Wednesday, June 25, 2008

New Bill Pronzini Novel: THE OTHER SIDE OF SILENCE

I was snooping around the Internet when I discovered a new stand-alone Bill Pronzini novel due out later this year. The title: The Other Side of Silence. Release date: September 30, 2008. The description over at Amazon (see below) reminds me of Pronzini's wonderful Blue Lonesome—a novel that if you haven't read you should.

Blue Lonesome is a haunting tale about a man who attempts to discover the events that led to a woman's suicide. The mystery is top-notch, but is secondary to the rush of loneliness, sorrow, and humanity Pronzini successfully weaves into the narrative. It is an awesome novel. And one you should add to your library; but what Bill Pronzini shouldn't be on your bookshelf?

The description for The Other Side of Silence:

"When Geena finally left him and filed for divorce, Fallon put the Encino house up for sale and took the last two weeks of his vacation from Unidyne. Then he loaded the Jeep Liberty and drove straight to Death Valley. The desert country had a way of simplifying things. It cleansed your mind, allowed you to think clearly. Allowed you to breathe. The one place he truly belonged."

So opens Bill Pronzini's exciting new thriller. On his third day in the Valley, Rick Fallon comes upon a deserted Toyota Camry, and soon thereafter, the almost-dead body of Casey Dunbar. Having rescued her, Fallon soon learns what had driven her to give up on life…and, his own life on hold, he resolves to unravel the twisted and dangerous strands of hers, a quest that leads him to the glitter-dome of Las Vegas among other locales. The result is a story as dramatic and memorable as anything Pronzini has written, reminiscent of his classics
Blue Lonesome and A Wasteland of Strangers. In The Other Side of Silence, Bill Pronzini is indeed a Grand Master.

Monday, June 23, 2008

Road Trip: Central Utah & Nine Mile Canyon

A few weeks ago my wife and I went on a brief road trip—we took a three day weekend and drove into central Utah. We started on a Saturday morning with not much of an itinerary, except get out of the city. We took I-15 south from Salt Lake until we reached the small town of Nephi; then we continued on SR 28 into the heart of Utah. We ate at a tiny burger joint in Levan—a town that boasts a handful of residents and not much else—that served burgers the old fashioned way: plenty of meat, fresh and crisp lettuce, tomato and onion, and a slather of rich mayonnaise. And the shakes were fantastic. I had cookies and cream, with plenty of both.


We then took Chicken Creek Road east and were delighted with what we found. The road narrowed and changed from pavement to dirt and wound from the valley floor to the ridge-top of the San Pitch Mountains. There were several small campgrounds—each nearly empty—and a gently bubbling creek carrying run-off down to the valley flats. We found a wide-spot on the road and spent a few hours scrambling across the spring-green meadows and scrub oak hillsides.

The air smelled like it should; fresh, crisp, dry and heavy with pine and sage. The small animals rustled through the undergrowth and birds chirped and whistled. It was pure joy; the kind of peace that carries awhile. When work grates I can still close my eyes and remember the creek-gurgle, sweet smell mountain air, and the innocent rustle of animals.


The rest of the day was spent gliding down SR 28 through small towns I hadn’t seen since I was a boy—Gunnison, the home of a recently built prison, Centerfield, Axtell, Redmond, and Salina. Redmond holds a special place in my heart because my grandparents spent their retirement in a beat-up old trailer near the center of town. I can remember making the long drive three or four times a year with my mother at the wheel of her old car. In winter deer and antelope sprawled across the flat open meadows along the highway feeding. The high and majestic rise of mountain ranges as backdrop.

My grandparents; what can I say about them? They were special and sometimes scary people to a little boy who saw them only occasionally, but as an adult I have only warm memories. They spent the years prior to retirement herding sheep in the wild and dry backcountry of Utah. My grandfather was gruff, but in a warm and sincere manner that tended to draw people in rather than push them away. And damn if they weren’t in love. They would bicker and snipe at each other, but the way they looked at each other communicated nothing but kindness and admiration. They were comfortable with their lives and each other. Needless to say I couldn’t just drive through. We took the scenic route into Redmond and found my grandparents old trailer. It was there; older, and in disrepair, but still there.

In Salina we caught I-70 westbound and stopped for the night in the small town of Richfield—home to something like 7,500 people and by far the largest town in the area. We stayed in a Days Inn business suite and paid a scant $50. That evening we ate dinner at a small diner in town with an unusual smell. It was something like the chlorine from a swimming pool, and while the food wasn’t bad the feeling that I was eating off a diving board didn’t do much for the experience.


The following day we stole several dozen miles east on I-70 through the Fishlake National Forest before we caught SR 10 north towards Price. SR 10 is a scrawny highway that runs deep into Utah’s coal producing country—last summer a mine collapsed in Huntington, a small town not far removed from SR 10, that killed eight miners and proved the mine owner eccentric and maybe just a little peculiar (and that’s being nice). Our destination; an ancient canyon called Nine Mile.


