smoldered into nothing.

That’s when he heard the cancerous wheezing from behind him.

“You son-of-a-bitch,” Julius said.

Fifth section by Vivien Eliasoph.

Edited by Dominic Viti.

“How did you know I was here?” John asked, his voice muffled by the unlit cigarette between lips.

“Never mind that,” Julius said. He blanketed Lena with his camouflage jacket and tossed his keys to his son. “Truck’s at the front of the pier.”

Julius crouched down and swept Lena’s hair behind her ears. Blood trailed across her forehead.

“John, move it, goddamnit!” Julius said.

John ran as fast as he could. He inhaled deeply, his cigarette sticking to the inside of his dry lips. The craving for a deep smoke drove him forward. His calves burned and his breath was heavy in the humid night air. He wiped his dripping nose with his wrist and imagined exactly where on the console of his father’s Ford the cigarette lighter was. His sneakers pressed deep into the sand, passing wasted cigarette butts and empty soda cans, abandoned and forgotten by teenagers.

The truck was caked in mud. The interior was no better. By the time John pulled up, Julius had already made it to the end of the pier, standing by the forest green trashcan with Lena draped over his shoulder. John put the car in park and scooted to the passenger’s seat. He flung the cover off of the cigarette lighter and watched the white paper crack into lava orange. Then, a long drag.

The rearview mirror foregrounded Julius placing Lena in the bed of the truck, wrapping her in blue tarp before climbing into the cab.

“Pass me one,” Julius said. He left the door open and emptied his boots of sand. John was happy to see part of the beach left behind. He reached into his front pocket and dug out a cigarette.

Julius lit and inhaled with the same tired desperation as his son.

Neither spoke. John’s stomach grumbled. He looked at the floor and saw beef jerky and peanut butter crackers. He went with the crackers.

“We’ll have to leave her with George,” Julius said.

John choked on his crackers. “Why in the hell would we go and do that?”

“He’s just as much a part of this as we are.”

Sixth section by Kenneth Rosen.

Edited by Dominic Viti.

Palm trees lined the back roads to Delray Beach where George stayed, tinkering with something new each day. They found him surrounded by abandoned projects in his one-story home, prodding a breadboard the size of a locket with a soldering iron. The boredom that accompanies retirement had set in, John thought. The plaques and awards on the walls reminded John of George’s heyday: the beat, the badge, the gun. But George managed, on both sides of the law, to use all three. Toiling away, his back was toward them.

“It takes precision and a steady hand to achieve a solid connection,” George said. He fed a sliver of solder under the iron’s needlepoint. “That, and you wouldn’t want to burn yourself.”

“Lena’s dead,” John said.

“When you involved her in your release agreement you dug her grave,” George said. He put the iron and board down before turning his chair to face them. Boils covered his calloused hands. “Love is an intrinsic fallacy of the human mind, and you let it consume you.”

“We’re in this together, George.” Julius lit a cigarette.

“Did you bring the body?”

“Back of the truck,” Julius said.

“Good. Hand me my gun, would you? I’ll put this all away,” George said. He shuffled some things about his desk. John wrapped his hands around the barrel, feeling the gun’s weight. He stepped toward George.

George raised both hands and said, “Please, don’t, I’ll give you whatever you want!”

Julius’ cigarette fell to the floor. “After all these years, George?”

The phone receiver on George’s desk was off the hook. Sirens sounded in the distance.

Seventh section by Kenneth Rosen.

Edited by Dominic Viti.

“Shoot this motherfucker,” Julius said.

With trembling hands John set the sights between George’s dark, deep-set eyes, not the eyes John remembered when they first met, the affable eyes that seemed willing to help, willing to dig John from his debt with the price he’d pay only with time—hard time—time spent thinking of Lena, the sister he never had a chance to know but the one who paid a price for his mistakes because, if anything, it was not her debt, and one John never meant to pay with her life though the release agreement said nothing about how he’d end up worse off even while staying clean and on the straight and narrow, a place he’d never been until now, slowly squeezing the trigger, its weight loaded like the load he would bear with another body on his hands, this time not a means to an end but one leading him back to where the parole board knew he would be, the same one George was on that set him free into a world devoid of anything he wanted to keep fighting for.

George was dead before the casings hit the floor.

