Thursday, January 07, 2010

“Last Orders”: An Original
Gus Dury Story, by Tony Black

(Editor’s note: We have a real treat for you today. To coincide with the debut of Loss [Preface Publishing], Australia-born Scottish author Tony Black’s third novel featuring Edinburgh newspaper reporter-turned-part-time private eye Gus Dury, The Rap Sheet is hosting Black’s never-before-published Dury short story, “Last Orders.” Like his first two novels, 2008’s Paying for It and last year’s Gutted [just released in paperback in the UK], “Last Orders” is a tough little yarn packed with characters not wholly good or altogether predictable, and a spare writing style that serves the plot well. When not penning the Dury series, Black still works as a part-time reporter. He’s also a frequent contributor to the e-zines Pulp Pusher and Shots.)

There was something about this prick, got me thinking.

I took a look at his shoes, brogues. His type have a name for the color, oxblood. Oh, yeah. I wear Docs, same color, I call them, cherry. Go figure.

He strolled over. “Mr. Dury, I have something to say and I will not ...”

He stopped flat.

I put the bead on him. My hand went up, slowly.

“Yes ...” It was a question, really, the pause told me. Like I needed the nod too, that I clocked as--affectation.

“Call me Gus, I hear the mister in there, I think you’re after money, or worse, mistaking me for my old man.” The bold Cannis Dury, not a man you’d like to be confused with. Trust me on that. I know.

He looked to the ceiling. Huffed. Was that a tut? I let it slide.

I stood.

He said: “A-hem, are you?”

“Leaving? Oh yes.”

“But we have business.”

“You think?”

That was when I noticed the tweed cap in his hands. He twisted it. Like he was wringing the neck of a pheasant on his country estate. It boiled my piss. I’m working class, c’mon, it’s in the contract.

I reached the street in a heartbeat, as they say Stateside, tugging the zipper on my denim jacket. I know, I know, sacrilege: buttons are the thing for denim--go tell Mr. Wrangler. These days, fashion, the whole world ... don’t get me started. No, really, don’t.

The hand on my shoulder told me I’d been followed out. That, I did not like. Too close to keeping tabs. Or worse, control.

“I have a daughter and she is no longer contactable through the proper channels,” he said, a pause, then, “Gus.”

The proper channels ... he spoke of his daughter like he was some ponytailed ad man at a PowerPoint presentation.

I eyeballed him. “And this is my problem, why?”

I sensed his distaste at the way I talked, not my accent, though that was bad enough--heavy on the Leith--what got him was what riled teachers in school, made them say, “The temerity!”

He looked skyward. Wanted to bolt, turn on his heels, throw up his hands. Days of Empire, I’d be flogged where I stood. But this was 2010. Say you want a revolution--bring it right on.

He checked himself, two yellow tombstones bit down on his lower lip. His pallor was gray as concrete. He spoke, slowly, “I believe you are a man of some ... reputation.”

I allowed myself a blink. But, no more.

He went on, “You have, I understand, some background.”

“Background?”

“I took the liberty of, oh what’s the demotic? ‘Checking you out.’”

The hand again. I blocked his words. Funny how, you’re in a situation, you act out old habits.

“And how did you manage that?” I said.

There was a spit of rain in the air, threatened more of the same. Edinburgh, could be coming down in stair rods inside a minute. He sussed this too. “Mr. Dury, can we return indoors?”

His face changed shape. I’d seen the look before, what the Scots call, thrawn. I thought, fuck the oxblood brogues, if he’s buying, then ...

Truth told, it was close to last orders anyway.

* * *

There were one or two old soaks propping up the bar, bluenoses with tractor tracks cut in their brows. Rough’s the word. Knew I’d be there soon enough myself, but was there a point in hastening it? You bet. Ordered up a Guinness, pint of, and a double whisky chaser.

“A malt?” said oxbloods.

“Is there another kind?” Like I was settling for a blend on his time and dime.

We collected our drinks, headed for the snug. I felt like sparking up, had a pack of Rothman’s raring to go, but the smoking ban had me beat to the punch.

The pint of dark settled a craving, tasted like old memories. I was heading for the wee goldie when himself removed his scarf, revealed a dog collar.

“You’re Church?” I said.

“I am, yes, Church of Scotland ... that makes a difference?”

The short answer was, “Yes,” the easy one was, “Should it?”

“That would be an ecumenical matter.”

I picked up my pint again, supped, said, “I believe you’re right ... can we skip it, get down to business?”

“Indeed.”

His name was Urquhart. A Church of Scotland minister from the North; the trip to Edinburgh had left him, he said, “Unsettled.”

“How come?”

“I have what you might call, no good reason to be here.”

Hadn’t we all, played him with, “Should I get my coat?”

“No. No. Please, if you’ll indulge me, Mr. Dury.”

“Gus.”

“Of course ... Gus.”

He played with the lid on his mineral water, Highland Spring, still. Sparkling just too exciting an option. “My daughter ...”

“Yeah, you mentioned her.”

“I’m afraid, she has, erm, well ... it’s rather embarrassing, gone missing.”

Embarrassing? Somehow, that didn’t seem the right word. A daughter gone from home was a cause for sleepless nights, not a cause for losing face. I eyed him cautiously over my pint, gave him some more rope.

“She got herself mixed up with the wrong crowd some time ago, my parish is a very poor community, we once had mines but they are long gone and I’m afraid in their wake came some rather extreme views.”

I knew pit communities had it tough after Thatcher, they lost their livelihood so the old bitch could prove a point. Some got paid off, a few grand to piss up the wall, called them six-month millionaires.

“Extreme?”

“Well, yes ... anarchists, Mr. Dury.”

“Go, on ... ”

He poured out his mineral water, drank deep, he had quite a thirst on him, I knew the territory. “My daughter, Caroline, she was a very willful child and ...”

“Whoa, back up ... was? What makes you think we’re talking past tense here, Minister?”

He bridled, removed a handkerchief and wiped his palms. “A figure of speech, I have no reason to believe ... I mean, I have nothing to go on, Gus, that is why I have come to you.”

I’d say one thing for him, he had my attention. These days, my situation, wedded to a bottle of scoosh and 40, scrub that, 60, smokes a day, that was no mean feat. I pressed him for some details, jotted them down.

“I’ll need five-hundred in advance and another five when I conclude.”

“Conclude?”

“That’s right ... I don’t have a crystal ball, Minister. I go digging, what I find is what I find. What I get, is a grand for my trouble. We understand each other?”

He nodded, took out a checkbook.

“Cash.”

“I’ll have to go to a bank.”

“Then, let’s.”

I drained my pint.

On the way out the door, Urquhart placed a hand on my elbow, spoke softly, “One more thing, I neglected to mention ...”

“Yeah?”

“My daughter, I believe, is ... with child.”

* * *

Papers had been full of scare stories coming out of the hospitals. We had a power of superbugs rampaging through them. Resistant to treatment, the red-tops said; was the new plague. I’d watched a documentary about the issue, doctors were in the clear, so were nurses, the blame was being planted firmly at the feet of ... immigrant workers. I’d been a hack, knew a beat-up story when I heard one. Everyone needs a scapegoat: Welcome to Scotland, scapegoats a speciality, we’ve a history littered with them.