The name is a misnomer because the canyon stretches some 40 miles and is filled with cattle ranches and endowed with vast reserves of natural gas. Nine Mile has been home to two distinct native tribes; the Fremont and Utes. Its isolation also made it an ideal spot as a haven for outlaws on the run and later, when the US Army opened Fort Duschene in the Uinta Basin, it was used as the primary freight line between the fort and railhead in Price. The canyon has a rich and varied history and much of it is still visible in the ruins and rock art scattered across the landscape.


The Fremont band had the longest tenure in Nine Mile Canyon. They arrived sometime in the tenth century and are comparable to the Anasazi from the four corners area. The major difference; the Fremont had a more sedentary lifestyle due to a type of maze they developed that was hardy and resistant to drought. The Fremont left a treasure trove of artifacts. Their homes and structures can be found along the canyon walls, as well as an impressive array of petroglyphs, much of it accessible from the dusty road.


We were in Nine Mile on a Sunday and it was relatively quiet. I’ve been told during the week when trucks are running up and down the canyon it is dusty and miserable, but we had a great time. We stopped at several locations and looked at the well-preserved rock art and hiked into the cliffs looking for treasure. We didn’t find any other than the hundreds-year-old writings and that was enough. It was impressive and humbling to see the writing of an ancient people; their hopes, dreams and very likely their fears chipped from the rocky surface. It is much like our own literature and no less important to their culture as literature is to ours.


Nine Mile Canyon is well worth the drive, and a place that I'll visit again, but next time I’ll give myself a few more days to explore its hidden treasures. And maybe bone up on its rich history, but I know it’ll be sometime in the early-Spring or late-Fall; the summer months are too hot and the winter is too damn cold.

Friday, June 20, 2008

THE RED SYNDROME by Haggai Carmon

The Red Syndrome is Haggai Carmon’s second novel, and the second to feature Department of Justice attorney Dan Gordon—Gordon specializes in tracking stolen and suspicious money across national borders. He originally appeared in Carmon’s first Intelligence Thriller Triple Identity.

The novel opens with Gordon investigating a routine money-laundering operation in a small New York bank. The Russian mafia is moving large sums of money from the Seychelles Islands (a safe haven for unregulated banking and tax evasion), but the case changes quickly when Gordon puts two seemingly unrelated events together and realizes something much more sinister is happening.

The CIA is called in to lead the investigation and Gordon finds himself relegated to investigative staff; a position that doesn’t sit well with his lone wolf mentality. He has trouble with authority, except his own boss, and when he discovers three encrypted messages at the bank under investigation he takes them home—rather than the office—and decodes a frightening message. The money in question doesn’t belong to the Russian mafia, but rather to an international terrorist organization with big plans.

The Red Syndrome is an entertaining and swift thriller. Its style is solid and readable. The technical details are fascinating; Haggai Carmon knows International finance and he makes it interesting. The plot is smooth, and while I guessed a major plot twist in the first third of the novel, he throws enough curves to keep the reader interested and turning pages.

Dan Gordon is a character that is not only likable and capable, but one worth rooting for. He’s larger than life, but Mr. Carmon also gives him enough blemishes and idiosyncrasies to make him interesting and relevant. If you enjoy a thriller with plenty of action, exotic locations and a heap of technical information The Red Syndrome will do.

Saturday, June 14, 2008

WHITE HOUSE HORRORS edited by Martin H. Greenberg

This is another review I wrote for an online magazine. It went live sometime in early 2005 and I still think about a few of the stories contained in White House Horrors; especially the Robert Randisi story "The President's Mind" and Graham Masterton's "Jack Be Quick." I need to dig my copy out and give it another peruse.

The modern horror anthology can be a fickle creature--it can represent the best of what the genre has to offer, but it can also represent the trite, and the not-quite-there of the horror field. White House Horrors is an example of both extremes. It has the best, as in the case of Graham Masterton's "Jack Be Quick" and it also has the worst with the worn-out, used-up, plot of "Creature Congress" by Terry Beatty and Wendi Lee.

It is a unique anthology that brings together an eclectic group of stories written by an array of horror and mystery writers. It features stories with horror elements based within the halls of the White House; in a few cases the action takes place beyond the house itself, but the plot revolves around the President, or, at the very least his administration.

A few of the more remarkable stories come from well known horror writers such as Edward Lee, Peter Crowther, Tom Piccirilli and Graham Masterton. In Edward Lee's "Night of the Vegetables" he creates a story that is silly to the extreme. It is a parody on the nuclear holocaust theme that has been used dozens, perhaps hundreds, of times in television, film and literature--it was used in at least several episodes of the classic The Twilight Zone series alone. Lee takes a serious plotline and makes it laugh-out-loud funny. A North Korean nuclear reactor suffers a disastrous meltdown; with one hitch, they used dirt infested with vegetables to cover the core. The events that follow will keep the reader both laughing and guessing. Lee's plotting is precise, his pacing is perfect, and the ending is hilarious.