Eighth section by Julia Blyumkin.

Edited by Dominic Viti.

John released the trigger. As his hand slipped from the grip, he remembered the way he had let go of Lena at the abysmal halfway house.

*

“Lena, Michael is not good for you. He’s a Calò.”

His sister writhed in the jail-barred metal chair that swallowed her slight frame. John wanted to pull her free before she slipped through the dowels, but Lena was the cat that slunk around for a chance to get the bird.

“Have you forgotten everything?” Lena said.

“I haven’t forgotten. It’s in the past. Water under the bridge. Where it belongs.” John lit another cigarette and let out a plume of smoke.

“Those will kill you, you know?”

“Not if the Calòs kill me first.”

“John, Michael’s not like them.”

“Why protect him, Lena? They’re all the same. First Tommy, then Anthony, and now you.” John shook his head and looked at her desperately. “It’s just not right, Lena—why can’t you just understand? It’ll be the end of you. The end of us.”

“We’ve gotten this far.  Let me do my part.”

“If he’s not onto you yet, he will be. You’re my baby sister, Lena. I couldn’t stand to lose you.”

“Stop it. Just stop it. I knew what I was getting myself into. It’s the only way. We’ll get this sorted, find it, and get it to George. Julius trusts me, he believes in me, John. I can do this.”

Heels clicked unevenly on the pavement. An attendant approached them from the aged, grey house. “It’s time.”

John pulled Lena to her feet and hugged her.

“Lena, we can’t keep Dr. Calò waiting,” the attendant said.

Lena gave John the letter. He put it in the pocket of his jeans. “Goodbye,” she said, squeezing him by the hand.

“Goodbye, Lena,” John said, and released his grip.

Ninth section by Shanice Casimiro.

Edited by Dominic Viti.

*

 The metallic thud of the gun hitting the ground brought John back to the sight of George, prostrate on the floor.

“We have to get him out of here!” Julius said, moving to pick up George.

“Wait,” John’s hand whipped out and blocked Julius from further harm. “You’re staining the floor.” Six little pearls of blood formed a circle on the hardwood. Julius wiped them with his palms. He rubbed the evidence vigorously into his skin, hoping it would blend with his olive complexion. “We have to get ourselves out of here!”

Having carried corpses before, John handled George with a graceful apathy, not needing to focus on the mechanics of managing the dead weight—a macabre experience for rookies. He carefully bent down to retrieve the fallen gun with his free hand. Four purple crescent markings on the inside of Julius’ hand and a strange crisscross pattern on his inside knuckles momentarily distracted him before he straightened up.

The nearing sirens drove John into a breathless panic. “Go. Start the car. Bring it to the back. Hurry up, they’re coming!” Julius scurried out the house, wheezing. A distant opening of doors ensued and an engine roar followed.

John quickly scanned the room. ‘Closed the door. Put the phone back on the receiver. Got the gun. Got the cigarette. Cleaned the blood.’

He could hear car screeches and was sure cops would come banging down the door any second. John made his way to the back of the house where he saw the headlights of Julius’ Ford. A loose iron cord caught his foot and he tumbled to the ground, atop George, whose carefully handled blood lay in a scattered mass on the floor. The hot iron missed his exposed leg by a few inches.

“Fuck!”

A set of footsteps, men’s voices, flashing lights, and the sirens directly outside the edifice meant John had to move quickly.

In a flash, John wiped the floor with George’s shirt and stumbled in, picking him and the gun up off the ground.  For the first time he felt disgusted with the cadaver. He headed toward the back door when the furious banging began.

“Open up, it’s the police!”

Just three feet from turning the doorknob, he saw his savior headlights rush past the house. The Ford was gone.

Tenth Section by Mia Brady.

Edited by Dominic Viti.

John’s breath began to quicken. Gone when he was needed most, all too typical.

How foolish to have trusted Julius. Julius said shoot and John listened. Listening when he should be thinking for himself was what John did best. John should’ve learned by now, but he fell into his father’s trap time and time again. Where would John be if it were not for his father? It was a thought that crept into his head at his most desperate moments. He had this man to blame for so much. He certainly had him to blame for this—alone with another dead body—a place that John should not have returned to so quickly. Not after Lena.

