We Begin at the End

The annual lists of crime, mystery, and thriller award winners and nominees always reveal gems I’ve missed, like Chris Whitaker’s much-lauded We Begin at the End. The audio version is narrated by George Newbern with absolute fidelity to the different characters and where their heads are in the moment.

One of the protagonists is Chief Walker, whom everyone calls Walk, the long-time police chief of Cape Haven, a small town on the California coast. Walk, in his mid-forties, tries hard to keep his community from changing. In fact, he’d much prefer to go back in time about thirty years to before the hit-and-run in which his best friend Vincent King killed seven-year-old Sissy Radley.

Vincent received a ten-year sentence at an adult prison, with twenty more tacked on when he killed another inmate in a fight. The novel starts just before Vincent is released from prison and Walk is bringing him home to what promises to be a chilly welcome.

Before he can reclaim his friend, Walk is approached by two children—Duchess Radley, 13, and her brother Robin, five. Their mother has overdosed again, and Walk helps them get her to the hospital. Star Radley has been going off the deep end with increasing frequency. When they were all teenagers, Star and Vincent were a couple, part of a foursome that included Walk and Martha May, and it’s obvious that Walk remains deeply loyal to all of them.

The other main character is Star’s daughter, Duchess, who styles herself an outlaw and goes about proving it. Foul-mouthed and take-no-guff, Duchess has an uncritical eye only for her little brother. He has a lioness defending him.

Tragedy strikes, and Vincent King is once more accused of murder. Despite Walk’s pleading, Vincent won’t say a word in his defense, except that he wants Walk’s former girlfriend, Martha May, to defend him. She’s a family lawyer, and approaching her about Vincent’s case is a difficult journey into the past for them both.

Duchess and Robin are sent to live in Montana with a grandfather they’ve never met, and Duchess is determined not to like him or the ranch or Montana or her new school or anything else. You ache to see her fighting the relationships that would be good for her. You’ve probably known teenagers like this; perhaps you were one yourself.

The story includes many strong secondary characters, some of whom are quite admirable. Even those who do bad things are fully developed and drawn with compassion. Not a roller-coaster of a thriller, this book is more like a slow train through a darkening woods. The journey includes plenty of hazards, both physical and emotional, as it steadily, inexorably, carries you forward. If you take that train ride, you’ll find it’s both moving and memorable. There’s a small, but telling reveal near the end that stopped me, even though it had been in front of me all the time. And if you can do the audio version—do it! Newbern’s narration is flawless.

Order from Amazon here. Or here from your local Indie bookstore.

Hitchcock: Howdunit

If you’re like me, it was years after seeing Alfred Hitchcock’s Psycho before you could take a shower without thinking of That Scene. I have a walk-in shower now, and I can always see who’s coming!

Film historian Max Alvarez in conjunction with New Plaza Cinema presented a Zoom program on Hitchcock last week that toured his audience through memorable moments from many of the director’s 57 feature films. We knew whodunit—Hitchcock—this was a howdunit.

In our celebrity-obsessed culture, Americans tend to pick films based on the actors. Hitchcock was one of the rare directors in Hollywood history who was himself a draw, like the Coen Brothers or Spike Lee or Quentin Tarantino today.

Hitch’s fame did constrain the types of movies he could make without violating public expectation, however. His films tended toward the charismatic villain, the woman in peril, and a big conspiracy. The scripts came from his (sometimes brief) collaborations with some of the leading writers of the day: Thornton Wilder, John Steinbeck, Dorothy Parker, Anthony Shaffer (Sleuth), and many others.

Even though he made so many memorable movies, what catapulted him into prominence in the 1950s was the popularity of his television programs. And he was shameless about using them to promote his films.