Peter Crowther, in his story, "A Worse Place Than Hell" speculates quite successfully about the problems of cloning, when a group of government scientists decide to "bring back" Abraham Lincoln--when Lincoln escapes into the modern city of New York he is dazzled and frightened in the same breath. Tom Piccirilli brings to life a surreal and moody ghost story in his "Broken 'Neath the Weight of Wraiths," and Masterton with precise plotting shows us yet another possibility of conspiracy involving the assassination of John F. Kennedy--this story reminds us just how good Masterton is, and begs the question: Why isn't this guy a bestseller?

Another benefit of this anthology is that it introduces a mostly horror audience to several established mystery writers. To name a few: Max Allan Collins, Bill Crider, Jill M. Morgan and Robert J. Randisi. Randisi's story "The President's Mind" is a romp. It has all of the elements of good storytelling: violence, mystery, suspense, and even a few good old fashioned scares, not to mention a Voodoo curse. This story is so well plotted, written, and enjoyable I was disappointed to see the end--there just wasn't enough of it!

The majority of the stories are quite successful. Unfortunately there are a handful--let's say four of the sixteen, that are woefully terrible. One such story is Brian Hodge's less than successful "Healing the Body Politic." This was not only a poor selection for the anthology, but its position as the opening story will likely put-off many would-be readers from discovering the better stories that follow.

White House Horrors, with blemishes and all, is an excellent read. The style and range is broad, and overall the stories are well-written and entertaining. If you are looking for hardcore splatter-punk this collection will not satisfy, but if you want something quiet, thoughtful and a little spooky it's a good bet.

Wednesday, June 11, 2008

The X-Files: I Want to Believe -- Movie Trailer

I'm a long time fan of the television series The X-Files, especially the first few seasons when its focus was on odd and bizarre tales of horror and science-fiction. The later seasons dragged a little with seasons-long story-arcs and paranoid conspiracy tales. But still, as a whole, I enjoyed The X-Files as much as I have ever enjoyed a television series.

I still actually pine for it on the odd Friday night--it was at its best before the network moved it to Sunday--and so when I discovered the new movie is scheduled for release later this summer I got a little excited. The title: The X-Files: I Want to Believe. The release date: July 25, 2008.



This brief and unsatisfying description was found at the Yahoo!Movies website.

In grand X-Files manner, the film's storyline is being kept under wraps. This much can be revealed: It is a stand-alone story in the tradition of some of the show's most acclaimed and beloved episodes, and takes the complicated relationship between Fox Mulder and Dana Scully in unexpected directions. Mulder continues his unshakable quest for the truth, and Scully, the passionate, ferociously intelligent physician, remains inextricably tied to Mulder's pursuits.

Saturday, June 07, 2008

BREEDING GROUND by Sarah Pinborough

Matt and Chloe are a successful young couple from the idyllic English village of Stony Stratford--Chloe is a beautiful and talented lawyer, while Matt sells mortgages. They are very much in love and their world is a promising and brilliant place until Chloe begins to gain weight. At first it's only a few pounds, but it quickly begins to build--her thin frame becomes engorged with strange, almost inhuman bulges. And that's not all; Chloe's personality also begins to change. She becomes angry, removed, and downright strange. She claims to communicate with a friend in London with her mind, and she takes a liking to raw meat.

What Matt doesn't realize is the rest of Stony Stratford's women are experiencing the same changes and it's only a matter of weeks before the village streets are quiet and empty. The women are gone; they were used as breeders for a strange new species and the men devoured as food. The few survivors stumble together searching for companionship, protection, and peace. The small group of survivors Matt joins consists of a five men and three women; one of them a young girl. Their hope of a future is secured in the idea of reaching a military research base, but there is a world of danger and potential death in between.

Breeding Ground was an unexpected treat. Its subject matter compelling--who can resist a tale of apocalyptic proportions? Its focus squarely on the horror of the passing of humanity; there are no scientific discussions of why it happened, other than the obligatory, and Ms Pinborough competently develops an overwhelming anxiety that permeates the story. The characters are well-crafted servants of the plot--they are likable, strong, and very much worth rooting for without the bog-down of over-analysis. The plot is well-conceived and executed and while it is familiar there are enough twists to keep it fresh and interesting.

Thursday, June 05, 2008

Book Trailer: THREE SHIRT DEAL by Stephen J. Cannell

I found another book trailer this morning—it’s Stephen J. Cannell’s latest novel Three Shirt Deal, and it’s the best trailer I’ve seen yet. Which is probably expected since Cannell is best known for his television work including, but most definitely not limited to, The Rockford Files, The A-Team, Silk Stalkings, The Greatest American Hero, and one of my guilty pleasures Renegade.

I have never read a Stephen J. Cannell novel and I don’t know why. I purchased a couple of his early novels a year or so ago—Tin Collectors, and Hollywood Tough—but they’ve sat on my bookshelf since. I need to get one down and read it. And soon.

Monday, June 02, 2008

New David Morrell Novel: THE SPY WHO CAME FOR CHRISTMAS

I've been waiting for the cover art of David Morrell's upcoming novel The Spy Who Came for Christmas for several weeks, and finally, earlier today, I found it. Maybe. This image came from eBay--there is an ARC for sale, a subject (selling ARCs before the release of a title) I would love to talk about, but I'll save it for another time because it's a subject that deserves more space and thought than I have at the moment.