I traipsed through the main doors of the Royal Infirmary and looked for the maternity ward. Figured a young girl--Urquhart had said she was barely 18--wouldn’t be too hard to find. Women were having kids later and later, right? Wrong. They had a ward full of them. Gym-slip mums they called them in my day. Christ knows what they called them now ... Britney had kids, last I looked, was probably the fashion. Me and fashion, we don’t get along.

I grabbed a nurse as she passed me in the corridor, “Hello, there ...”

Eyed with suspicion, got, “Yes.”

“I was wondering if you might be able to help me.”

Now I got the full head-to-toe eyeball. “Visiting hours are 4 till 6.”

“No, sorry, I’m not visiting. I’m just looking for someone.”

“Looking for someone?”

“Yes, a girl ... name of Urquhart, about 18.” I knew the chances of her using her own name were slim to none, but chanced it.

“Are you a relative?”

Fuck it, the boat was out, I pushed it further: “Yes. I’m her brother.”

I knew at once she wasn’t buying it. I was only in my 30s, but the sauce had added a few years to the dial of late.

“Do you have any identification?”

I stalled, “Can I show you a picture?” Urquhart had supplied a photo, a few years old I’d say. Caroline was still in school uniform, one of those dreadful posed, say cheese numbers that everyone has tucked away in a sideboard at their parents’ home. Not me, though. What I have tucked away at my parents’ home is ... skeletons.

The nurse took the photograph from me, looked at it, said, “This girl has red hair.”

“Yeah?”

“And blue eyes.”

“You caught that.”

“If you and her are related ... I’m a monkey’s uncle.”

I snatched back the picture. “Are you in charge here?”

“I’m the ward sister.”

“Well look, sister, this young lass is missing, her father is very concerned and if I don’t find her soon who’s to say what might happen to her.”

Hands on hips, I got hands on hips from her. “I’m calling the police.”

“Y’what?”

“If you’re not off this ward, and out of this hospital, in the next 30 seconds, I’m calling the police.”

I pocketed the photograph. Turned, fired out, “Nice bedside manner you have there.”

A finger pointed to the door.

“Out!”

“Don’t worry, I’m gone.”

Felt a torrent of abuse at my back, caught the words, “come in here stinking of drink” and knew I’d reached the end of one line of inquiry.

* * *

Before I got my jotters from the paper, I had a helper. Not quite an assistant, more a Girl Friday. Amy was work experience, had a thing for old movies with journalists cracking big stories. Had a thing for old journalists too, but that’s another story. I caught up with her in Deacon Broadie’s pub on The Mile.

On any given day of the week, Amy, you can bet your hat, is dressed to impress. She sauntered in, white mules, white jeans (skintight), and a pillar-box red crop top that showed a stomach so flat you could eat your dinner off it. The diamanté stud in her navel, you could argue was over the top ... but who’d listen.

“Gus boy, how do?”

“Mair to fiddling’.” That’s a Scots spoonerism for you, does it have a meaning? Does anything?

Amy settled herself at the bar, ran her fingers through long black hair. She was a showstopper, men’s eyes lit up like Chinese lanterns all about the place.

“I need your help?”

She ordered a rum and coke, fastest service I’d ever seen. “Yeah, help with what?”

“A case.”

A smile. Wide, a from-the-heart job. “Great!”

“Calm down, I wouldn’t get too excited about this one.”

“Work’s work ... beats staying home watching Antiques Roadshow.”

“Maybe not this one ... I warn you, I don’t see much scope for excitement.”

“I’m an excitable girl! Try me.”

I gave her the details. My main concern was just what was behind Urquhart’s tale.

“You think he’s hiding something?” said Amy.

“Dunno.”

“He’s a minister, though.”

“There’s no sin but ignorance.”

“Is that a quote?”

“Sure is.”

* * *

I stood in the carpark of the Royal Infirmary. Couldn’t believe I was about to do this. Had to call and double check.

“Fitzsimmons, please?”

“Inspector Fitzsimmons, connecting you now.”

Fitz the Crime and I went way back. In my time on the paper, I’d kept a couple of his indiscretions out of the headlines. Plod tends to turn a blind eye to its own lot’s peccadilloes, but seeing them in print is a whole other matter.

“Hello.”

“Fitz, I wanted to check ...”

“Dury, by the feckin’ cringe, what in the name of Christ are ye doing calling me here?”

“Calm down, man, all I want is a little confirmation.”

“By the holy, it’s my bollocks in a jar yeer after! I’m certain of it.”

I let him settle, grab a hold of himself, said, “It’s definitely the blue Micra, L89 KLP?”

“Jeez, didn’t I tell ye it was?” The Jamieson we’d tanned over lunch was rising in him, brought out some more Irish. “It is her and that’s that ... why are ye doubting me?”

I could see the nurse by the car, she was chatting with a young lad of about 20, the blue shirt a giveaway that he was also a member of staff.

“It’s just I have her in my sights, and well, we’ve already spoken and she was none to keen on filling me in.”

“Dury, I have no such qualms, I will gladly come down there and fill ye the feck in if I hear one more word out of ye. I cannot believe you would call ...”

I hung up.

If this was our one, there was no choice. I let her wave off her coworker and headed for her car.

The Micra had central locking, I opened the passenger door and got inside.

“Hello again.”

She looked, there’s a phrase, shook. “What are you doing here?”

“Don’t worry, I’m no mentaller. I want to talk to you about Caroline Urquhart, and don’t play coy, I know you treated her when she came to the Royal.”

“Get out of my car.”

“Look, lady, I don’t care what you think of me but that girl and her baby need help. Now, either you’re going to be the one to help her or we’re relying on someone else out there being a very good Samaritan.”

She fiddled with the keys in her hand. She looked at me, in the eye, then averted her gaze back out towards the hospital carpark. A sigh, “I haven’t seen her in weeks.”

“How many?”

“Two, three ... maybe a bit longer. She’s due, you realize.”

“What, now?”

“Very soon. I have to admit, I’ve been a bit worried, she gave us an address for a place down in Leith and I went there, twice now, but it’s boarded up. I don’t think anyone is living there.”

“Did she have any associates?”

The nurse’s top lip twitched uneasily, she looked out the window again, “There was a boy, erm, he was a bit ... rough.”

“How do you mean?”

“Rough, rough. He was tattooed from head to toe and I think he had beaten her.”

“Beaten?”

“There was a black eye once and a few cuts on her face.”

“The baby?”

“Healthy. I think the child was fine, it was just male dominance issues.”

“Backhanders.”

She nodded.

“This guy, you know anything about him?”

“No. I don’t think he had a job. I think he was wary of Caroline coming to the hospital. I know he had told her that he thought we suspected he beat her and ... look, I really can’t tell you any more.”

I took out my notebook, “Just let me have the address and I’ll be on my way.”

* * *

I grew up in Leith. Parts of the place, now, I hardly recognized. There were chrome and glass eyesores springing up every week, it seemed. When my brother and I were young enough to go bikes we played boneshaker over the cobbles. I couldn’t see any kids nowadays doing that, unless you can get it on the Nintendo Wii.