Hitchcock’s steps in making the memorable movie Vertigo started with the “treatment,” eight to ten typed pages, resembling a short story, which described what happens in detail, beginning to end. After showing us the initial page, Alvarez showed the beginning of the shooting script. Hitchcock liked to have every camera angle and shot planned out in advance—close-up, medium shot, panorama, whatever. Next Alvarez showed the storyboards that a graphic artist created from the shooting script. They were a sort of (wordless) comic book version, showing the action in every shot. Finally, he showed the way the same scene looked in the final film, which in the theater looked so natural (of course he’d hang onto the gutter that way), but replicated the previous, meticulously planned steps almost exactly.

But even the best laid plans can fall prey to reality, and Hitch would change scenes and shots that didn’t turn out well or as expected. Occasionally, he’d fly by the seat of his pants—like the crop-duster scene in North by Northwest. Also, he loved in-camera special effect. An example is the famous “purple dress” scene from Topaz, in which unseen stage hands pulled strings so that the character’s dress fanned out around her as she fell.

Alvarez attributes Hitch’s visual mastery to the large body of work he did in the silent film industry, taking on all kinds of jobs, up to the point when, in his 20s, he was allowed to direct. For him, the visuals told the story, and he always made sure there was a story to tell.

By the way, Hitch’s own favorite film was 1943’s Shadow of a Doubt.

Watch Shadow of a Doubt.

Read one great director interviewing another in the classic Hitchcock/Truffaut from Amazon.

Read Richard Brody’s “The Greatness of ‘Psycho’” in The New Yorker, covering the films about Hitchcock.

Fireworks from Ellery Queen

The July-August 2021 issue of Ellery Queen Mystery Magazine, “The World’s Leading Mystery Magazine” is once again filled with dazzling stories, 19 of them. Here are just a few of the standouts:

Elvie Simons’s “Not So Fast, Dr. Quick,” shows how a tidbit of arcane knowledge can grow into a full-fledged plot. Engaging characters too.

Richard Helms’s “Sweeps Week” provides strong characterizations, then rewards with some old-fashioned retribution.

Jon L. Breen’s “The Body in the Bee Library,” wryly humorous, provides satisfying comeuppance.

Dave Zeltserman always makes me smile, even before I start reading. His characters Julius Katz and his cyber-assistant Archie delight once again in “Julius Katz and the Two Cousins.”

Barbara Allan’s “What’s Wrong with Harley Quinn?” takes you to San Diego Comic-Con, and you can witness the attendees’ shenanigans without donning your Spiderman costume.

Joyce Carol Oates’s “Bone Marrow Donor” is only three pages long, but to me was the darkest story of the lot. I couldn’t stop thinking about the nonfiction piece she has written about her own husband’s last day in our local hospital and imagining how that colored this story, even subconsciously. As I remember what she wrote, she received an urgent call to come to the hospital, and, of course, she drove there pell-mell, pulled to the curb on one of the nearby residential streets, and rushed inside. The staff had been right. The end was very near. When she’d signed all the paperwork, she walked to her car in a daze and found this awkwardly spelled note on her windshield: “Learn to park, bich.”

A Galway Epiphany

By Ken Bruen, narrated by Gerry O’Brien–A Galway Epiphany is the latest in award-winning Irish author Ken Bruen’s long-running series involving former (and disgraced) Garda detective Jack Taylor. He’s now a private investigator with a haphazard career since being thrown off the force for excessive drinking and associated poor judgment. At last he’s found some solace, a result of long stays at the farm of his friend, Keefer, once a roadie for the Rolling Stones, and their falcon, Maeve.

Bruen begins with musings on the seven epiphanies identified by a mid-eighteenth century monk who called them ‘blends of blessed curses and cursed blessings.’ Such a pregnant statement was sure to cast its spell over the ensuing story, and indeed it does.

A pair of children from a Galway refugee encampment is seen near Galway’s Irish Famine Memorial. They light a candle, and the girl whispers, “Here’s a trick I learned in Guatemala.” She causes a blue light to shimmer over their heads, and that’s all the public needs to start a frenzy of religious fervor.

Soon thereafter, Jack is in town on business and is hit by a truck. A big one. He’s in a coma for some weeks, but, inexplicably, otherwise unscathed. The children from the blue light were seen bending over him, and his lack of injuries is interpreted as their first miracle.