The previously stated disclaimer--the "maybe"--comes about because cover art has been known to change between the ARC release and the final trade edition. So don't be surprised if it looks different when it hits bookstore shelves. But if it doesn't, it's not a bad cover

The Spy Who Came for Christmas is scheduled for release October 28th, 2008 and it's a short holiday season novel. The type that has become hip over the past few years for best-selling novelists to write; the type of novel I try to avoid really, but this one is written by David Morrell. Could it be bad? I hope not. And I hope Morrell goes easy on the Christmas propaganda. Oh, I hope I hope.

Here is a snippet of an interview David Morrell did over at Bookreporter.com. He makes the story sound interesting, but I still have a few slight reservations; but who am I kidding. I'll read it and very probably like it.

Next year's book is called The Spy Who Came for Christmas. It's a contemporary action espionage story that takes place on Christmas Eve in Santa Fe, New Mexico, where I live. Santa Fe is a major holiday destination for travelers. We have a mile long street called Canyon Road that has about 1,000 art galleries and is lit spectacularly for the holidays. The story takes place there. At one point, the main character, a spy, takes refuge in a home where he discovers that he has put a family in danger. As he prepares the house for a siege, he tries to calm the family by telling them the spy's version of the traditional Nativity story. I did a lot of historical research based on events in the New Testament. Readers will be surprised by the background I've uncovered. None of it is faith-threatening, but it does make the often-told traditional Nativity story more vivid. The book will probably have some illustrations...

To read the entire interview go Here.

Friday, May 30, 2008

BLITZ by Ken Bruen

This review originally appeared in an online magazine--I think in the Spring of 2004; maybe 2005--and while my review is luke-warm I really did enjoy the novel. And be warned, this review is a little harsher than the usual fare around here, but when I stumbled across it a few days ago it brought back good memories of not only the novel, but also of the time spent writing the review.

Blitz, written by Edgar nominee Ken Bruen, is a white-hot, dialogue-rich, British noir—Bruen is Irish, so it should probably be classified as Irish noir, but whatever it is, it is most certainly set in southeast London.

Blitz is the story of a serial killer—The Blitz, he calls himself—and London’s finest as they track him. The cast is large and often unpredictable: Detective Sergeant Brant, a brutal, belligerent cop accused of assault; Detective Sergeant Porter Nash, a recent transfer into the squad, and openly homosexual; Chief Inspector Roberts, who finds respite in wine after his wife’s death; Police Constable Falls, a black female cop with a liking for nose candy and a skinhead called Metal for a pal; Police Constable McDonald, a young cop with an eye at the top job. The cast creates a mix of tension and humor. They play off each other like pin-balls in a machine—seemingly never playing, acting, or responding as expected.

The prose is quick, sharp and intense. The novel is written with a haphazard storyline. The chapters are quick hits of story—each written from the perspective of a major player: Blitz, Brant, Nash, Roberts, etc. They seem to meander, almost stall a few times, but Bruen pulls the story along with a gritty, yet humorous prose. The bad guy—The Blitz—is somewhat shallow and two dimensional. The good guys aren’t that good, and they seem to do less police work and more battle against personal demons. The novel is a composite of its characters. They are more important than the plot. They define the story—humanity interacting with humanity; the good, the bad, and all the varying shades in the middle.

Blitz is not the best modern noir has to offer, but it is entertaining. The prose is rough and hot—it has the uneven feel of a blues song. The characters are raw, both disgusting and hilarious in the same paragraph, even sentence. The words pulse with energy. They drive the story forward with a fresh and unexpected beat, but it burns a little too long before it climaxes into an amusing, if mildly unsatisfying, ending.

Saturday, May 24, 2008

Random Stuff

1. Bragging Contest

Thus far 2008 has been good to me, both personally and professionally. More so than its predecessors and when life is good I tend to do what I've always done, buy and read books. My wife and I have spent several weekends scouring the closest cities for bookshops--and I live in the West so sizable cities are few and far between; Las Vegas is the closest large city and it's six hours by car. I haven't been that far afield, but I've found some cool stuff a little closer to home.

A month ago we went to the small college town of Logan, Utah where we visited three bookshops: a Hastings, a small independent used shop called Books of Yesterday--it has a terrific selection of used and out-of-print paperbacks--and a small paperback exchange. I loaded up. I found a first edition paperback of David Morrell's First Blood, an old Harry Arnston novel titled The Third Illusion, the hardcover edition of Midnight's Lair by Richard Laymon, and a terrifically preserved hardcover of Ed Gorman's Will You Still Love Me Tomorrow? And that's only a few of them.

Then last night we visited a local thrift shop and I found several old Ellery Queen Mystery Magazines from the early-to-mid 1980s. They contain original stories by writer's like Edward D. Hoch, James Powell, and Joe Gores--I read his short story "File #9: Full Moon Madness" this morning and was intrigued by both the style and, for a short story, large cast of characters that he was able to trim into eight coherent pages. And it was pretty good at that. There were also a couple stories by bestsellers Ray Bradbury--"The Wonderful Death of Dudley Stone"--and Frederick Forsyth's "There are No Snakes in Ireland." I can't wait to dig into these for several reasons, but the most important is the 1980s was when I discovered the wonder of story-telling and the stories and styles of that decade hold a special place in my personal canon of literature.