Lena. Lena’s body was in the back of that truck.

The aggressive knocks on the door jolted him back to reality. No time to think. No time to question where Julius was going or why he took Lena. What he would tell them. Would he manipulate them into thinking it was John’s doing? The snide way he got people to believe him, with his honest eyes and confidant voice. Would they believe that John killed his sister?

“Open up!” the police said. Then quiet. Then thud thud… as the police threw their bodies against the door. He had a few seconds. No time to think.

John positioned the gun close enough to George that it could have fallen out of his hands. John looked once more at the man who died betraying him, took a deep breath, and ran out the back door.

Eleventh section by Kristin Peters.

Edited by Wes Miller.

He knew running wouldn’t solve his problems. Eventually he would have to go to the police with what he knew—get his side of the story out before Julius had time to dig them both (or, more probably, John alone) a deeper grave. Things looked bad now, but he was sure they would look worse later. No, running away wouldn’t solve his problems, but hopefully it would keep him alive and free a little longer. At least long enough to track down his father and Lena’s killer. He prayed to God they weren’t the same person.

John had long since lost his faith in the police. He’d been a cop, after all. As George had before him. A good cop, everyone said—respected, well-liked, willing to put his life on the line to keep the town safe. But his life had never been in any real danger. His entire career was a charade, a pre-scripted play acted out for the good people of Delray Beach to distract them from what not-so-good people were doing behind the scenes.

John had joined the department right after graduating from college. It was only natural he’d end up working with George. Just as it was only natural John soon figured out that George wasn’t the upstanding man he seemed to be. George hadn’t ever really tried to hide the truth from him; he’d decided long ago that John would end up his partner on both sides of the law. In the end, John didn’t have much say. By the time he realized the full extent of what was going on, he was too far in to come clean.

Twelfth section by Ana-Christina Acosta Gaspar de Alba.

Edited by Dominic Viti.

At first, John’s involvement had been minimal, accidental even. He trusted George and so when George asked John to cover for him, he did. George had been with him, he would say, playing cards or at the range. John would sign George’s name into the logs, thinking it was just part of having his back.

But things got serious. George arrived at John’s apartment one night with a bullet in his shoulder and a gun he had to get rid of. John had helped patch George up, had driven the gun into the desert and buried it himself. When he’d gotten back, George had told him everything.

George was an inside man within the police department for the Calò family, entrepreneurs who had a hand in every major organization of the city. They stayed out of the spotlight and skirted just under the police’s radar, controlling everything and everyone with bribery and coercion, and had maintained such control for generations. George had been brought into the fold by his old partner, who’d been recruited by his old partner, and so on.

Then, John had wanted to turn right around and go to the chief of police, explain everything. But George had reminded him that his hands were already dirty, and besides, betrayal of the Calòs was akin to signing your own death warrant. John had had no option but to give in.

Years later his father’s ties to the Calòs had come to light and John had realized it had been more than coincidence that had led him to being a dirty cop. His father, a faithful dog of the Calò family for all of John’s life, had set the whole thing up. Not only that, but he’d dragged Lena into the mess, entangling their entire family in the web of lies he was so comfortable living in. John wondered if his mother had ever known.

The sirens faded behind John, and he slowed down, catching his breath. His thoughts rushed back to the present. He needed a plan.

Thirteenth section by Joshua Piercey.

Edited by Dominic Viti.

John took out his last cigarette and held it up to the chalky evening light, smoothing out the creases. He gave himself a moment, and inhaled the cigarette in one swift rush, draining it down to the butt. It was gone before he thought to put the lighter back in his pocket.

That would scratch the itch for a half hour at most. And now was hardly the time to be appearing on convenience store cameras. George always said that you could tell the small-time hoods from the players by the way they kept control of their vices. But now George was dead.

He’d been a dirty cop, a condescending asshole, ultimately a betrayer, but for a long time he’d been a twisted sort of mentor for John. There were times when he might have been a friend. But friends don’t sell each other out, or shoot you dead with your own gun and place it back in your hand like a lullaby. Friends don’t steer friend’s sisters to their grave.

For a second the world blurred, the sidewalk pitched like a deck in high seas. Lena. Only a few hours had passed since he’d found her on the beach, and since he’d sprinted across the sand, the detachment that had risen up around him began to fade. John pivoted away from the street and vomited again, crackers and cigarette bile sprayed the gutter. The final shudders forced him down to his knee. It was all happening too fast.