I found the address quickly. This part of town, the developers had left well alone. Give them a few more months, there’ll be bulldozers in. Then the chrome and glass.

The stairwell was covered in graffiti. Tagging mainly. You get your school of thought that this kinda thing ruins an area; me, I say, how much worse can they make it? Scrubbing it off’s only turd polishing.

The landing smelled of piss. Even with all the windows panned in, the piss was still rank enough to make me want to chuck. I stuck my face behind my jacket and waded through the detritus of aerosols, needles, and White Lightning bottles. The address was the last in the line. I wondered, end of the road?

I could see why the nurse would think nobody lived here. Like she would? Uh-uh. I pressed on the door’s windowpane, there was no movement, it wasn’t opening up. Looked in the letterbox, a blast of damp, but also, I was sure, some movement.

I banged on the door.

Nothing.

Tried again.

A clang of, was it, a door?

I hollered in the letterbox, “Caroline, is that you? My name’s Gus, Gus Dury, your father asked me to find you?”

I put my ear to the slot.

No movement anymore.

I knew there was someone in there. Toyed with the idea of putting my foot to the door when, suddenly, a whoosh of stale air as the glass pane came through. I caught a set of wooden step ladders in the mush.

I fell back. My back smacked off the concrete landing just as I saw a blur of shaved head loom over me and cosh me across the face with a heavy pot.

Next thing I saw was the dancing canaries.

* * *

“Hello, can you hear me? Hello ... hello.”

My head felt like Chewbacca had taken a dump in there. I was still on my back as I opened my eyes to find a young girl looming over me with dark panda eyes.

“Can you hear me?”

“Yeah. Just, maybe lower the volume.”

“I’m sorry. Are you OK? Can you move?”

I tried to steady myself, “I think so.”

“Would you like to come inside?”

I got on my feet, knees caved. The girl, heavily pregnant, put an arm around me. “Can you manage, this?” I said.

She smiled, a sweet smile, real heart-melter. Wondered why anyone with a smile like that needed to live in a place like this.

She sat me on an old crate, an orange velour cushion the only concession to comfort.

“You would be Caroline?”

She brought me a wet cloth, said, “We’ve no ice.”

“You’ve not much of anything.”

She gripped her palms, looked at the floor.

“Caroline, your father ...”

She turned away. “Don’t. Don’t say his name to me.”

I tried to regain control of my balance, stop the room swaying. “Look, he’s worried about you.”

“No he’s not.”

“Sorry?”

The sweet demeanor vanished in a second, she turned, rushed towards me but seemed suddenly cut down in her tracks. She bent like a hinge, gasped.

“Are you OK?”

Breathless, “I think the baby’s coming.”

“Oh, fuck.”

A shriek.

Pain.

“You’ll have to help me.”

“What? I mean, how?”

Another shriek.

She fell to the floor, started to scrunch up her eyes.

“Help me, please!”

* * *

At the hospital we went our separate ways.

“Will she be OK?” I asked as they wheeled Caroline away.

No answer.

Some bright spark put a wheelchair down for me, motioned “in.”

“No chance. I walk fine.”

Got two steps and the knees went again. Had been running on my last reserves of adrenaline.

“Like I thought, that gash tells a different story,” said the paramedic.

I touched my head, felt blood on my fingertips. It had soaked all the way down into my shirt collar and into my waistband.

“Looks like you took quite a clatter.”

Wanted to say, “No shit, Sherlock.” Went with, “Yes, quite a clatter.”

They spent an hour or so patching me up. Had stitches and a nice head bandage to complete the look.

Amy brought in the news: “She had a little girl.”

I tried to smile, but my head hurt too much, even on the codeine. “Great, she’s OK?”

“Chirping away like a budgie.”

I sat up. “Do tell.”

Amy had on her shit-stopping seriousness look. “It’s not pretty.”

I motioned to my head, “I look like someone who needs sugar-coating?”

Amy stood up again, looked agitated. She took off her coat and placed it over the chair by the bed. “Well, I checked out our Minister ...”

“And?”

“Well, let’s just say you were right to have your suspicions. He’s in line to be the Moderator of the Church of Scotland.”

“That’s a big gig.”

“The biggest, comes with the Right Reverend title ... you could see why he has Oscar-night nerves.”

“He does?”

Amy put her arms round her slim waist, hugged herself. “Gus, I feel strange talking about this, but, Caroline said some stuff when she, well, after the birth, I think she was still under the drugs, but ...”

I sat up in the bead, motioned her closer. “Look, if there’s something I need to know, you’d better just spit it out.”

Amy started to cry. She was a tough lass, I’d never seen this before.

“Hey, what’s the matter?”

She put her hand to her mouth. “Caroline says ... he’s the father.”

I slumped. “What?”

The dam had burst. “She says he raped her. She hates him, got into trouble at home and got into this neo-Nazi crowd because she thought it was about as far away from what he stood for as she could get ... Gus, it’s too sad for words.”

I couldn’t listen to anymore.

“Give me my phone over.”

“You can’t use a phone in hospital.”

“Fuck it. Give me it.”

She passed me the mobi; it smelled of fags, Benson’s.

I dialed Urquhart, he answered on the second ring. “Hello, Minister, this is Gus Dury.”

“Oh, hello, you have uncovered anything?”

“You better believe it.”

“Well, that’s wonderful news.”

“Is it?”

“Well, yes, I-I ...”

“Not so fast. I have found your daughter, but let’s just say I’ve run into a few extra expenses along the way.”

“I don’t understand.”

“Understand this, the price is now two thousand in cash by his afternoon.”

“What?”

“You heard, Minister ... you ever want to hear that Right Reverend bit upfront then you’d better be where I first met you on time.”

I cut the line.

* * *

I took Amy, not as back-up, or decoration, but because she set the tone I wanted. She had--edge.

Urquhart was sitting in the snug with a bottle of Highland Spring. Still.

On our approach he stood up, eyes lit on my bandaged head, then shifted. “Who is this?”

Amy looked him up and down, she blew out her Hubba Bubba, popped the bubble fast. Sat right up front. Urquhart had a view of her cleavage most men would have paid money for, but it set his nerves jangling.

“You don’t ask any questions, Minister,” I said.

I nodded to the barman, “Rum and coke, twice.”

There was silence around the table. Amy eyed Urquhart with derision. Once in a while she’d blow out another bubble, just to put the knife in him.

“Could you stop that, please?” said Urquhart.

“Why?” said Amy.

He clammed, mumbled, “It’s vexatious.”

Amy fluttered her eyelashes, leaned forward, close enough for the minister to scent the Hubba Bubba on her breath. “If someone says stop, do you always stop, Minister?”

“I beg your pardon?”

A smile, wide white teeth, “No never.”

Our drinks came.

The barman left.

I spoke, “Now, let’s get down to brass tacks. The cash.”

He ruffled, “I think I shall have my side of the agreement fully realized before I part with any ...”

I raised a hand, “Hold it right there.”

Amy slurped rum and coke through a straw.

The minister shuffled on his seat. “I have had quite enough of this performance, Mr. Dury! Now, I engaged your services to locate my daughter and I demand to know what progress you have made towards that end.”

“The money.”

Silence.