2. A Note About Coolness

I've also discovered a cool essay online. It's by novelist Stephen Mertz and called "In Defense of Carrol John Daly." It's an aptly and literate defense of Daly's influence in the world of hardboiled detective fiction. I'm no expert, or even an informed layman, but this essay really made me want to learn more about both Daly and early hardboiled stuff. Go Here to read it.

3. Post-apocalyptic Fiction

I've always been a fan of post-apocalyptic fiction; I loved Stephen King's The Stand, devoured Cormac McCarthy's The Road, but there really hasn't been anything that captured my imagination like William F. Nolan's short story "The Small World of Lewis Stillman." Well, that might be an exaggeration, but....

The point? I need more post-apocalyptic titles, both novels and short stories. I'm specifically thinking about short works from 1940s, 50s, and 60s science fiction writers, but really I'm up for anything. Are there any favorites out there? Please clue me in; either send an email or better yet post a comment. And maybe include a film or two. And thanks, too.

Thursday, May 22, 2008

"Witching Hour Theatre" by Craig Shaeffer

Larry Wilson is a passive, almost invisible man. His life is comfortable, but also unfulfilled and lonely. He has a routine and self-governing rules, but no friends and his “mild-mannered demeanor” makes him an easy target of ridicule from his co-workers. One of the few highlights of his week is Friday night when the local movie house, Starlight Cinemas, presents Witching Hour Theatre. It is a triple bill midnight horror movie-marathon presented in the older of Starlight's two theaters. There is a curtain, dark shadows, a spooky atmosphere and a sizable audience waiting for three deliciously frightening films. The first is always a recent release, the second an older "classic film," while the third is a campy, often poorly made but fun, film from the 1950s or sixties.

The audience is large on this particular presentation of Witching Hour Theatre, but many, except the diehards, leave after the first film, and then even more make their way to the exits after the second. It is during the third film that Larry realizes he’s alone and soon he begins to see strange things. Then everything changes. Larry's quiet world is turned upside down as he is faced with a terrifying confrontation that challenges both his mortality and his conscience.

"Witching Hour Theatre" is a delight. It is a short novella, no more than an hour of reading, written by Craig Shaeffer. It begins as a quiet story, but quickly blossoms into full-bore action horror. The old theater is spooky with shadows, darkness and impending terror. The images of the carnival-like atmosphere will thrill fans of horror movies and the climax is effectively scripted to the action on screen. The writing is professional and the tension built without melodrama: it is constructed with a slow, literate and agonizing pace. The reader can feel the terror coming, but it is created scene-by-scene from a low, almost unheard thrum, to an inferno.

"Witching Hour Theatre" is an unexpected gem. It is original and entertaining. Its quality and tone, along with its use of a well-known film to accentuate the action and mood of the story, will keep fans of the genre interested and thrilled.

Saturday, May 17, 2008

Roberto Clemente

A month or so ago I watched an episode of American Experience on PBS about Roberto Clemente and was captured by his grace, both on and off the field. He was misunderstood, under-estimated, to the dismay of his opponents, and a pioneer for the Puerto Rican major league community. And wow could he play. He ran the bases with wild abandon, he hit safely 3,000 times, and his arm was a booming threat from right field. And for fifty-minutes I remembered what I like about baseball: the quiet thoughtfulness of the game; the heroics of the individual as part of a team; but mostly the skill and precession that is demanded to be a great player.

It also reminded me how we, as a culture, look at the past through rose-colored glasses--everything was more comfortable, easier, and the people who lived those times reacted more properly and with a grace that is lacking in the present. I'm certain that Clemente had his flaws, as both player and man, but we have a tendency to look only at the good. And as I watched his short life unfold on the television screen I didn't mind that it was a gentler and kinder portrayal than reality because there was something important and real in the film. It said, in differing shades of truth, this is humanity at its best. This is what we can be if we try, persevere, and compete. And for a moment it made me proud of my species, and that's a feeling I don't carry with me as often as I should; usually with good reason.

Tuesday, May 13, 2008

Richard Matheson Treasure Hunt

I was a late arrival to the work of Richard Matheson; sure I had seen several episodes he wrote for the original Twilight Zone (including the terrific "Nightmare at 20,000-feet" based on his short story of the same name, and the moody--aren't all Twilight Zone episodes moody?--"Nick of Time") but I really didn't comprehend how good Matheson's work is until I purchased his recent novel Hunted Past Reason. I picked it up at a local bookstore when it was released in mass market in the spring of 2003 and devoured it in a few sittings. And I've been avidly reading his work as I come across it ever since.