When he found his feet, he took a look around. He’d run the length of a commercial lot, and the buildings and streets were quiet. He turned down an alley toward a loading bay, and hunkered on a set of concrete steps. He put his head in his hands. Lena. The kelp in her hair. The soft bloat of her flesh rendering the skin translucent. George’s look of surprise before he fell to the floor. The steady resistance of pulling the trigger down, the lead heaviness of the gun once the fist was made. His father’s hands. His father’s hands.

Julius’ involvement in this had to be ascertained, if only to stop him doing more damage. Julius was a coward, but he wasn’t stupid. He wouldn’t bolt straight home with a body in the back of his truck. George would have told the police about the half-way house, and Julius’ shitty condo. There was no place to go back to. Lena would have to disappear, and Julius would need help for that.

John stood, took the lighter from his pocket. He clicked the wheel back and stared at the flame. Time to stop running. Time to find answers. He’d get to the Calòs in time, but he’d start with his father. He snapped the lighter shut. He knew just where to look.

Fourteenth section by Matt Keil.

Edited by Dominic Viti.

*

“Corner of Third and Auburn. Leave ASAP.”

A throw-of-the-dice, calling Tommy Calò. But he was the last person in Delray Beach John could trust.

The sun began setting, the sweltering orange mass sinking further and further, pushing down the hot, sticky atmosphere around John’s head, compressing his thoughts.

John could tell by Tommy’s tone that he didn’t know Lena was dead. He loved her, gave her an engagement ring while they went to Miami for the weekend a few months back. The only reason Lena got involved with Tommy was to get on the inside, find leverage to get John out from under the Calò’s thumb. But falling in love wasn’t part of Lena’s plan. Working for that family meant you stay for life, or your life was ended. Lena was just trying to help John get out.  She was the only reason he’d been granted a second chance—if you call three years in South Bay Correctional a second chance. In any other circumstance, Tommy wouldn’t give a shit if John took a one-way ticket to the bottom of the Atlantic. Cops are cops even if they do look out for the Calò family. But because of Lena, one way or another, he convinced someone to keep John around.

There was a good chance John was being followed by the cops for killing George. The closest building was a gas station across the street. He locked himself in the restroom. Not a great place to be. One way in, one way out. On the toilet, John remembered hiding in his own bathroom when he was a child, when cocaine started circulating Delray. That’s when Julian got bad. Who knows how he got mixed up with the Calò’s—but what better job for a junkie than helping to bring the stuff over from Cuba and back to Delray? Probably would have gotten paid in blow if he could. The Calò’s went from being transport mules at the bottom of the cocaine trade to a centralized power, doing it all, the main source from Delray to Daytona. It happened fast, too, like a higher power existed even above the almighty Calò’s. Whoever that was, likely that’s where Julius was going.

Someone pounded on the bathroom door. John pressed his back to the cold tiles as the doorknob jiggled. “Someone’s in here,” John shouted. More and more slamming came in succession. John slowly unlocked the deadbolt, pressed against the wall, waiting as the knob turned.

Fifteenth section by Matt Albrecht.

Edited by Dominic Viti.

The door burst open and the tan, smooth, young face of Tommy Calò fixed squarely on John, his wild locks of curly hair adding to his crazed bearing. The door slammed hard against the wall and bounced back to a close for a second before Tommy swept it aside with his arm, stepping into the bathroom with John, fear-stricken.

John squeezed hard around the gun he’d used to kill George—only John had left the gun at the last murder scene. He was gripping his cellphone, pointing it reflexively at Tommy, whose expression contorted as he doubled over, laughing hysterically.

John frowned, slumping his shoulders and holstering the phone, embarrassed by his reaction but still uneasy, though knowing Tommy was regarded for his theatrics.

Wiping a tear away, Tommy straightened, composing himself between laughs. “Jesus, John, what were you gonna do with that phone? Give me cancer?”

John tried to hide his distress. He forced himself to laugh. “Yeah, sorry, I thought it would be funny.”