Amy leaned forward, yelled, “The money!” She slapped her hand on the table, yelled again, “Now!”

Did the trick.

He produced a long manila envelope from the inside pocket of his Barbour jacket.

I opened the package, peered inside.

“There’s no need to count it, it’s all there.”

It looked about right. I peeled out two fifties, gave them to Amy, said, “Here, you’ve earned that.”

She took them greedily, sat them under her glass; returned eyes to the minister.

I resealed the envelope, handed it back to Amy, said, “Take this to Caroline ... that girl deserves all the help she can get for making a fresh start.”

Urquhart’s face reddened, “Now look here, I paid you to find my daughter.”

“I did.”

“Then, where is she?”

“I never said I would tell you that.”

He made an O of his mouth, fumbled for words; we have a phrase in Scotland, “Are you catching flies, Minister?”

“I-I can't believe this ... you have swindled me!” He rose, went to do up his jacket. “I’m not standing for this,” he said.

I motioned, “Sit,” patted on his chair, “unless you’d like me to fuck up your chances of becoming Moderator once and for all.”

His eyes widened. He lowered himself, slowly.

Amy sighed, blew another bubble, got up to leave.

“I’ve seen all I can stomach,” she said.

Urquhart lowered his head, looked into his palms. “What has she told you?”

I tipped up my glass, drained it. “Everything.”

“She lies, you know.”

“Will the DNA?”

He turned to me, quickly.

“Didn’t think so.”

I stood up to leave, moved towards him and lowered my mouth to his ear, “If I ever hear you have been within a country mile of that girl, I will personally preside over your crucifixion. Do you understand me?”

He said nothing.

“Is your hearing off, I said do you understand me?”

Nods. Rapid. “Yes, yes, I understand.” He took out his handkerchief, pressed it between his hands, then carefully began to fold it away again.

I moved off, left him staring at the tabletop. As I walked, I expected him to ask about his daughter, either one. He stayed silent.

At the door, my heart pounded. I turned, thought I might see a broken man, in tears perhaps. He was pouring out the mineral water. Face, stone.

Once Around the Blogosphere

• A new addition to The Rap Sheet’s blogroll: My Year in Crime, the handiwork of Dan Fleming, who describes himself as “the writer/co-creator of Warrior Twenty-Seven, the independent comics anthology.” Check it out.

• I’m sorry to say that it’s been a while since I read one of Graham Hurley’s Portsmouth novels featuring Detective Inspector Joe Faraday. (They aren’t easily had in the States, and I don’t get up to Vancouver, Canada, nearly enough to keep myself supplied with British titles.) However, coverage of his latest Faraday installment, Beyond Reach, may encourage me to seek him out once more. Michael Carlson reviews the novel at Irresistible Targets, and Hurley is January’s “Author of the Month” in Crime Squad.

• Three months after NBC-TV cancelled the “gritty” Los Angeles-based police drama Southland, the series’ second season is set to begin on rival TNT. TV Squad reports that “Starting on Tuesday, January 12, TNT will air reruns of Season 1 of the show at 10 p.m. ET/PT. Then, on March 2, the six-episode second season will premiere.” Excellent!

• In the run-up to this Sunday’s celebration in Philadelphia of the 43rd anniversary of noir writer David Goodis’ death, editor-novelist Duane Swierczynski has launched a blog tour of “the Quaker City through Goodis’ eyes, pairing selections from his novels with photos of the city as Goodis saw it.” You’ll find his series here.

James McCreet (The Incendiary’s Trail) selects his “top 10 Victorian detective stories”--fiction and non-fiction--for Britain’s Guardian newspaper.

• Critic and blogger Sarah Weinman has penned what sounds like a labor-of-love essay about American author Don Carpenter (Hard Rain Falling) for the January issue of The Believer magazine. While the whole piece isn’t available online, you can at least read an excerpt here, and Weinman shares some background on her work here.

• Reed Farrel Coleman’s beloved protagonist, Moe Prager, is expected back in print in a sixth adventure, Innocent Monster, come next fall. The book will be published in hardcover by Tyrus Books. (Hat tip to Independent Crime.)

• If you’re hoping to attend, but have not already signed up for Sleuthfest 2010 (February 26-28 in Boca Raton, Florida) or Left Coast Crime in Los Angeles (March 11-14), you had better get cracking.

• Stephen Bowie’s list at The Classic TV History Blog of 10 “new classic” series includes four straight-out crime dramas, plus another (The Sopranos) that can pretty easily be squeezed into the genre.

• Rap Sheet contributor Jason Starr has a new, hardcover graphic novel due out next week, a supernatural crime-fiction work called The Chill. In the meantime, the Vertigo blog features his list of the “six most influential crime novels.” Good picks, all.

• The GOP’s new nickname:The Party of Crazy.”

• Recommended by “Stieg Larsson’s English Translator,” Reg Keeland: An article in the Financial Mail Women’s Forum about the late Larsson’s 32-year “soul mate,” Eva Gabrielsson, who “has not seen a penny of his £20m.”

• Mark Justice, who I know best from his pulp cover blog I Was a Bronze Age Boy, has launched another blog, Pulp Nocturne, in which he intends to “serialize new pulp fiction. Some of the stories will have a contemporary setting, like our initial offering [‘Donovan Pike and the City of the Gods’]. A future project will be set in the blood-and-thunder 1930s pulp world.” Justice also intends to podcast each chapter of his fiction.

• Friend of The Rap Sheet Col Bury has won December’s One Word Flash Fiction Challenge at Writers News Talkback Forum. “The idea,” he explains, “is to write up to 200 words on a word chosen by the preceding month’s winner--who then becomes the judge for the following month, if you get me drift.” His very short story, “Frantic,” can be found here.

• It looks as if things are moving ahead on a big-screen adaptation of the 1970-1971 British science-fiction TV series UFO.

• Finally, British author-editor Rob Kitchin is challenging readers to help him compile a curriculum list of 10 must-read, pre-1970 crime-fiction classics. “[E]ither post the list on your own blog and send me the link (rob.kitchin@nuim.ie), or post the list in a comment to this post by January 31st. I’ll then compile a curriculum based on the most popular choices (and provide link-backs to posts). Ideally, the selection of books needs to try and capture different crime fiction sub-genres and styles.” Crime Scraps’ Uriah Robinson has already made his suggestions. Anyone else up for the task?

Double Trouble

Here’s a real legal stumper for you: If a Siamese twin commits murder, does his brother get punished, too? Slate’s Daniel Engber looks to history for answers.

Wednesday, January 06, 2010

“The Game Is Afoot” Once More*

With this supposedly being the birthday of Sherlock Holmes (his 156th?), it seems an opportune time to mention Titan Books’ plans to republish a number of somewhat overlooked yarns in a series entitled “The Further Adventures of Sherlock Holmes.”

Out already are four entries in that series: The Ectoplasmic Man, by Daniel Stashower (originally published in 1985 and pairing Holmes with illusionist Harry Houdini in a case that involves blackmail against the Prince of Wales); The Veiled Detective, by David Stuart Davis (dating from 2004, and recounting Holmes’ first encounter with criminal mastermind Professor James Moriarty); The War of the Worlds, by science-fiction and horror writer Manly Wade Wellman and his son Wade (a 1975 release in which Holmes, Dr. John H. Watson, and Professor Challenger combat H.G. Wells’ aliens); and The Scroll of the Dead (first published in 1998 and pitting Holmes against a counterfeit medium “hell-bent on obtaining immortality after the discovery of an ancient Egyptian papyrus”).

