All right, kids. Time to release some news that Rosemarie and I have been keeping under wraps for a few months now. Good news. Big news.
Seriously? That’s the best drumroll we can – you know what, forget it. We’re forging ahead.
Rosemarie and I are hugely excited to announce that our mystery novel Design for Dying, which we wrote under the pen name Renee Patrick, will be published by Macmillan’s Tor/Forge Books in April 2016, with a sequel to follow in April 2017.
|An early Paramount promotional photo of Edith|
We were thrilled when Design won the 2013 William F. Deeck-Malice Domestic Grant for Unpublished Writers. (Reminder: you have until November 15 to submit your application for this year.) We are beside ourselves that the book has found a home with the great people at Tor/Forge, and that Renee Patrick will have the opportunity to write another mystery featuring Lillian and Edith. Rosemarie and I have always envisioned this as a series drawing on real Hollywood history and the astonishing legacy of Edith Head, an enormous talent who dressed everyone, knew everyone, and blazed a trail for women in show business.
Word of Design’s sale broke on Halloween in this post we wrote for the Boucheron 2014 blog. We’ll be in Long Beach for this year’s convention and participating in a Tor/Forge author event at Bouchercon on Friday, November 14. If you see us, come say hi. We’ll be the couple standing around looking dumbstruck at our good fortune.
The story had it that once, early in Faulkner’s Hollywood career, he sat in his office for several weeks doing nothing (sometimes he played dominos, sometimes he played chess). And there came a day when the producer, tired of waiting for “pages,” came to his office in person (which was really a breach of Hollywood protocol) and wanted to know how he was getting on.
Faulkner, who had not written a single line, reached for an old screenplay he had found in his desk and said, “Ah’m not satisfied with it.” Then he slowly tore it up, page by page, and dropped it into the wastebasket.
The producer reported back to his own boss, “That fellow Faulkner’s great! Tore up a whole screenplay because it didn’t satisfy him. Conscientious. I wish we had more writers like him. See that he’s not disturbed.”
From Alvah Bessie’s 1965 memoir Inquisition in Eden
I say this every time a new issue of the Film Noir Foundation’s magazine hits in-boxes around the globe. So I’ll quote FNF jefe Eddie Muller: this latest edition of Noir City is “the best written film journal in the world – certainly the most entertaining.”
Want proof? I thought my word was good enough for you. I thought we were friends.
Fine. Here’s proof. Inside the Fall 2014 issue:
- Your friend and mine Christa Faust sizes up noir vixens of recent vintage
- Michael Connelly names his five favorite noir films
- Wallace Stroby on the real life origins of the neo-noir classic Thief
- Profiles of Mike Mazurki and William Castle
- Muller mulls the question of the definitive heist film: The Asphalt Jungle or Rififi?
I’m particularly proud of the sidebar to that piece which I helped assemble, in which we ask a rogues gallery of crime writers to single out their favorite cinematic caper. Faust and Stroby chime in, along with the likes of Duane Swierczynski, Laura Lippman, Ken Bruen, Roger Hobbs and Ray Banks.
Plus plenty more. I contribute a few film reviews and my usual Cocktails & Crime column … and eagle-eyed readers may spot breaking news about what I’ve been up to lately.
Don’t have a copy? Never fear. Simply make a contribution to the Film Noir Foundation and ninety-four pages of majesty will be winging their way toward you. Don’t miss out.
From Joseph Cotten's 1987 autobiography Vanity Will Get You Somewhere:
The following day Orson and I had a date for lunch with two gentlemen (not from Verona, I fear). They were two tough and exceedingly wealthy businessmen. The reason for our meeting was simple; Orson needed money for his next film and he intended to acquire some of theirs.
Late that afternoon, we spotted Churchill swimming in the Lido. In a flash, Orson had his swimming trunks on and was in the water beside him. He was talking, but thank heavens I couldn’t hear what he was saying. Apparently neither could Churchill, for he just turned and swam in the other direction.
Later I asked Orson, “What did you dare say to him this time?”
“I apologized for being fresh,” he said, “but I told him I just wanted to impress two gentlemen whose money I needed for a film.”