Various characters wander into the story to complicate Jack’s life. They include: his long-time acquaintance, Father Malachy, vainly hoping for a bishopric. Failing that, and suffering a debilitating illness, he wants Jack to kill him. There’s a spiffily dressed oddball whose calling card is a long matchstick; a California woman starting her own religious sisterhood, a scam for certain. They all want to get their hands on the miracle children. And they want Jack’s help. But are the children innocents or exploiters themselves?

Jack is irreligious in the best of times—hostile would be pretty much on the mark—and is disgusted by the machinations of the miracle-seekers and quashers alike. He just wants to go back to the farm. His drinking is out of control, and he’s not as much help to anyone as he really needs to be.

Bruen is a master of the apt witticism and nicely placed literary quote. Because the story is told by Jack in first person, his prejudices and cynicism and erudition have full rein. Despite the abundant humor, a pall hangs over the tale, like the smoke from one of the match-toting arsonist’s fires, and you may sense events will end badly.

This impression is aided by the sadly ironic reading by superb audiobook narrator Gerry O’Brien, who wrings every drop of Jamieson-soaked humor and regret out of Jack’s thoughts. An audiobook with a skilled narrator is a thing of joy, and O’Brien makes you believe for a few hours, that you too are in Galway, sitting on a barstool next to Jack, puzzling out the Fates.

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Leapin Leprechauns!

When it comes to a painful history, Irish authors know whereof they speak, and they know how to tell a story laced with humor. Fiction is one way to process lingering cultural traumas.

While I’ve read quite a few books by Irish authors in paper, they are wonderful books to listen to, as the narrators’ accents are transporting.

Crime Fiction

Next up for me is A Galway Epiphany by the award-winning Ken Bruen, called “the Godfather of the modern Irish crime novel,” being released April 1. It features his character Jack Taylor, an ex-cop turned private eye who becomes the center of his own mystery, when he is hit by a truck and left comatose but unscratched (narrated by Gerry O’Brien).

In the Cold, Cold Ground – Adrian McKinty’s first book featuring police detective Sean Duffy–a rare Catholic in the Royal Ulster Constabulary. In the bleak Belfast spring of 1981, hunger strikers in HM Prison Maze are dying. Paramilitaries are setting off bombs, gunfire rakes the streets, and Duffy is investigating a possible serial killer who targets homosexuals. The violent backdrop is tangible, especially with the forceful narration of the award-winning Gerard Doyle.

Stuart Neville wrote a series of excellent novels also set in Belfast, including the one I listened to, The Ghosts of Belfast. Fellow author John Connolly called it “not only one of the finest thriller debuts of the last ten years, but also one of the best Irish novels, in any genre, of recent times.”  Also narrated by Gerard Doyle.

In an interview, Doyle says that when he was a child, his parents would often take him with them to the pub. “I’d sit on the bench late into the evening listening to the stories and the lies. And the music! I even sang sometimes. They’d put me up on a table. One of my best was Ronnie Donegan’s ‘My Old Man’s a Dustbin.'”

Other Fiction

The Gathering by Booker prize-winner Anne Enright “has more layers to it—of grief, love, lightness, tragedy, absurdity, and trauma—than an onion, and may cause as much weeping,” said the editors of The American Scholar. I felt privileged to hear her reading a few years ago under the auspices of Princeton’s Fund for Irish Studies.

Glenn Patterson is another writer who gave a memorable reading in Princeton, and his The International is the story of a single night in the bar of the International Hotel, while upstairs a consequential meeting forming the Northern Ireland Civil Rights Association takes place. It’s not about militants at all but about state-of-mind.

You may think there’s not much new literary territory to explore in male-female sexual relations, yet award-winning author Eimear McBride’s The Lesser Bohemians finds it and mines it. Innovative, immersive, dazzling.