Still to come in this handsomely packaged paperback series are The Man from Hell, by Barrie Roberts (1997), and The Stalwart Companions, by H. Paul Jeffers (1981), both due out in February. Tom Green, Titan’s online marketing executive, tells me that future installments will include “an encounter with Dracula. I believe there will be 10 titles all together.”

Of the works already identified, the only one I remember reading is Stashower’s The Ecotoplasmic Man, which I’d considered including in The Rap Sheet’s “forgotten books” series (though that no longer seems appropriate). If Green’s mention of a story that finds the Greatest Detective stalking Count Dracula refers to Loren D. Estleman’s Sherlock Holmes vs. Dracula, or The Adventure of the Sanguinary Count (1978), then I’ve read another. But, despite Bookgasm editor Rod Lott’s caution that there are errors to overcome in these reprints, I hope to find time to read all of the Titan editions. As any serious mystery-fiction fan can tell you, there were plenty of Holmes pastiches from which to choose in putting together this series. David Stuart Davies alone has penned at least eight Holmes novels, together with multiple non-fiction studies of Sir Arthur Conan Doyle’s celebrated protagonist and his faithful chronicler. I’d hate to have been the person responsible for culling out only 10 titles worth bringing back to the marketplace.

That these books are, I presume, appearing now only because of the publicity surrounding the new Robert Downey Jr. film, Sherlock Holmes, doesn’t bother me one iota. Good novels deserve to be kept in the public eye, even if it’s blatant commercialization that guarantees their longevity.

* While this headline refers to a memorable Sherlock Holmes line delivered in Conan Doyle’s “The Adventure of the Abbey Grange,” the phrase in fact has a more complex and interesting etymology.

READ MORE:Sherlock Holmes, Amorphous Sleuth for Any Era,” by Charles McGrath (The New York Times); “The End of a Beautiful Friendship: Houdini and Arthur Conan Doyle,” by Jill Harness (Neatorama); “The Curious Incident of the Sleuth in the Meantime,” by Karl E. Meyer (The New York Times); “From Well Beyond the Grave,” by J. Kingston Pierce (The Rap Sheet); “Book Review Club: The Trial of Sherlock Holmes, by Leah Moore and John Mark Reppion,” by Scott D. Parker.

Can’t You Write Any Faster?

Bryon Quertermous has posted a new fiction-writing challenge. But you have less than a week to complete it. Yikes!

READ MORE:The Results Show: Live!” by Bryon Quertermous.

Yeah, I’ll Get to It ... Sometime

As one whose only New Year’s resolution for 2010 is to finally read Leo Tolstoy’s epic adventure, War and Peace (a novel that was among my mother’s favorites, but that I’ve successfully avoided for all these decades), I was interested to glance through Beth Carswell’s list of “the top 10 reasons we don’t get to certain books.” For my own part, it’s reasons 1, 3, and 6 that usually stand in the way of my picking up a new work.

(Hat tip to Bill Crider’s Pop Culture Magazine.)

Tuesday, January 05, 2010

Bullet Points: Back to Normal Edition

With Christmas and New Year’s Day now behind us, along with all of my laboring over January Magazine’s Best Books of 2009 feature, The Rap Sheet can at last return to its regularly scheduled programming--and more! We have a special treat planned here for this coming Thursday--our third short-story offering (after this and this)--and on Friday, the “Books You Have to Read” series will return with Cathi Unsworth’s comments about Derek Raymond’s 1990 novel, I Was Dora Suarez. For now, though, there are plenty of smaller matters and mysteries that deserve noting:

• Megan Abbott interviews Robert Crais (The First Rule) for an article in the Los Angeles Times Magazine.

• Howard Duff in your ear: Evan Lewis has posted “The Cheesecake Caper,” a full 1949 episode from actor Duff’s old Sam Spade radio drama, at Davy Crockett’s Almanack.

• After a 20-month hiatus--long enough to make me think it had become an archive site only--Scott Monty’s I Hear of Sherlock Everywhere (“The podcast for those interested in the life and times of Mr. Sherlock Holmes--where it is always 1895”) has suddenly risen from the grave. Just in time to help celebrate the release of the new Robert Downey Jr./Jude Law/Rachel McAdams movie based on Sir Arthur Conan Doyle’s characters. For anyone who needs a recap on all things Sherlockian for 2009, click here.

• By the way, it’s being reported that “The executors of Sir Arthur Conan Doyle’s literary estate have threatened to withdraw [director] Guy Ritchie’s rights to the Sherlock Holmes story if the director hints at a homosexual relationship between the lead characters in his sequel.” Apparently, Downey made some rather suggestive comments on Late Night with David Letterman, and set this whole brouhaha off. But what I find interesting is that there are already plans for a Sherlock Holmes sequel, when I haven’t even seen the first film yet.

• And here’s a provocative suggestion: The true identity of Victorian serial killer Jack the Ripper? Well, he was none other than Holmes creator Arthur Conan Doyle.

• From the No Surprise Department: NBC-TV is planning to renew Law & Order for a 21st season. As TV Squad notes, “That’ll mean that [producer Dick] Wolf’s show will break the long-running record of 20 seasons for a dramatic series held by Gunsmoke.”

• The latest short-story to be featured in Beat to a Pulp is “Missed Flight,” by Virginia writer and blogger Steve Weddle.

• As part of Mystery Fanfare’s “Partners in Crime” series, Reed Farrel Coleman writes about collaborating with Ken Bruen on their 2009 thriller, Tower.

• Is this the goofiest book cover ever, or what?

The worst political scandals of the decade.

• For the second year in a row, The Drowning Machine’s Corey Wilde hands out his Lowhead Dam Awards. There are some great reading choices here.

“The International Association of Media Tie-In Writers is bestowing The Faust, its Grand Master Award for excellence, to author William Johnston, the writer of over a hundred tie-in novels and the most prolific practitioner of the craft ...” Learn more here.

• How ridiculous is it for reviewers to write about some crime novels “transcending the genre”? Oline H. Cogdill has her say here, with Brian Lindenmuth adding many historical references here.

This is the horror movie I remember best from my childhood. The first time I saw it, it gave me nightmares for a week. And then, of course, I continued watching it three or four more times on Saturday TV matinees. But I hadn’t thought about it along time. Thanks to Mystery*File’s Mike Tooney for the reminder.

• Good news for Ironside fans: The third season of that 1967-75 NBC crime drama starring Raymond Burr will finally be released in DVD format this month. But unlike the previous two seasons, these DVDs will only be available through a “Direct to Consumer” arrangement from Shout! Factory. The set retails for $49.98. Full purchase details can be found here. It’s too bad Christmas has passed already. This would’ve been an ideal present for yours truly. But maybe for my birthday in March ...?

• Speaking of DVD releases, Chuck: The Complete Second Season is due out this week. And Simon & Simon: Season 4 is coming from Shout! Factory on April 6.