Rather unnecessarily I asked, “Did he reply?”
“No,” said Orson.
That evening, we walked into the dining room, our two prospective backers following gloomily. As we reached Churchill’s table, he stood up, looked directly at Orson, and bowed slowly and deeply.
We got the money.
Amazon is running a Kindle Countdown Sale on Down The Hatch from noon PST today to noon PST on Monday. For 72 glorious hours, pick up the book for a mere 99 cents! More than fifty cocktail recipes for less than a buck! Endorsed by experts like New York Times Magazine columnist Rosie Schaap, who called it “a terrific guide through the classic cocktail repertoire.” The Joy of Mixology author gaz regan dubbed it “a great compilation of fine drinks.”
What are you waiting for? Operators are standing by. Metaphorically, of course.
I’ve had my reasons for not updating the blog lately. (On the bright side, they’re good reasons. Very good.) Time to surface and recommend several recent books that span the decades. Two decades, anyway.
Joseph Koenig’s Really The Blues plays out in Paris, 1941. The Nazis have claimed the city, not that ex-pat jazzman Eddie Piron cares. His combo Eddie et Ses Anges performs every night at La Caverne Negre, and “as long as he had a steady gig, the world could keep going straight to hell.” He doesn’t even mind that the SS officers who are supposed to be stamping out the devil music he plays are now his steadiest customers. But when Eddie’s regular drummer turns up dead, the crime draws the attention of a particularly cunning Nazi officer new to the City of Light, one willing to squeeze Eddie to ferret out the truth. It’s Eddie’s bad luck that a fellow American abroad who knows the reason why the musician is in no hurry to return Stateside puts the screws to him at the same time. Eddie’s either going to have to stick his neck out for somebody, or stick it in a noose. The third act may lean on Inglourious Basterds-style heroics too much, but the book crackles with mood and energy throughout. Eddie Piron is a compelling protagonist, an aptly fractured guide to a fractured place.
Blacklist by Jerry Ludwig unspools in 1959 on the other side of the world, where shadows from the war still fall. David Weaver returns to Los Angeles after growing up in exile to bury his father, a screenwriter destroyed by the Communist witch hunt. David doesn’t expect a hero’s welcome, but he would appreciate work in the only business he knows. Opportunity comes courtesy of an unlikely source – Leo Vardian, his late father’s partner, who named names before the House Un-American Activities Committee and is now a successful director. A suspicious David takes the job mainly to return to the good graces of Leo’s daughter Jana, the only woman he’s ever loved. Hounding David’s chance at happiness is Brian McKenna, an FBI agent chafing at his Tinseltown tenure now that the Reds have been rounded up and agitating to serve at the right hand of J. Edgar Hoover. His potential ticket out comes in the form of a series of murders, every victim somehow tied to the blacklist – with David Weaver as likely avenging angel. Veteran TV writer Ludwig paints a vivid portrait of Los Angeles as a company town and smartly conveys the costs of the Red scare on an intimate level. He also creates some fascinating false history, like a choice cameo by Sterling Hayden and a description of “the only full-scale comedy John Garfield ever did” that sounds completely believable.
Linking both the 1940s and ‘50s is The 101 Best Film Noir Posters by Mark Fertig. Mark is a colleague at Noir City, the magazine of the Film Noir Foundation, and I had the pleasure of meeting him and his wife Josie at a signing and reception this past weekend at Fantagraphics Books here in Seattle. For years Mark has curated the finest examples of the noir poster form at his blog Where Danger Lives, and he and Fantagraphics have turned that work into a stunning book. The posters are reproduced in all their lurid, breathtaking glory. My personal favorite may be Force of Evil, which abandons the fool’s errand of attempting to capture Marie Windsor’s sensuality in painted form and just shoehorns a photograph of her into the corner. Mark’s shrewd assessments of every film don’t shy away from controversy; he expresses his doubts about including Leave Her To Heaven, and (correctly, I think) calls D.O.A. “more noteworthy than good.” Clear shelf space, noir fans, because this book is an essential.