The State I’m In

Last week the New York chapter of  Mystery Writers of America sponsored a Facebook panel on “New Jersey writers.” It was a lot of fun, at least for me. On the panel, which was led by RG Belsky, whose books I’ve reviewed here, were Mally Becker, whose new historical mystery, The Turncoat’s Widow, is set in the Revolutionary War, Jeff Markowitz, past chapter president, also with a recent book, Hit or Miss, and me, who will have a book out later this year.

The first issue we dispensed with was “who IS a New Jersey writer”? There are people who live in and write about New Jersey (at least sometimes). There are people who live her but write about other places. And there are people who live somewhere else and write about New Jersey–wannabees. We can usually identify them.

Panel members agreed there’s a New Jersey sensibility—a bit of a chip on the shoulder, being constantly looked down upon by our near-neighbors across the Hudson, a lot of attitude, and a lack of shrinking violets. I complained (again, but I live in New Jersey, so why not?) about the Akashic book of short stories, New Jersey Noir, many of which for my money could have been written about almost anyplace. I didn’t get a chance to plug Bill Baer’s new book New Jersey Noir: Cape May, which hilariously captures several perfect specimens from the New Jersey ecosystem.

Some of the well-known crime/mystery writers who call New Jersey home are Harlan Coben, Joyce Carol Oates, and Janet Evanovich, whose protagonist, bounty hunter Stephanie Plum, works out of Trenton. Equally witty is Brad Parks, whose early books drew on his experience as a reporter for the Newark Star-Ledger. A newspaperman like Belsky, he’s deserted the Garden State for Virginia.

The diversity of New Jersey crime writers is reflected in the day jobs they’ve held: Joe Hefferon (law enforcement), Steven Max Russo (advertising executive), N. Lombardi, Jr. (groundwater geologist, who has decamped to Cambodia), Nikki Stern (professional musician), Al Tucher (librarian), the aforementioned Baer (college professor and award-winning poet), and Sergio de la Pava (public defender). Their books are just as diverse! Me, I gave away money. Don’t call. That was a long time ago.

Even if these writers all chose New Jersey as the setting for their books, they still have a lot of choices—New Jersey Transit (a world unto itself), the notable universities scattered across the state, the honky-tonk and environmental treasures of the Jersey Shore, the densely populated north, self-contained communities of myriad ethnic groups, the Pine Barrens (where Markowitz likes to set stories. It’s the big green area in the southern half of the state), and the rural western and southern counties. No matter where you are, though, you’d be hard-pressed to escape the heavy Italian influence: pizza, pasta, and Sinatra.

****Naked Came the Florida Man

By Tim Dorsey – “ʻDon’t shoot guns into the hurricane.’ Elsewhere this would go without saying, but Floridians need to be told,” this antic crime novel begins, as Dorsey takes the familiar Florida man premise to absurd heights (or is it depths?). His hero, the aptly named Serge A. Storms, who has no discernible occupation, has plotted a picaresque adventure for himself and his dim friend, Coleman. Serge will drive them around Florida in his 50-year-old gold Plymouth Satellite, visiting the graves of past Florida luminaries.

Enlightening Coleman along their route, Dorsey/Serge painlessly and idiosyncratically covers Florida’s history, sociology, meteorology, and biology. Before long, you know quite a bit more about this quirky state than you did on page one. Florida with its extreme weather, its swarms of insects, its snakes and gators, its cultural hodgepodge, its tony suburbs and ramshackle sugar cane towns lend themselves perfectly to Serge’s non-stop snarky commentary

Several other plot threads, past and present, weave throughout. First is the story of the deadly 1928 hurricane that created a massive storm surge—not in the Atlantic Ocean or the Gulf of Mexico, where you’d expect, but in Lake Okeechobee—that killed some 2500 people. Pertinent to Dorsey’s tale, a rich sugar baron’s fortune in gold coins was lost in the calamity. The fate of the gold is one of the riches of this tall tale.