Philadelphia’s small claim on Dashiell Hammett’s legacy.

• My thanks go out to Dan Wagstaff of the book-design blog, The Casual Optimist, for mentioning The Rap Sheet’s companion page, Killer Covers, among his “10 Websites for Vintage Books, Covers, and Inspiration.”

• Some people may have forgotten about these deliciously designed paperback covers, but it wasn’t us. For more pulp finds, click here.

• Author John D. MacDonald, the creator of “salvage expert”-cum-detective Travis McGee, is featured on the cover of the most recent Harvard Business School alumni magazine. The story inside is also here. (Hat tip to Ed Gorman’s Blog.)

A new post in Peter Rozovsky’s blog, Detective Beyond Borders, reminds me to pass along word that Soho Crime will soon reissue at least the first couple of James McClure’s eight novels featuring those mixed-race South African partners on the Murder and Robbery Squad, Afrikaan Lieutenant Tromp Kramer and his Zulu assistant, Sergeant Mickey Zondi. The Steam Pig (1971) is due in bookstores come July, with The Caterpillar Cop (1972) to follow a month later. I remember McClure’s series as being incisive and often humorous. The author was also, as I wrote in my 2006 obituary of him, “a pioneer of sorts, exposing the natural beauty and ugly social contradictions of apartheid-era South Africa through the framework of crime fiction.” It will be a pleasure to rediscover the Kramer and Zondi series.

• The reading period for the novel categories of the annual Spinetingler Awards is now officially open. Authors, editors, and publicists should contact Brian Lindenmuth to be sure that the judges have copies of their books on hand for consideration. The Spinetinglers are given out annually in association with Spinetingler Magazine. A list of last year’s winners (including The Rap Sheet, it should be noted) is here.

Just downright repulsive. And bad for America’s future.

• And while we’re on the subject of idiocies, how ’bout Fox “News” host Brit Hume’s comment about golfer Tiger Woods and his religion? More on that here and here.

• Finally, if you aren’t already sick and tired of 2009 end-of-the-year “best books” rundowns, sample these: “The Best of 2009 Mystery Lists,” parts one and two (Janet Rudolph); “The Best Mysteries of 2009” (Mystery Books News); “Favourite Reads of 2009” (Donna Moore); “Best Crime Novels 2009” (Rob Kitchin); “Crime Fiction Top 10 for 2009” (Barbara Fister); “Favorites of 2009” (Sons of Spade); “Bookgasm’s Best (and Worst) of 2009” (Bookgasm); “Top Crime in 2009” (Bruce Grossman); “My Ultimate Top 10 Mysteries List” (Keith Raffel); “Books of the Year: Page-turners” (The Economist); “Favourite New Books of 2009” (The Casual Optimist); and “The Best Fiction of 2009” (Salon). While many publications will probably wait until the end of 2010 to announce their editors’ favorite books of the early 21st century, Sarah Weinman has already put together her list of “The Best Crime Fiction of the Decade,” and The Hungry Detective’s Dan Wagner tries the same thing in two posts, here and here.

Monday, January 04, 2010

The Men from Laramie

C.J. Box (left) with his English/French translator, Robert Pépin

As unlikely as this may sound, I made the town of Laramie, Wyoming, my home for a time in the 1980s, when I was traveling around America’s West and Midwest. Fortunately for you, I’m not going to go into all of the reasons why I landed in that once lawless frontier burg. But I will say that I had a good time there and made some “interesting friends” at a bar called The Buckhorn. It was there that I met my first real cowboys, and for a time, was a rather unusual regular--a swarthy man with a clipped English accent, who drank gin-and-tonics and talked incessantly about books.

My Laramie days were still very much on my mind in 2003, when I attended my first Bouchercon, in Las Vegas, Nevada, and met C.J. “Chuck” Box. A Wyoming native, Box by then had had two novels published: Open Season (2001) and Savage Run (2002), both of which starred game warden Joe Pickett. Reading Box’s yarns took me back to my time in the West, when I wandered around the Black Hills and attended the Frontier Days celebration in Cheyenne, an event that offered me my first opportunity to ride a bucking bronco. (Yes, my time in America was filled with action!)

I bumped into Box again at Bouchercon in Indianapolis last fall. This followed my reading Three Weeks to Say Goodbye, a standalone thriller (published in the States a year ago) that, with its appearance on this side of the Atlantic last month, has finally introduced C.J. Box in a big way to British readers. (His books were previously marketed in a small way by Robert Hale Publishing, but Corvus, his latest publisher over here--and a new arrival on the scene, with big crime-fiction ambitions--is giving Box more extensive exposure.) I was blown away by Three Weeks, which builds on the story of a couple who’ve adopted a baby girl, and then must battle the child’s gangster of a biological dad--and, more importantly, that gangster’s powerful federal judge of a father--to keep her, and keep her safe. I can’t help but agree with Harlan Coben, who called Three Weeks “a non-stop thrill ride--a provocative suspense novel that has you rooting for the characters every step of the way.”

Box has been much celebrated for his fiction-writing over the last decade, at various times picking up the Anthony Award, the French Prix Calibre 38, the Macavity Award, the Gumshoe Award, and the Barry Award. He now has 11 novels in print, with a 12th due out this coming spring. In association with his entry into the UK market, he’s been open to doing lots of publicity. He agreed to write a feature for the e-zine Shots (“C.J. Box Asks: How Far Would You Go to Protect Someone You Loved?”), and I even managed to twist his arm to do an interview with The Rap Sheet. Like a couple of old cowpokes doffing their Stetsons and shooting the breeze (well, that was how I envisioned it, anyway), we talked about how Box got his start as an author, his associations with the American West, and what it took for him to finally make a splash in British bookstores.

Ali Karim: So, tell us a little about your upbringing. Do you come from a bookish family?

C.J. Box: I can’t really say I was from a bookish family. My dad, a former teacher, is certainly a reader and has become more of one, but the house I grew up in didn’t have a single bookcase--except mine. My relatives in Wyoming were blue-collar energy workers, although I do recall paperbacks by Mickey Spillane lying around.

AK: Who or what, then, do you put down as cultivating your early interest in reading and writing?

CJB: I was always a reader and a secret lurker in libraries. Maybe it’s because there simply wasn’t other entertainment available. I do remember sucking up books like a maniac. I read everything I could get my hands on.

AK: And what were the books that sparked you to pick up the pen?

CJB: The one that did it was Catch-22, by Joseph Heller. I read it in high school, I believe. The world just opened up after that book, and I knew I someday wanted to try to show readers a world they weren’t familiar with the way that Heller showed me. Not that I thought I could write another Catch-22, of course. And neither did Heller, for that matter.

Then I saw a movie no one has ever seen and no one I’ve shown it to has ever liked called Rancho Deluxe [1975]. It was written by Thomas McGuane, who is now my favorite writer. His vision of the New West showed me anything was possible.

AK: You worked as a small-town newspaper reporter and editor. Was that simply a way for you to write for a living?

CJB: Making a living and being a journalist, I found, are generally two different things. But yes, that’s what I majored in and my first job was working for a small Wyoming weekly newspaper. In retrospect, it was spectacular training in “the real world” for what was to come. I learned so much, and met so many people in all walks of life. Much of what I’ve since written came from those days as a starving reporter.