Which is why I'm excited about a discovery I made this past Sunday at another local bookstore. TOR has released several--at least five--of Richard Matheson's older titles in mass market at the terrific price of $4.99 each. The titles? Earthbound, The Incredible Shrinking Man, What Dreams May Come, Beardless Warriors, and Stir of Echoes. At least those were the titles the bookstore had on hand. I purchased three and started reading The Incredible Shrinking Man last night--so far it's everything I expected: literate, exciting, meaningful, and relevant. All that and I'm only on page 30.

The really cool thing is: these aren't cheap editions. Certainly they're mass market, but I love mass market, and the covers are pretty cool; especially The Incredible Shrinking Man. If you enjoy Matheson's work and are missing a few titles, you should check these editions out. The price is right and the writing terrific. Not to mention if you haven't read Richard Matheson's short story "Nightmare at 20,000-feet" it, and several other short stories, are included with The Incredible Shrinking Man. Too cool.

Saturday, May 10, 2008

"Mom and Dad at Home" by Ed Gorman

Sam Culver is an eleven year old boy who adores his father. He loves his mom, but his dad is everything he wants to be--cool, handsome, gracious, well-liked, and funny. Sam's father is on the road a couple weeks each month, which bothers both Sam and his mom, but when he comes home he always has gifts; and his absence makes his presence all the more wondrous.

But Sam can see the strain on his mother. She's looking old in young Sam's eyes and it's not odd to find her alone in the dark crying. She's always kind and warm, but she has an underlying current of fear and sorrow. To tell more would spoil the story, but rest assured it only gets better from here.

"Mom and Dad at Home" is an atmospheric, subtle and moody story of dark suspense. There are no stomach dropping moments of terror, or gruesome, nauseating scenes of violence, but instead Ed Gorman develops the story through the viewpoint of an innocent and trusting young boy. It is a coming of age story that has elements of early-Stephen King, but is told in a style that is all Gorman. The prose is lean, the dialogue slight and to the point, the voice lower-middle class, and the plot develops slowly and ominously toward a crushing revelation.

"Mom and Dad at Home" fits nicely in the horror genre, but it's a little more--it says something dark about society, the unsteady relationship between the sexes, and the trust a boy has for his father. And, perhaps more importantly, it creates an image of a slow and devastating journey of love, deception and fear as the story spreads itself across the broad spaces of the working-class. It's also terrifically entertaining from the first paragraph to the last, and a story you'll want to read more than once.

"Mom and Dad at Home" was published in Richard Chizmar's Shivers IV in 2006.

Monday, May 05, 2008

LUCK BE A LADY, DON'T DIE by Robert J. Randisi

Robert J. Randisi is one of the hardest working writers currently producing and his work is reliably entertaining, action-packed, and good fun. He has written a broad variety of popular fiction over his twenty-five year career--Westerns, both series and stand-alone, mystery, action, and even horror. He reintroduced me to the Western early in the twenty-first century with his fine novel Miracle of Jacal and downright wowed me with his police procedural Alone with the Dead, the first of his impressive Joe Keough series, and now he's at his best with the latest Rat Pack novel, Luck Be a Lady, Don't Die.

Luck Be a Lady, Don't Die opens six months after the filming of the original Ocean's Eleven. Eddie Gianelli--Eddie G to his friends--is back at his post as a Sands pit boss when he learns his new friends, the Rat Pack, are expected back in town for the premier of the film. Eddie isn't expecting much so when Dean Martin summons him, Eddie is pleasantly surprised; and even more surprised when Martin asks him to help Frank with a problem. His new paramour, who was supposed to meet him in Vegas, has disappeared. Frank assigns New York heavy Jerry Epstein to watch Eddie's back again, and with good reason, because it doesn't take long for the body-count to rise and for Eddie to realize things are going to get a little personal.

Luck Be a Lady, Don't Die is a terrific private-eye novel--Eddie G is a likable, hip, sarcastic, and tough protagonist. The supporting cast is strong. The New York import, Jerry Epstein--don't call him torpedo--is perfect. He brings a straight-faced humor to the story that elevates it well beyond the usual. And his appetite for pancakes and playing the horses is seemingly endless; in a good way.

The background characters--the Rat Pack, Sam Giancana, Jack Entratter--help create the glitzy, cool atmosphere of 1960s Vegas; you know, before it was dummed-down to Disneyland in the desert. The mystery is top-notch and there is more than one kink in the final pages. The reader, as well as Eddie G and his small gang, are in the dark until Randisi expertly reveals the intrigue.

Luck Be a Lady, Don't Die is Randisi's best work since the Joe Keough novels, and if you like American-style mysteries, hip private eye stories, or just an entertaining and enjoyable read you can't do much better. And I hope Randisi has plans for one or two more of these.

Wednesday, April 30, 2008

Zingers 5: Even More First Lines with Grab

It's been awhile since the last installment of Zingers and since everyone has been beating down the doors to my email inquiring just when the next one's scheduled to arrive--yeah, right--I thought today would be a good day to revive the series.

The rules? There's only one: The first line, or few lines, must grab the reader by the throat and make him need to read more. And one more thing. This edition of Zingers is exclusively comprised of short stories--an art form that is disappearing, but very much worth seeking out.

