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.

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.

"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.

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.

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.

"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.

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.

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.

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.

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.

"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.

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.

Book Trailer: Savage Night by Allan Guthrie

I’ve been passively—very passively!—scouting the Internet for book trailers and today I found one. It’s for Allan Guthrie’s latest novel Savage Night; you may remember him from such slam-bang modern noirs as Kiss Her Goodbye and Hard Man. And this trailer makes Savage Night look like a must read.

The narration is in a thick Edinburgh accent so you may have to watch it twice—the first time to get an ear for it, and the second time purely for fun. Heck, watch it three times. I did.

New Jack Ketchum Novel: OLD FLAMES

I have good news. Jack Ketchum has a new novel coming out from Leisure Books this May. It's title: Old Flames. And it looks like an original novel, not a reprint of one of Ketchum's earlier titles. Although I'm not certain. I've read all the Jack Ketchum novels I've been able to find, but there are a few I've had no luck with, so while the synopsis doesn't sound familiar it very well could be one of the two or three older Ketchum titles I've never laid eyes on. Either way, it sounds like vintage Jack Ketchum horror; the kind that feels real, like it not only could happen, but does happen every day.

The description over at the Dorchester website reads:

Burned again. Men never treated Dora well. This latest cheated on her and dumped her. The last decent guy she knew was her old high school boyfriend, Jim. He'd said that he loved her. Maybe he did. So with the help of the Old Flames Agency, Dora's found him again. Turns out he's married with two kids. But Dora isn't about to let that stand in her way...

THROUGH WYOMING EYES by Ken Rand

Through Wyoming Eyes is a collection of five short stories, vividly set in the open spaces of Wyoming, written by Ken Rand. In his introduction Rand explains that Wyoming is his adopted home, and while he is unable to live there, his "heart is in Wyoming." The stories explore the people and the terrain of the high plains and the author's love is visible in his simple and visual descriptions. They are told with a wry sense of humor and Rand never takes them too seriously.

The stories are unique to Ken Rand. They are a mixture of western, horror and science fiction. They read more as tall tales than short stories: the characters that inhabit his worlds are more fantastical than real. They are not super-heroes, but they have the feel and texture of a Johnny Appleseed, or Paul Bunyan rather than anyone you have ever known or met.

The collection opens with the story "Bridge O'Doom," which chronicles the strange events of a Wyoming rancher who discovers a sort of black hole on his land. It turns into a media circus and then a pop-culture event. The rancher watches as thousands of people journey to his land as a pilgrimage, looking for their own Shangri La, for their own escape into a better place, a better future. It is a quiet story that made me yearn for the older Twilight Zone-like science fiction of the past.

"Calamity Djinn" is the story of a stout and strong frontier woman who is planning to marry Butch Parker. The only problem is she hasn't informed him of her plans. This is a fantastical story of love, destiny and just damn poor luck.

"The Clockwork Sheriff," is a genre bending golem story. An aging gunfighter is called to a small town to help clean out the bad men and ruffians. Only when he arrives, two weeks late, he finds a replacement has beaten him there. This story has the feel of a classic robot story, but with the added texture and setting of a true western.

"Through These Eyes,' is the weakest of the stories contained in Through Wyoming Eyes. It is short, less than two pages, and is built from two viewpoints: a doctor and a shaman. Its insights are strange and delightful, but I would have loved to see it fleshed out and built into a stronger, more poignant story.

"Mr. Gibber Saves the Day," is a Lucky Nickel Saloon story that tells the tallest tale of the collection. The saloon's mortgage is due the next day and Mick can't pay it with the IOUs stuffed in the till. This leads the Lucky Nickel's regulars on several ill-begotten wagers to save their favorite haunt. In the end it comes down to a stranger in town--a reporter and his companion--to save the Lucky Nickel. This is an inventive and thrilling story that left me wanting more.

Through Wyoming Eyes is a collection that will appeal to a genre-bending audience. If you have wondered how a golem would fare in the Wild West, or what a window to a strange dimension would look like on an old ranch this collection is for you. The stories are well told, clever and climax with less answers than questions. Ken Rand is the thinking man's writer and these stories will live with you much longer than they take to read. My only complaint? There should have been another story or two between the covers.