Most of the novel is devoted to Serge and Coleman’s adventures and clearly channels Serge’s manic psyche. His mind is like a rambunctious puppy, dashing here and there, nibbling this and that. At times the two men launch into a jag of childishness, racing and chasing each other, finger-painting murals for their motel walls, dressing as clowns, and generally acting up.

It’s hard to reconcile that light-hearted Serge with the man who plans (elaborately, of course) and carries out four diabolical murders. His victims aren’t blameless, but the gruesome methods by which they die almost put me off the book. But I hung in there, and I’m glad. Dorsey was a reporter and editor for the Tampa Tribune for twelve years and has twenty-two previous novels. The Boston Globe calls him “compulsively irreverent and shockingly funny.” A trip with his man Serge is most definitely a wild ride.

Order from Amazon here.

Your Christmas Present

Christmas, holiday

“Tomorrow the kind of work I like best begins: buying. Cherries and citron, ginger and vanilla and canned Hawaiian pineapple, rinds and raisins and walnuts and whiskey and oh, so much flour, butter, so many eggs, spices, flavorings: why, we’ll need a pony to pull the buggy home.” –Truman Capote, A Christmas Memory – Hear it here.

See China’s incredible Harbin Ice Festival. How they do it!

“This,” said Mr. Pickwick, looking round him, “this is, indeed, comfort.”
“Our invariable custom,” replied Mr. Wardle. “Everybody sits down with us on Christmas eve, as you see them now—servants and all; and here we wait, until the clock strikes twelve, to usher Christmas in, and beguile the time with forfeits and old stories. Trundle, my boy, rake up the fire.” Up flew the bright sparks in myriads as the logs were stirred. The deep red blaze sent forth a rich glow, that penetrated into the furthest corner of the room, and cast its cheerful tint on every face. —Charles Dickens, “A Good-Humored Christmas” Chapter 28 from The Pickwick Papers.

That Hanukkah holiday classic, “Chinese Food on Christmas.” Totally not politically correct.

“’Twas Christmas in the trenches, where the frost so bitter hung,
The frozen fields of France were still, no Christmas song was sung
Our families back in England were toasting us that day
Their brave and glorious lads so far away.” –John McCutcheon, “Christmas in the Trenches.” See it performed here.

You know how the photos of Christmas cookies in recipes are always Martha Stewart-perfect? Take heart. Here’s a site with some of the ugliest cookies ever. You’ve got this!

Now I’m off to wrap last-minute gifts, to the accompaniment of this holiday classic from The Waitresses.

Back in 2020!! Happy New Year! Celebrate with these Dancing Fireworks from the Pyronale 2019!

Deadly Ink: “Everybody Wins”

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The annual Deadly Ink conference held in northern New Jersey last weekend was loads of fun. Guest of Honor Wendy Corsi Staub was a lively presence and toastmaster Dick Belsky charmed. I saw a number of old friends, met authors I admire, and was delighted to be included on several panels. Yesterday’s post reviewed some of the discussion about “character.”

The Dark Side
The panel on noir stories and hard-boiled characters  risked bogging down in semantics but clearly demonstrated the many shades of black actually out there. Apologies if you’ve read this here before, but I offered Dennis Lehane’s definition of noir: In a tragedy, a man falls from a great height (Macbeth, the Greeks, Chinatown); in noir, he falls from the curb. Panelist Rich Zahradnik provided another good one: “In noir, nobody wins.”

Hard-boiled stories usually involve a detective who is not emotionally involved or is struggling not to be. Humphrey Bogart’s portrayals of Sam Spade (written by Dashiell Hammett) and Philip Marlowe (Raymond Chandler) epitomize the genre. Cynical and street-smart, not reliant on the intellectual powers of Sherlock Holmes or the “little grey cells” of Hercule Poirot.

The hard-boiled character nevertheless gets the job done. Occasionally crossing my path are books that are too dark. They feature down-and-out characters living in filthy apartments who smoke and drink too much; some of them can’t think beyond their next fix. I don’t find them interesting. With four strikes against them already, whaddaya know, they make (more) bad decisions. Give me a character who at least has the opportunity to make choices.