Eric tingled as if he had touched a faulty light switch or had stepped on a snake. His skin felt cold. He shuddered.

The opening line from David Morrell's "The Typewriter" has everything. It is vivid, exciting and extremely intriguing. It sets-up the story perfectly, and more importantly, demands the reader's forward movement into the story.

Just before dawn, I wake up and listen to the hushed sounds from the room next to mine. When I hear these particular sounds at this particular time on a cancer floor in a hospital--three or four rushed whispering voices; faint squeaks of gurney wheels; and the elevator doors opening down the hall, eight floors down to the basement and the morgue--I know what's happened.

The opening paragraph from "Riff" by Ed Gorman is a study in contrast with the "The Typewriter". It relies less on surprise--short action-oriented sentences that create unease--and more on an atmospheric forbidding and melancholy fear. It creates a shadow that creeps across the page and the reader and urges the story forward.

Boiling through the helicopters open side hatches, the slipstream carried that particular stench of a dying city: burning wood, burning oil, burning flesh.

James H. Cobb's story "Point of Decision" is representative of the best that military fiction has to offer--it is dark, pessimistic, fluid, intriguing, and scary. And the opening sentence captures the mood and momentum I look for in thrillers.

"The Typewriter" was originally published in 1983 in Gallery of Horror, edited by Charles L. Grant. It can currently be found in David Morrell's excellent collection Dark Evening.

"Riff" was originally published in Postscripts, Spring 2004. It is currently available in Ed's collection Different Kinds of Dead and Other Stories. Different Kinds of Dead is a collection every serious reader should not only have, but study on a regular basis. The stories range from mystery, to Western, to horror, and they all have the commonality of a terse, dark, and melancholy working class voice. And they are also very entertaining.

"Point of Decision" was published in Martin H. Greenberg's anthology First to Fight in 1999, and is currently out-of-print.

Thursday, April 24, 2008

CRAZY FOOL KILLS FIVE by Gwen Freeman

Crazy Fool Kills Five is the second mystery to feature independent insurance adjuster Fifi Cutter. When the novel opens Fifi finds herself with more time than work, so when her friend VJ offers her a paying gig as a document reader for Reg Wong--a local attorney who is trying a wrongful death suit that involves the hijacking and subsequent crash of a chartered airplane--she can't, as much as she wants to, turn it down.

It doesn't take long for Fifi to discover that the case is more than a simple wrongful death suit, and it's not just the good-looking attorney across the aisle, either. What Fifi finds is more than she bargained for. She uncovers an ugly plot to extort, a cabal of double-dealing insurance companies, and murder.

Crazy Fool Kills Five is a basic whodunit with a twist: Fifi Cutter. She is a study in sarcasm, dark wit, distrust, and anti-social behavior--she says, out loud, what the rest of us only think. Her unemployed brother Bosco acts as the perfect foil. He is laid back, cool, accepting and completely at ease with himself and the world. And the novel is at its very best when both are on stage.

The mystery here is light and it takes a distant second seat to the flamboyant Fifi, but the plotline is entertaining and well-drawn--my only serious complaint about the mystery was the lack of early identifiable clues to the killer's identity. When the culprit was uncovered in the final scene my first reaction was: Who? But the lack of motive and reference really wasn't as significant as it could have been because the fun of Crazy Fool Kills Five is about the journey and Fifi's role in it. It doesn't hurt that the journey is a lot of good, sarcastic, and light-hearted fun.

Saturday, April 19, 2008

Three Reviews

I've fallen hopelessly behind on the reviews I want to write for Gravetapping, so I decided to play a little game. I sat down with three novels I've read and enjoyed in the past few months and imposed a 150-word limit on each review. It probably took me longer than it would have to write my usual 350 to 500 word reviews, but I had a little fun doing it. And the amazing thing, I actually came in under the limit on each.

Zero Cool is the second Michael Crichton--err, John Lange--novel Hard Case Crime has reprinted and it lived up to my lofty expectations. Peter Ross is an American radiologist who goes to Spain to speak at a medical conference and, more importantly, spend some quality time at the beach. Unfortunately his plans are irreversibly altered when he is approached by a nervous little man who warns him away from an autopsy--"If you do the autopsy, we will kill you." This ominous opening builds the foundation for a nearly perfectly executed wrong-man novel.

Zero Cool really is cool. The dialogue is sharp, the characters are uniquely over-the-top, the plot is quick and tricky in that great early-Seventies way, and the story is enormously entertaining. If you buy only one HCC this year, make it Zero Cool.

Triple Identity is Haggai Carmon's first novel. It is a financial thriller with doses of international intrigue, action, and trade-craft--as in barebones spy stuff. Dan Gordon is a Department of Justice lawyer who tracks large sums of laundered money that has crossed the border. When the novel opens he is on the trail of ninety-million dollars that went missing from a failed California bank and it doesn't take long for Gordon to realize there is more to the theft than bank fraud. And when the CIA and Mossad enter the chase he has no doubt there is something sinister in the background.