Jack M. Bickham

TOR Hardcover

I've been in a sentimental mood recently; the past year or so. I've been reading, and rereading in some cases, a good deal of fiction from my youth. Most of it is from the late-Eighties and early-Nineties. A few of the writers I've revisited had an impact on what I thought--particularly in my youth--about politics, life, and the world. And it's fun to revisit my younger, more naïve, and somewhat different self. It's also terrific that most of what I read then still holds up pretty well now.

I've shared a few of the writers on this blog--guys like J.C. Pollock and Harry Arnston--but there have been others I haven't. And the one at the top of my list is Jack M. Bickham. Mr. Bickham wrote with a stripped-down simplicity that didn't erode the essentials, but added to them--his Brad Smith novels had as much meaning as any novel I've ever read, but they also told a terrific and exhilarating story.

Jack Bickham published something like 75 novels and I've enjoyed all that I've read, but the work he produced in the last ten years of his life was special. In 1989 he published the first novel to feature aging tennis pro and sometime spy Brad Smith. It's title: Tie Breaker. He wrote five more before the series came to an end with The Davis Cup Conspiracy, and there isn't a month that goes by that I don't at least think about one of these novels; a situation, a phrase, a philosophical ideal, or maybe just the permeating sadness of an aging athlete. Damn I love those novels.

And it doesn't end there. Jack Bickham wrote a handful of stand alone novels that still sit on my bookshelf. Day Seven is part science fiction, and all thriller. It's a Space Shuttle story that involves Mars, hijackers, and adventure that could keep an action junkie satisfied for days. Ariel is another one. It's about artificial intelligence, human error, and responsibility. The Regensburg Legacy is an action story that has enough twists and turns to keep the most jaded reader wondering what's happening, and why.

If there was one writer I could magically bring back into print it would be Mr. Bickham. I would start with his amazing Brad Smith novels and move on down the list until I hit a little ACE Double Mystery he wrote in the 1950s called Dally with a Deadly Doll. And the cool thing, or maybe sad, depending on ones viewpoint, is I would read them all again. And you should to. If you haven't read Jack Bickham find a copy of something he wrote and read it.

A Note. Jack Bickham published under various pseudonyms including John Miles, Jeff Clinton, and Arthur Williams. And I'm sure many others. He published in several genres; western, mystery, thriller, and others. At least two of his novels were made into feature films including The Apple Dumpling Gang, and Baker's Hawk. And while I enjoy his later work the most, I haven't ran into a Bickham novel I didn't like.

Other Posts about Jack Bickham:

1.  Visual Pulp: The Ace Double Titles of Jack Bickham
2.  THE USELESS GUN by Jack M. Bickham
3.  Jack M. Bickham's Black Bat Mystery Titles

4.  OPERATION NIGHTFALL by John Miles (Jack M. Bickham) & Tom Morris

5.  DAY SEVEN by Jack M. Bickham

6.  The TOR Novels of Jack M. Bickham
7.   GOIN' by Jack M. Bickham
8.   THE INVISIBLE PLAGUE by Jack M. Bickham
9.   TIEBREAKER by Jack M. Bickham
10. DROPSHOT by Jack M. Bickham
11. OVERHEAD by Jack M. Bickham
12. BREAKFAST AT WIMBLEDON by Jack M. Bickham

CHASING THE ROSWELL ALIEN by Glenn Marcel

This review originally went live at SFReader October 14, 2006, and since I found my copy a few days ago, at the bottom of a pile of books in my office, I've been thinking about it quite a bit the last few days. And my memory of Chasing the Roswell Alien is pretty darn good. I may have to dip between the covers of this one again.

There have been a myriad of films, documentaries, books and articles written about the alleged UFO crash at Roswell, New Mexico, but none of them are quite like Glenn Marcel's Chasing the Roswell Alien. Marcel is the nephew of Jesse Marcel, the Roswell Intelligence officer who blew the whistle about the Roswell crash in the 1980s, and the novel, while fiction, has the feel of an insider's view.

Vaughn, a reporter for one of those seedy little tabloids, is sent to British Columbia in search of Amelia Earhart. Not to find her crashed plane, but to actually find and interview Amelia Earhart. While Vaughn is somewhat dubious, the information has come from a source she has used before; an informant that seemingly knows everything about anything to do with conspiracy, secrets and government cover-ups. While the Earhart interview doesn't go exactly as planned, Hatch, her informant, puts Vaughn on the trail of what happened at Roswell in 1947. And the answers are far more personal, and strange, than Vaughn could ever have imagined.