“To think my scumbag ex-cop future brother-in-law would do me in,” Tommy said, “But I guess it’d be poetic, huh, John?” He gave a sly wink, which made John more uneasy. “So what the hell you callin’ me here for, some filthy bathroom off the grid? You comin’ on to me, John? You jealous of Lena or what?”

John went silent. What calm he had left was wearing thinner by the moment.

Tommy’s expression became graven. “It’s been two months, John. She said she needed time to think about my proposition and wanted a break, but in my line of work, two months of silence without a ransom note … ” He trailed off in spite of himself, narrowing his eyes at John. “So why did you call me here?”

Sixteenth section by Amy Waggoner.

Edited by Dominic Viti.

*

Down shifting his truck near the corner of Third and Auburn, Julius winced as he heard a soft thump behind his head. It was bad enough that his older daughter’s body was in his truck bed, let alone getting slammed around in a post-mortem state. He squinted, idling slowly past the gas station on the opposite corner. Why in hell would John call Tommy Calò? Did he really think a Calò was more trustworthy than his own flesh and blood? Surely he would have known that any Calò, especially Tommy, would let his family’s drug smuggler know when and if a cop called for help. Julius turned right at the corner, watching in his side mirror. The station’s neon lights grew smaller the farther down Auburn he drove. He wiped the sweat from his forehead.

Visions of Lena pouring over John’s court documents, drawing stars beside promising paragraphs, pushed to the front of his mind. They had no business bothering him, he had no business or right to remember, considering how this had all turned out. He hit the steering wheel. Damn it, why couldn’t she have just listened to him? He thought he’d made it clear to her last week when they’d met up that she was in over her head. He’d figured the smart thing to do was for her to continue her wall of silence where Tommy was concerned. The Calò’s had been suspicious of Lena’s involvement with Tommy for months now, and rumors from Tommy confirmed that it was only a matter of time before the word was given to take her out. And now the worst had happened. Lena had been murdered, strangled violently by the very locket she had sworn to protect. Julius could feel the object deep in his pocket, where hed placed it after John ran off toward the pickup. The small key glinted in the moonlight. Thank god it was still there.

Julius pulled into the empty lot across from the gas station, parking his truck in the farthest corner from the road, killing the lights and engine. He grabbed the handgun in the glove box and placed it on the seat beside him, wondering how long he would have to wait before Tommy came out. John had a fondness for hiding in bathrooms when scared. But Tommy, well, that was another story. That guy couldn’t stay in one place for long, frightened or otherwise—always had to be the center of attention since he was a child. Julius snorted, picturing both in that tight space. John’s eyes would be darting from the door to the window, trying to find the quickest way out, while Tommy cracked jokes to get info on Lena, who returned to Julius’ thoughts. He wiped his eyes and glared out into the darkness. He’d get the son-of-a-bitch who had done this—and there was still hope that the Calò family would be brought down like he and Lena had planned. He reached into his pocket for the key. Holding it up in the available moonlight, he sighed. A lockbox full of papers for his daughter’s life. Even though Lena had told him many times otherwise, it just wasn’t fair.

The bathroom door across the street swung open suddenly. Julius re-pocketed the key. Tommy walked toward the edge of the street in his direction, waving his arms back and forth. No sign of John. He stepped out of the truck. No sense taking a chance that Tommy might see Lena in the back. Julius knew the meltdown, when it came, would be huge.

Seventeenth section by Amy Waggoner.

Edited by Dominic Viti.

Julius leaned against the door as Tommy approached. In his peripheral, the steel handgun on the backseat shined white in the streetlight. He’d forgotten to conceal it. Hopefully he wouldn’t have to draw it—on Tommy, anyway. As far as Julius knew, no one else was at the station, Calò or otherwise.

“What did you do this time, Julius?”

“No more than usual,” he said. The tarp in the truck bed flapped once in the breeze before settling back into place.

“John said you left him alone at George’s. He’s pissed he had to clean up your mess again. He wouldn’t say anything about Lena, even when I bribed him. The John Curry I know would never pass up a carrot.”

“Where’s John now?”

“He’s waiting for you in the station. Wants to talk to you about digging a hole. I asked him why, but he told me to ask you.”

Julius sighed.

“What?” Tommy said. “Is it about Lena?”

“Not exactly.  It’s about George.”