Triple Identity is an entertaining and interesting novel--some of the international finance is fascinating--that starts quickly, but falters slightly in the middle with too much backstory and not quite enough action. Fortunately it ends with a flourish and, overall, it's pretty fun.

Winter of the Wolves is, by my reckoning, the last novel published by James N. Frey; it hit print in 1992. And it is an entertaining and exciting little spy thriller. Tom Croft is a burned out operative for the super-secret organization The Exchange. He walked away from the game a few years earlier and now he's trying to forget his past in upstate-New York. Unfortunately his former partner has gone rogue and The Exchange wants Croft to hunt him down and kill him.

Winter of the Wolves is an extremely enjoyable novel. I guessed the ending in the third chapter, but it really didn't bother me. The writing is smooth, the protagonist is a tough-guy cutout that Frey gives just enough life to make interesting, the dialogue is crisp, and if you don't mind a journey you've probably experienced before it's really a pretty terrific read.

Saturday, April 12, 2008

"Dance of the Dead" by Richard Matheson

The year is 1997. It is post-World War Three and two couples are driving to St. Louis in a convertible. Their destination: a night club to witness a "loopy" perform the Dance of the Dead. The group gleefully sings and chants; one member of the group has recently taken a class on pre-war comic books and a favorite line is, "I am Popeye the sailor man!" And as the story unfolds the Popeye chant gains an ominous and forbidding shade.

The miles whisk by and it isn't long until the lovers find themselves in the club. The place is dark, crowded and unnerving. They find a table near the stage and the young men can't contain their excitement for the Dance of the Dead to begin, and once it does it is an experience the four will never forget. It is a performance that spotlights the nastiness, cruelty, and utter meanness that very often is humanity.

"Dance of the Dead" is vintage Richard Matheson. It is written visually:

Needle quivering at 130, two 5-mph notches from gauges end. A sudden dip! Their young frames jolted and the thrown-up laughter of three was windswept into night. Around a curve, darting up and down a hill, flashing across a leveled plain--an ebony bullet skimming earth.

Mr. Matheson inserts slang with its definition throughout the story as a means of both defining the futuristic setting and showcasing the link between language and behavior. An example is the word struggle: n., act of promiscuous loveplay; usage evolved during WW3. It, struggle, is a word that very nicely describes the harshness of the futuristic world; loveplay is a struggle rather than a pleasure.

"Dance of the Dead" is poignant--it says something about humanity, abuse and power. It creates an image of loneliness and desperation, but it is also a terrifically entertaining story that is both haunting and horrific.

"Dance of the Dead" was originally published in 1954 and can currently be found in Richard Matheson's collection I Am Legend. It was recently translated into film as an episode of Showtime's Masters of Horror. The screenplay was written by Richard Christian Matheson and it was directed by Tobe Hooper.

Saturday, April 05, 2008

RIVER OF DEATH by Alistair MacLean

I'm fond of a quote I read somewhere years ago: I keep the story moving so quickly the reader doesn't have time to slow down and realize how poor the writing is. It is attributed--at least in my memory--to novelist Alistair MacLean and while I don't agree that his writing is poor, I definitely agree that his stories are thrilling, wild, and extremely fast.

Mr. MacLean was a mega-bestseller in the Sixties and Seventies and was one of the first writers whose work really connected with me. He wrote sleek little thrillers that were long on action, loaded with dialogue, and populated with hard men that had a certain British sophistication that read just right. And none of the characters in his stories was exactly what they seemed; the bad guy was often not revealed until the final pages and it was usually a bit of a surprise.

I try to read a novel or two of MacLean's work each year, but I've fallen behind the last few. So a few nights back I decided to make amends and pulled one of his later titles off the bookshelf and devoured it in a few sittings. The title: River of Death.

River of Death is classic MacLean--two brutal and tough men playing a game that will end in the destruction of one and a mean victory for the other. It is populated with the usual: the wealthy businessman who is as comfortable in the shadows as he is in the boardroom; the mysterious stranger who is more than anyone estimates; and the strong but fragile woman who could bring down the house.

It takes place in the deep jungles of Brazil and has a few twists, a heap of action, a mysterious lost city, Nazi gold, murder, genocide, and nearly everything else you can think of. And it does it all in 215 pages--and that's in mass market!

River of Death is a great piece of escapist fiction. It took my mind off taxes, accounting, leaky windows, and everything else that keeps me awake at night. It enthralled me for a few hours with exhilarating action, suspense, and style. It is one of the last novels Alistair MacLean wrote--it's a common thought that his later work is inferior to his early stuff and I absolutely agree. It isn't nearly on the level of Where Eagles Dare, H.M.S. Ulysses, or The Guns of Navarone, but even with the lack of depth--characterization, sharper and more clever plotting, richer settings, and tighter prose--his earlier work had, River of Death is still pretty damn good. And it made me want to get all those other old MacLean titles down for another peruse.

A NOTE: River of Death was made into a mediocre film in 1989 starring Michael Dudikoff, Donald Pleasance, and Roberth Vaughn. It was directed by Steve Carver. I rented this one as a teenager, and I really don't remember much about it except disappointment. But who knows, maybe it's better than my memory.