Chasing the Roswell Alien is far from the expected. It is unusual in that the protagonist, Melissa Vaughn, isn't introduced until nearly the midway point of the book, and surprisingly I didn't mind. The first one hundred-plus pages are an overview of the incident at Roswell-it is much more exciting than one would think. It has the familiar events of the usual timeline, but it also has elements that are unique to this story. The Roswell tale is told through the perspectives of several characters, and in the end it is essential to the story. And when Vaughn finally does take over the narrative, things really begins to heat up.

Glenn Marcel has woven an intricate, entertaining and very readable novel with Chasing the Roswell Alien. The answers are not simple or expected. I was genuinely surprised at the climax, and very much pleased with the resulting conclusions. Marcel doesn't take his subject too seriously and he adeptly creates likable characters with dialogue heavy scenes and fast-paced action that kept me enthused and entertained until the final pages. If you enjoy a good mystery, a little spooky atmosphere, an X-Files rerun, or even late night radio, Chasing the Roswell Alien will most certainly satisfy.

HELLFIRE CANYON by Max McCoy wins Spur

I heard some exciting news today: Max McCoy's fine novel Hellfire Canyon has won the Spur Award for best paperback original. And it is well deserved. Hellfire Canyon was the best western novel I read in 2007 and it's story continues to stay with me. It is a campfire story--more legend than fact--with characters who come alive in the narrative. There is enough ambiguity and morality in the sparse tale to give it a power most genres works lack.

Congratulations Mr. McCoy. It's an award well deserved and a bright spot for a genre that is fading into obscurity.

To read my original review of Hellfire Canyon click Here.

THE CODEX by Douglas Preston

When Tom Broadbent is summoned to the family mansion in Santa Fe, New Mexico he finds his two older brothers impatiently trying to get a response at the front door. Their efforts are unsuccessful, and each of the men has a sinking feeling. When Tom finally breaks a window they find the house empty. Gone are their father's beloved art and artifacts--both legal and illegal--and in their place are barren walls, a few empty boxes and remnants of packing tape. Their initial assumption is that someone killed their father and stole his valuable collection. But as they walk through the house they find a big screen television, VCR, and a videocassette with a handwritten note taped to it that reads: Watch Me.

When the three sons play the cassette their father merrily greets them with, "Greetings from the dead." Their father was diagnosed with terminal cancer a few months earlier, and the boys--who never quite measured up to their father's high expectations--will have to earn their inheritance. Mr. Broadbent made his fortune hunting treasure and now he wants his sons to follow in his footsteps. If they want their father's legacy they will have to find it.

The Codex is a thriller that has plenty of everything; there are exotic locations, action, suspense, mystery, and even a touch of romance. Mr. Preston bestows the story with a unique blend of archaeology, pharmacology, and mysticism. He creates characters that fit the story--they are less than real, but their motives are pitch-perfect as the plot weaves itself into places I didn't expect. If The Codex has a weakness it is my usual rant: It's a smidgen too long. It runs--in mass-market paperback--to 404 pages, and while I never got bored with the story there were a few moments when I wanted it to move more swiftly.

The Codex is better than the average modern thriller, and if you enjoy intrigue,mystery, suspense, and don't mind a few clumsy interludes of romance, and can ignore one or two "yeah, right" moments it will entertain, and do it with style.

The Equalizer

I’m a nerd at heart. A few weeks ago I was at a local store and stumbled across the DVD set for season one of The Equalizer; a television series that starred Edward Woodward and aired sometime in the mid-1980s. It was a television series I had all but forgotten about, but when I saw the DVD set I couldn’t help myself—heck it was even on sale.

I wasn’t very old when The Equalizer was being produced—ten, twelve?—but I do remember I loved it. And the opening credits rocked. I think, some twenty years later, that they still define what I think of New York City. A city I have visited several times over the years, but I still think of it as the playground of thieves, dealers, thugs, perverts, sickos, weenies and general weirdos, and everyone else are their victims. (I know this isn’t the case, especially over the last decade, but still…)

So we’ve watched several episodes, and I still like it. Woodward is great as a slightly over-the-top hard guy, and the stories are so 1980s—they feature vigilantism, cold war paranoia, greed, and good old-fashioned car chases and shootings. But the best part is the brief introduction, and here it is direct from YouTube. Enjoy.