With me on this panel were Charles Salzberg (whose Swann character operates on the fringes of society, but has plenty of agency), Al Tucher (whose work features a smart and tough prostitute), and moderator Dick Belsky.

Location, Location, Location
In the session on story setting, historical mystery author Annamaria Alfieri said she chooses her location first (British East Africa, for example), then the time period in which that place offered the most interesting fictional possibilities.  

Panelists’ strategies for establishing a strong sense of place included attention to the small details and local idiosyncrasies (lots of research here, including site visits for contemporary works), plus making sure to describe the character’s emotional reaction to the location. If you could pick a San Francisco story up and move it four hundred miles south to Los Angeles, you should end up with a different story. New Orleans isn’t New York, and South Carolina isn’t South Dakota.

Of course, panelists and audience alike thought Al Tucher is onto something with his new book set in Hawai`i. “It’s a research trip.” Yeah, right.

This and yesterday’s post about “character” are a small sample of the conference’s varied and interesting program. Whether you’re a writer or a fan, be there in person in 2020!

Photo: Sebastien Wiertz, creative commons license

Deadly Ink: Characters

Handwriting, boredom

Very possibly I made an impression on my daughter’s new in-laws last month when I said how, with most women, you can talk to them about their careers or their kids or what they’re reading, but in my case you could talk about blood spatter.

You might think this would have been a conversation-stopper, but my daughter’s new sister-in-law immediately launched into how her son had bled so profusely after knocking his head on the kitchen counter. “Oh yes,” I said knowingly, “scalp wounds. Lots of blood.” It pays to know your stuff.

I added to my trove of crime and thriller lore this past weekend at the annual Deadly Ink conference, an intimate group of crime and thriller writers and readers, mostly from New Jersey and its Manhattan suburbs. It’s a great place to expound upon crime-writing topics and to hobnob with other like-minded folk. Guest of Honor this year was energetic and down-to-earth author Wendy Corsi Staub, who participated beginning to end, and our Toastmaster was Dick Belsky.

I ended up on three panels, Character (you need them!), the Dark Side (who, me?), and Building Suspense. The only suspense was whether I could think of something useful to contribute. Regardless, the panels were all lively and fun and, since almost no one ran out screaming and demanding their money back, they may have actually been useful or, possibly, entertaining.

I had made some modest preparations for the Character panel and focused my remarks on what I’d brushed up on, character description. Sometimes writers describe characters readers only see once or twice. Not necessary.. Sometimes they give a complete height-weight-eye color (so often green, have you noticed?)-hair color-complexion rundown. Also not necessary, I said, except when these details are relevant to the story, like six-foot, full-figured Monica Ludd, who uses her size to intimidate (or seduce) in Maggie Gee’s new novel Blood, reviewed yesterday.

I cited Stephen King in On Writing, who says a character’s description begins in the writer’s imagination and ends in the reader’s imagination. No need for details. Let your readers fill in. When they do, they own the character and that’s exactly what you want! For King’s character Carrie White, all he said was that she was a high school outcast with bad skin and a fashion-victim wardrobe. What more is needed? We’ve all known and maybe sometimes been that person.

That led to a discussion of how the movie version of a character can become our indelible picture of a character—Tom Selleck as Jesse Stone, Robert Taylor as Walt Longmire—and what happens when that picture conflicts with our internal picture—Tom Cruise as Jack Reacher. Total fail.

Donald Maass (Writing 21st Century Fiction) further points out the paradox that the more unique you make your characters the more universal they are. Readers can latch onto some aspect of a character and relate to it, almost no matter what. What you don’t want are bland, generalized, two-dimensional characters with no unredeeming attributes. Give them flaws! Too-perfect characters are boring and not believable.

This excellent panel was moderated by Lynn Marron and included the estimable Jane Kelly, D.W Maroney, and Dick Belsky.

(Tomorrow: More from Deadly Ink)