“Is he giving you trouble with this weekend’s shipment?”

“Late night I got a tip he’s been stockpiling evidence against Lena, apparently since June, when John was released.”

“What could George possibly have on Lena?”

Julius glanced in both directions, motioning Tommy closer. “He’s been tailing her since the Miami trip, the one she took with you.”

“Just last week that bastard told me he hadn’t seen her since John’s parole hearing.”

“Yeah, well, turns out he’s known where she’s been all along.”

Tommy ran his hand through his hair. “I’ve got to talk to him again. I’m going crazy here, Julius. She hasn’t contacted me, and my family—especially Michael—is expecting her. And you know what will happen if she doesn’t show.”

“How about this,” Julius said. “Drive over to George’s, see if he’ll tell you what he knows about Lena. If there’s a problem, use this.” Julius grabbed the handgun. “Whatever you do, don’t get caught with it.”

Tommy lifted his shirt, took out his own pistol, and traded with Julius. “Lena told me you had it hidden somewhere, waiting for the right time to take George out. I’ll do the honors.”

Julius smiled. “See what you can find out. When I pull John off of the bathroom ceiling, we’ll head over there. Surely the three of us can get him to talk.”

“OK, I’ll call you when I get there.” Tommy took a few steps, then turned around. “Thanks, Julius. This means as much to me as it does the both of you.”

“Burning nighttime, Tommy. Get going.”

Tommy waved and hurried around the corner. ‘Good luck,’ Julius thought, climbing into the truck. ‘You’re gonna need it.’

 

 

 

Dec 272012
 

With 2013 just around the corner, it’s the perfect time to sit back and reflect on another year of great content and great books. Check back twice daily in the last days of 2012 for a selection of our favorite MulhollandBooks.com posts from the past year!

There are those moments in life so powerful and disturbing that they defy definition.  For me, Jim Thompson’s novels provide such moments.  Or maybe it’s more fair to say they knock me into them backwards—ass over applecart.

Apparently, I’m not alone in that.  Read what’s been said about Thompson, and you see that everyone is grasping: “If Raymond Chandler, Dashiell Hammett and Cornell Woolrich could have joined together in some ungodly union and produced a literary offspring, Jim Thompson would be it….His work…casts a dazzling light upon the human condition.”

This is the first quote about Thompson’s work that many readers encounter, the Washington Post blurb splashed on the back of the Vintage Crime/Black Lizard editions that came out in the 1990s, after years when it was hard to find Thompson’s novels.  It’s evocative, and for fans of hard-boiled it has a dreamlike feel.  But ultimately it’s not very helpful.

Why?  Well, the problem with any definition that works by comparison is that it can only sketch around a thing: a chalk mark on a sidewalk, it misses the heart of the matter entirely—the heart that is so raw, so terribly visible, it forces you to work through analogy in the first place. “What does Hammett have to do with anything?” you might argue.  “There is none of his carefully-controlled and sleekly-styled disillusion here.  Surely the reviewer should have said Chandler, Cain, and Woolrich.  Or better, Cain, Woolrich and Chandler, in that order.”  In no time, what is Thompson’s is lost.

Yet such an approach is understandable, for to look at the heart of Thompson’s work… Well, it’s a hard place to look.  But in the end, the only way to get at it is to read, and then live with the consequences for a while.

Luckily, the new e-editions of Thompson’s novels from Mulholland Books will give you that chance.  With original introductions by top crime authors, they get to the heart of pulp so pure that you won’t even miss the feel of pulp under your fingertips.

Take the case of The Grifters, which is among my favorite Thompson novels. (That is, among those I’ve read. I still have others to go because Thompson is not someone whose work you can simply devour sequentially; or if you can, you have a stronger stomach than most.)  It’s the story of a triad of con artists: Lilly Dillon, who runs playback at the horse track for east coast mobsters; her son Roy Dillon, a short-con grifter so good at the basic tricks of the trade that he has managed to live at the same address for years without arousing suspicion; Moira Langtry, who throws her body (if not soul) into cons and is sometimes Roy’s lover and Lilly’s rival for his affections.  In each other, as in the world at large, they see an ever-shifting constellation of angles to be played: “Because grifters, it seemed, suffered an irresistible urge to beat their colleagues.”