AK: It’s been close on to a decade since you debuted with Open Season, the first Joe Pickett novel. Can you tell us how you first found yourself in print, and where exactly did Pickett come from?

CJB: I’d written a manuscript called Joe Pickett while working as a journalist. It was my third manuscript and the only one, I thought, that was any good. Still, it took four years to get an editor to read it. That was a long four years, and I was ready to give up. Luckily, the editor was from Penguin/Putnam and she was fantastic and turned out to be a real proponent of the book. She renamed it Open Season. When it came out, everything that’s not supposed to happen with a first novel ... did. Four printings, awards, movie option. Thus is my 20-year overnight success story told.

AK: I first met you, briefly, at Bouchercon in Las Vegas, where I picked up Open Season and its sequel. I relished those books, in part because I’d lived in Wyoming and Colorado during the 1980s. Why do you enjoy using the American West as a backdrop?

CJB: Thanks for taking a shot on the first books, Ali.

I am a native of Wyoming and the Mountain West, and sometimes I think it courses through my veins. I know it and I want to set my novels in familiar territory. I’ve thought over the years that many books set in the Rockies were unrealistic, and I want to do my part to provide a more authentic sense of place. Yes, there are cowboys and Indians and bears. But there’s also the Internet and universities and everything else. I find the region fascinating because of its witch’s brew of Old West and New West. And I’m increasingly irritated by other authors who use the setting and the mythology, but don’t acknowledge contemporary issues like environmentalism and development in their portrayals.

AK: Back when I lived in Laramie, I used to drink in a bar called The Buckhorn. Do you know that place? It was full of neo-cowboys, so I was a little bit of an oddity then! Man, it was a tad rough ...

CJB: Yes, I’m afraid I do know the bar. In fact, I recall tumbling down the stairs once. But that’s another story.

I have trouble picturing you bellying up to the bar at The Buckhorn (which still has bullet holes in the back mirror) and ordering a round or two, Ali, but I think it’s a terrific image. And exactly what I was referring to earlier in regard to the Old West and New West.

AK: In addition to penning the Pickett series, you write standalone thrillers--first Blue Heaven (2008) and now Three Weeks to Say Goodbye, your initial entry into the British market. So what took you so long to get your stuff published on this side of the Atlantic?

CJB: What took me so long to come to the UK was UK publishers. I’d heard on several occasions that there was a perception that my novels were sort of hunting and fishing books, therefore British readers wouldn’t approve of them--even though they were never hunting and fishing books.

The early ones were published in hardcover by Hale, but there wasn’t much distribution.

I am wildly thankful that [editor] Nicolas Cheetham at Corvus read beyond the rumor and enthusiastically embraced the novels.

AK: And how did you find Corvus?

CJB: They found me, I’m pleased to say.

AK: Like all of your books, Three Weeks to Say Goodbye delves into the darker recess of the human condition. What is it about crime fiction’s dark side of the street that most appeals to you?

CJB: Maybe because there is no better or more fascinating way to truly understand others than when they’re desperate and committing desperate acts. Three Weeks is all about moral dilemmas and choices that are consciously made [and] that result in a death spiral for the protagonists.

AK: You sketch out some really vivid bad guys in Three Weeks. So let me ask you: What do you think makes a villain memorable?

CJB: When the evil is nuanced by other--and sometimes sympathetic--motivations it is more real and more frightening. Not that I suggest readers shouldn’t be judgmental--they should. I am. Judgment is a good thing, and I despise moral equivalency. But if the reader can better understand the motivation and thinking behind the evil acts, it makes the story richer and the villain both more fascinating and more awful.

AK: Has Corvus expressed any interest in bringing your backlist of Joe Pickett books to UK readers?

CJB: Yes! The UK needs more hunting and fishing books. Just kidding.

AK: In the future, are you planning to alternate between the Joe Pickett novels and your standalones?

CJB: That’s what I’ve done the last three years and I think it’s worked for me and for readers. Not everyone wants to commit to a series unless they’ve had a chance to sample the wares, and I don’t blame them. Plus, there are stories I want to tell that simply don’t lend themselves well to a Joe Pickett book. I think alternating makes both the standalones and the series books better, and I think it makes me a better writer.

AK: As a former journalist yourself, tell us your thoughts about the current state of print journalism.

CJB: I have more optimism for the British press than the U.S. newspapers, because papers are more vital in the UK. I hope they can figure out how to provide a model for the U.S. Overall, though, I think the state of journalism in general is dismal, and most journalists should seek gainful employment.

AK: We encountered each other briefly at Bouchercon in Indianapolis last fall. Can you tell us some of what you got up to there?

CJB: I did a couple of panels and went to cocktail parties. It’s always an enjoyable place to connect with readers and with other authors. I had to leave town early to go to another event, unfortunately.

AK: What books have passed over your reading table lately that have particularly impressed you?

CJB: Recently, I’ve become a huge fan of Megan Abbott and South African author Deon Meyer.

AK: So what’s next for Chuck Box?

CJB: In the U.S., my tenth Joe Pickett novel, called Nowhere to Run, will be out in April. I think it’s a really good one. I finished another standalone, called Back of Beyond, just last week. I don’t know the publication date on that one yet, but I think late 2010 or early 2011.

You’ll need to check with Corvus, but I think Blue Heaven is out next in the UK. That’s the one that won the Edgar in 2009. Then the series, I believe.

And hey, thanks, Ali. Funny you lived in Laramie! Small world.

Uh-Oh, More to Read

Two new Web projects worth your sampling in the near future: Ted Lewis Online, James Black’s excellent tribute to the British writer whose 1970 novel, Jack’s Return Home, was transformed into the Michael Caine film Get Carter; and the e-zine Ligature Marks Fiction & Film, dedicated to “crime/noir, dark fiction, and suspense.” The premiere issue of Ligature Marks carries fresh fiction by the likes of Joe R. Lansdale (“Mister Weed Eater”) and an interview with Simon Beckett, the author most recently of Whispers of the Dead.

(Hat tip to Bill Crider’s Pop Culture Magazine.)

Saturday, January 02, 2010

Rockin’ the Sixties

He’ll probably be pissed at me for saying this, but Ed Gorman is the tooth fairy of the mystery world--dispensing not only wisdom but actual paying jobs. We have never met, but one day I received an e-mail note from Gorman. He had read a piece about Fredric Brown’s The Fabulous Clipjoint which I’d written for the Chicago Tribune, and he asked if I’d like to write the introduction to a new edition of Brown’s Madball (1961) for a series he was putting together. A nice fee was mentioned. Madball was one of the first mysteries I ever read, and I would have written the introduction for nothing--but I didn’t tell Gorman that.

In addition to being kind, Gorman is one of the best writers of mysteries in recent memory. His eight-installment Sam McCain series, about a lawyer in Black River Falls, Iowa, during the 1960s, earned these glowing comments from Booklist: “Sam McCain is cut from the same cloth as Lawrence Block’s Matt Scudder and Bill Pronzini’s ‘Nameless’-- series heroes who change as time passes. The sweet, nonviolent, naïve young man we met in the series debut (The Day the Music Died, 1999) is now comfortable pistol-whipping a witness ...”