One of the twisted pleasures that comes from reading the book is that we are always poignantly aware of the chasm between the simple financial profit each sees in the other and the rewards they might experience were they to focus on one another’s—or anyone else’s—humanity.  Time and again in their thinking, each sees the “something” before the “someone.”   It seems this is the defining characteristic of grifters, perhaps the only shared vision in their vastly different worldviews.

While many crime writers have cited Thompson’s fearlessness as an inspiration, I would suggest that he is a great novelist because he has such facility getting inside the thoughts of each character, and for that reason works his way into the reader’s head as well.  In other words, the power of his stories is not to be found at the (oft-discussed) operatic heights of his plots—the great taboos, the battles with the mob, the mad things people do—but in the deft clarity with which he reveals the tragedies of everyday living, as they take shape in our everyday thoughts.

Take this passage, the inner musings of a desk clerk at Roy Dillon’s cut-rate hotel who has just been on the wrong end of pointed remarks from one of Dillon’s lady friends (to avoid a spoiler, I won’t say which one):

Fumbling, he took the key from the rack and gave it to her.  Looking after her, as she swung toward the elevator, he thought with non-bitterness that fear was the worst part of being old.  The anxiety born of fear.  A fella knew that he wasn’t much good any more—oh yes, he knew it.  And he knew he didn’t always talk too bright, and he couldn’t really look nice no matter how hard he tried.  So, knowing in his heart that it was impossible to please anyone, he struggled valiantly to please everyone.  And thus he made mistakes, one after the other.  Until, finally, he could no more bear himself than other people could bear him.  And he died.

This is really all you need to know about The Grifters, or about Thompson’s work more generally.  I could relate to you the details of incestuous desires, love scenes that take shape at the crepuscular borders of pitch-dark sadism, infanticide.  But that would rob you of some of what you’re bound to feel when you read Thompson, and it would distract you from the very heart of what you’ve just read.  The all-too-human heart.

Some of Thompson’s characters might seem like inhuman monsters: Lilly Dillon in The Grifters, Lou Ford in The Killer Inside Me, Nick Corey in Pop. 1280.  In fact, British critic Nick Kimberly has characterized such Thompson creations as persons “for whom murder is a casual chore.”  I couldn’t disagree more strongly. They’re so full of life, and the awareness that it’s fleeting, that they’d do anything to hang onto it—even take it from others.  If they seem to take pleasure in that act, it’s the pleasure of knowing they’ll live another day, of knowing they’ll only answer to Life itself to the very end and certainly not to any mortal.  But that’s not really pleasure, and it’s anything but a “casual chore.”  It’s a poignant understanding that one must fight to live, and that living is the greatest suffering of all for it is the surest and most powerful reminder of slow, constant dying.

That is Thompson.  That is why you must read his work.  Be grateful you now have the chance to do so, even if it hurts a bit.

Shannon Clute is the co-author of The Maltese Touch of Evil: Film Noir and Potential Criticism (Dartmouth College Press, 2011) and the co-creator of two popular podcast series: Out of the Past, Investigating Film Noir and Behind the Black Mask: Mystery Writers Revealed.  He works for Turner Classic Movies in Atlanta.

E-book editions of all of Jim Thompson’s novels are now available from Mulholland Books, with special price promotions in effect for The Grifters as well as The Kill-Off and A Swell-Looking Babe. Find out more at our dedicated Jim Thompson website.

Dec 032012
 

In my latest crime novel, Interception City, written as Parker T. Mattson and to be published by Black Mask in early 2013, I’ve taken several disturbing real life elements and incorporated them into a story of murder, mayhem and illicit sex set in a tiny isolated community in the deep southern Florida Everglades.

In my last crime novel, Killing Liberty, published by Black Mask in 2012, I took several disturbing real life elements and incorporated those into a tale of murder, mayhem and illicit sex set in a tiny isolated community in deep southern Alabama.

My next crime novel, Killing Time, to be published by Black Mask later next year, will be a disturbing tale of murder, mayhem and illicit sex set in the tiny tropical island community of Key West, southernmost point in the continental United States.

It will again feature ex-Detroit homicide detective Derek Raiford.

Sounds familiar, I guess.