Gorman also edits, along with Martin H. Greenberg, the annual Best Crime and Mystery Stories of the Year compilations, the most recent one titled Between the Dark and the Daylight (Tyrus Books).

Now for the best part: His latest Sam McCain outing, Ticket to Ride, just published by Pegasus, is one terrific read. The story is set in 1965, and the basically conservative townsfolk are planning to burn records by the Beatles, the Rolling Stones, and Bob Dylan in front of a local church on Labor Day. That’s when the first young soldier from Black River Falls finally returns home from a strange place called Vietnam, in a coffin.

Ticket to Ride is a fascinating look at the war from both sides of small-town America. Sam is very active in the antiwar movement, and when a rich and powerful warmonger is killed in a fistfight with a young radical, Sam is the only lawyer in town who has the guts and heart to take his case.

If you’ve missed any of the Sam McCain series, you can rectify that by going to Gorman’s page at Amazon.com.

Friday, January 01, 2010

Counting Down the First 75

My intention this morning was to post yet another entry in The Rap Sheet’s ongoing Friday blog series highlighting great but forgotten crime novels. However, since all but a couple of diehards seem to be taking this New Year’s Day off from that series, and most readers are probably avoiding their computers today, hunkered down instead before televised football games with friends or recovering from last night’s celebratory overindulgences, I am going to hold our latest “forgotten books” post--about Derek Raymond’s controversial 1990 novel, I Was Dora Suarez--until next Friday, January 8.

Meanwhile, since that forthcoming Raymond write-up will be the milestone 76th installment of our popular series, I thought I’d recap the previous 75 novels we’ve championed over the last year and a half. Several readers of this blog have asked for just such a summary, and now I can give it to them. Below, you’ll find the book titles and authors, with the names of people who’ve commented on those novels in parentheses:

How the Dead Live, by Derek Raymond (Russel D. McLean)
The Devil’s Home on Leave, by Derek Raymond (John Harvey)
He Died with His Eyes Open, by Derek Raymond (Tony Black)
The Staked Goat, by Jeremiah Healy (Libby Fischer Hellmann)
Nightmare Alley, by William Linday Gresham (Kelli Stanley)
The First Deadly Sin, by Lawrence Sanders (L.J. Sellers)
The Dolly Dolly Spy, by Adam Diment (Tom Cain)
Freak, by Michael Collins (Russell Atwood)
Who Killed Palomino Molero? by Mario Vargas Llosa
(Marshall Browne)
The Cracked Earth, by John Shannon (Dick Adler)
The Last One Left, by John D. MacDonald (Bill Cameron)
Room to Swing, by Ed Lacy (Art Taylor)
Someone Is Killing the Great Chefs of Europe, by Nan and Ivan Lyons (Jeffrey Cohen)
Solomon’s Vineyard, by Jonathan Latimer (Mike Ripley)
Modesty Blaise, by Peter O’Donnell (Vicki Delany)
Modus Operandi, by Robin W. Winks (Stephen Miller)
The Eighth Circle, by Stanley Ellin (J. Kingston Pierce)
The Woman Chaser, by Charles Willeford (Kathryn Miller Haines)
The Friends of Eddie Coyle, by George V. Higgins (William Landay)
GBH, by Ted Lewis (Ray Banks)
The Criminal, by Jim Thompson (Nate Flexer)
Trent’s Last Case, by E.C. Bentley (Stefanie Pintoff)
The Depths of the Forest, by Eugenio Fuentes (Ann Cleeves)
Putting the Boot In, by Dan Cavanagh (Michael Walters)
Switch, by William Bayer (Col Bury)
Sympathy for the Devil, by Kent Anderson (John Shannon)
The Quiet Strangers, by John Buxton Hilton (Stephen Booth)
Raffles: The Amateur Cracksman, by E.W. Hornung (Chris Ewan)
No Orchids for Miss Blandish, by James Hadley Chase
(James R. Benn)
War Against the Mafia, by Don Pendleton (Matt Hilton)
Daddy Cool, by Donald Goines (Gary Phillips)
Edith’s Diary, by Patricia Highsmith (Jason Starr)
Night of the Panther, by E.C. Ayres (J. Kingston Pierce)
Death of a Unicorn, by Peter Dickinson (Keith Raffel)
The Andromeda Strain, by Michael Crichton (Anthony Rainone)
The Bigger They Come, by A.A. Fair (J. Kingston Pierce)
Death of a Citizen, by Donald Hamilton (Rob Kantner)
The Double Take, by Roy Huggins (J. Kingston Pierce)
The Overseer, by Jonathan Rabb (Simon Wood)
A Coffin for Dimitrios, by Eric Ambler (Ali Karim)
The Scarf, by Robert Bloch (John Peyton Cooke)
The Ebony Tower, by John Fowles (Michael G. Jacob)
The Grifters, by Jim Thompson (Chris Knopf)
A Clubbable Woman, by Reginald Hill (Simon Wood)
The Bloody Bokhara, by William Campbell Gault (David Fulmer)
Journey into Fear, by Eric Ambler (Charles Cumming)
Despair, by Vladimir Nabokov (Robert Eversz)
Marathon Man, by William Goldman (Linwood Barclay)
Mayhem, by J. Robert Janes (Cara Black)
The Caves of Steel, by Isaac Asimov (Jane Finnis)
The 12:30 from Croydon, by Freeman Wills Crofts
(Dolores Gordon-Smith)
The Golden Crucible, by Jean Stubbs (Amy Myers)
Rilke on Black, by Ken Bruen (Tony Black)
The Daughter of Time, by Josephine Tey (Judith Cutler)
Nine Times Nine, by Anthony Boucher (Jeffrey Marks)
The Three Coffins, by John Dickson Carr (Edward Marston)
Some Must Watch, by Ethel Lina White (Mary Reed)
The Golden Gate Murders, by Peter King (Anthony Flacco)
The Big Bow Mystery, by Israel Zangwill (Will Thomas)
Coffin’s Got the Dead Guy on the Inside, by Keith Snyder
(Timothy Hallinan)
The Twisted Thing, by Mickey Spillane (Max Allan Collins)
The Falling Man, by Mark Sadler (Robert J. Randisi)
Don’t Cry for Me, by William Campbell Gault (Ed Gorman)
No Human Involved, by Barbara Seranella (Louise Ure)
Watcher in the Shadows, by Geoffrey Household (Mike Ripley)
Cutter and Bone, by Newton Thornburg (Kirk Russell)
Funeral in Berlin, by Len Deighton (Tony Broadbent)
God’s Pocket, by Pete Dexter (David Corbett)
Chinaman’s Chance, by Ross Thomas (Tim Maleeny)
I Am the Cheese, by Robert Cormier (Steve Hockensmith)
The Honest Dealer, by Frank Gruber (Dick Lochte)
When the Sacred Gin Mill Closes, by Lawrence Block (Dick Adler)
The January Corpse, by Neil Albert (Kevin Burton Smith)
The Lunatic Fringe, by William L. DeAndrea (J. Kingston Pierce)
Memoirs of an Invisible Man, by H.F. Saint (Ali Karim)