Anyway, as a consultant to over a hundred of the Fortune 500 companies in an earlier lifetime, I travelled the entire country for years, overseeing projects that often required me to stay in a variety of communities both large and small.

Sometimes for weeks or months at a time.

I can also say that I’ve either lived or at least spent time in every major city throughout the United States and made it a point to set foot in every state, except Alaska (too damn cold; sorry, folks).

As a representative of my client companies, I had to interact with all levels of people.

This included executive, management, professional, medical, technical, clerical and hourly individuals. I also dealt with countless political types, many of them ‘behind the scenes’ power brokers in each community, as well as the actual mayors, city managers, business leaders and even local law enforcement members.

The advantage of this to a writer, of course, was that I met a great many characters in a great many locations, characters that I’ve used as the foundation for many of the people, both good and horribly bad, I put into my crime fiction.

I’ve been very careful, so far, to not mention any of the actual locations in my books, or use any names even close to the real ones, because there’s far more truth in each than it’d be wise to admit.

As my protagonist, Jim Starke, says in Interception City, “The truth may or may not set you free, but it can definitely get you killed.”

And in that particular crime thriller coming up, I combined a small hotbed city of the 1980’s (located in the ‘near-South’ portion of a Midwest state) with another backwards little community I’m familiar with deep in the Florida Everglades.

Both of which I updated to become Interception City.

My mayor in Interception City is an 78-year-old ex-bootlegger married to a 19-year-old high school drop-out. The actual mayor that character’s based on was a particularly amiable 78-year-old gentleman who told me it rained the entire week of their honeymoon in Barbados and that she nearly killed him.

I had dinner at their comfortable home several times a month and she always asked if I’d like some ‘tongue’ with a weird little look, while holding out a silver tray of the stuff as an appetizer.

I still haven’t tried it, all these years later. I’ll stick with regular roast beef, from whatever other part of the cow that comes from.

Another young woman I met on that same assignment was the daughter of the wealthiest man in town.

He owned a large manufacturing plant, the local dollar store and two gas stations. In his late-50’s, he was married to a flighty 17-year-old girl who stuck her hand down the back of my jeans at a family picnic I was invited to down by the river.

I’m certain it was an accident. I think she was reaching for the fried chicken and I somehow got in the way.

Sorry.

Regarding the young woman I’d met, both her father and her sweaty 300-pound brother were openly serious members of the Ku Klux Klan. As was the local police chief and a large portion of the small police force.

They’d recently posted a sign at the city limits advising black people to ‘…not let the sun set on their black asses in their fine upstanding town.’ The state police ordered them to take down the sign.

In the early-1980’s!

This was not Little Rock, not Mississippi and not the 1950’s. Amazing.

Every now and then, the young woman (daughter & sister of these diehard KKK-folks) secretly drove 90 miles to the nearest large city to date a variety of black men. She’d been doing it for years.

And it turned out I was the only person she could tell, an outsider, knowing I considered her secret both perfect and ironic.

And, of course, highly dangerous. I couldn’t make up this stuff.

One of the B.Y.O.B. bars just outside of town had an actual dirt floor. Their illegal after-hours wet-T-shirt contests and group-gropes always made a muddy mess. Yet even the local cops attended.

It was very much a town of extremely bored and restless young women. The police chief, far more friendly and decent-seeming than he apparently was (the racist bastard), once told me all the local women were hot-assed.

And he showed me several explicit Polaroid photos to prove it. He let me know he had an extensive personal video collection as well, but I never got to see it.

Anyway, the stories and the characters go on and on.

Enough to write about well into my old, older and even oldest age. I didn’t think much of my corporate consulting career while I was living it, but I now see it was the basis for much of what I’ll (hopefully) spend years writing about.

In any case, I believe I’ve combined truth and crime fiction in a way that won’t get me or Black Mask into any serious trouble.

But if you recognize yourself or your friends or even your community in one of my crime thrillers (as several of my Facebook cohorts very much will), I’m just kidding.

Published by Black Mask and available as
an e-book everywhere and in paperback.
Nov 142012
 
I swiped this from Paul Bishop's blog. I don't know who the artist is, but it's now one of my favorite crime pulp covers ever! Not only is that fantastic painting dynamic, but the cover copy may have just given me the name for a future Femme Noir villainess - "Lady Loot!"

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