MysteryPeople Q&A with Martin Limón

Today is the release of our Pick Of The Month, The Iron Sickle by Martin Limón. The book deals with Sueño and Bascome, his Army CID cops stationed in Seventies-era South Korea, going after a killer who uses the title weapon on Army personnel. Martin Limón was kind enough to answer a few questions about the book and his writing.


MysteryPeople: How did the idea for the sickle killer come about?

Martin Limón: In addition to my years spent in Korea, I still read a lot about Korea and the Korean War.  Most recently, I’ve been reading post-war Korean literature translated into English by friends of minE, Bruce and Ju-chan Fulton, much of it centered around the lingering trauma of the war.  Also, I was influenced, and appalled, by reports of the massacre of Korean refugees at the village of Nohgun-ri.  In addition, I remembered the naht, the short-handled Korean sickle used by farmers to harvest rice and by gardening crews on the American Army compounds to cut grass.  It all came together in this story.  Still, I needed a person to wield the iron sickle.  A person mad enough to use it and an event, or series of events, that drove him to this extreme level of madness.  Gradually, the story and the characters came together.

MP: It was great to see Mr. Kill back.  What made you want to use him again?

ML: Partially, he is a device to get George Sueño and Ernie Bascom off compound.  They are always in trouble with their superiors and thus always relegated to the “black market detail.”  That is, busting Korean civilian dependents for re-selling American-made products out of the Army commissary and PX.  But when Mr. Kill, the highest ranking homicide investigator in the Korean National Police, asks for their assistance, they are freed up from their more mundane duties.  Nothing irritates a military officer more than having one of his subordinates temporarily detailed outside of his or her direct control.  But when the directive comes down from the 8th Army Chief of Staff, their boss has no choice but to comply.

Also, Mr. Kill is highly educated, not only in the States at an Ivy League university but also in the ancient arts of calligraphy and Classical Chinese literature.  It’s fun to bring these elements not only into the resolution of the mystery but also as a counterpoint to modern Korean society and the anti-intellectual American military world in which George and Ernie live.

Finally, and most importantly, people tell me they like reading about him.  I like writing about him.

MP:  Much of the book’s last half takes place out in the mountain area of Korea.  Do you have to keep some things in mind when Sueño and Bascom are out in the wilderness?

ML: Well, they are both city boys.  Ernie grew up in the suburbs of Detroit and George was an orphan who lived in foster homes throughout Los Angeles County.  George had never seen snow—other than in photos and movies—until he went on his first field maneuver in the army.  In the book, they are surprised that the amenities they’re used to—public baths, mokkolli houses, noodle shops—aren’t available in the Taebaek Mountains but the training they received from the army helps pull them through.

MP: The friendship between Sueño and Bascom is both unique and real. What do they provide each other?

ML: They provide complete loyalty.  Both of them are unabashed “lifers,” career soldiers.  Yet they are in constant rebellion against the restrictions of military life and, more often than not, the go-along-to-get-along attitude of most of their superiors and fellow soldiers.  Since they share these qualities, they look out for one another.  Also, Ernie is focused strictly on the moment.  He does what he wants to do, when he wants to do it.  He never looks back or even ponders anything he’s done, much less regret it.  George, on the other hand, is constantly evaluating every decision he makes and is riddled with regrets about the past and anxieties about the future.  Both of them admire the opposite qualities they see in one another, although they don’t fully understand them.

MP: You were pretty much self-taught as a writer.  Did you draw from any influential writers?

ML: There are four writers who made me realize that the type of stories I had to tell might find an audience.  First, was Herman Melville.  I once got in trouble (I know, it’s hard to believe) and was restricted to compound for one week.  I was so angry at myself that I decided to add to the punishment by spending the week reading a classic (like the ones I wouldn’t read when I was in high school).  At the base library I found Moby Dick.  To my surprise, within the first few pages, I discovered that the young man, Ishmael, who was venturing off to see “the watery parts of the world” was much like me.  He craved adventure and, aboard ship, he hated officers.  I flew through the book, enjoying every word of it.  The next was Jack London, a fellow native Californian.  Read “To Build a Fire.”  That is, in my opinion, the greatest single piece of prose writing in the English language.  Third was Richard McKenna.  After serving 30 years in the Navy, he retired as a Chief in the late 1950s and proceeded to write The Sand Pebbles which won the National Book Award.  It was about common sailors and their day-to-day problems.  Not the heroics that most military stories try to shove down our throats.  Finally, was Darryl Ponicsan.  He wrote The Last Detail.  That book showed me that one could write a story about the real lives of enlisted men in the military, with all its beauty and all its squalor.

When I first set out to start writing, I had these four writers in mind and I was still on active duty in the military.  My goal was to tell the story of the day-to-day life of American soldiers in Korea, and the day-to-day lives of the Korean people who dealt with them.  It was a world that most Americans didn’t even know existed.  In order to show that world, from the cultured environs of cocktail parties hosted by the American Ambassador to the lowest rat-infested back alleys, I figured the mystery genre was the way to go.  I focused my reading on the genre:  Chandler, Hammett, James M. Cain, Robert B Parker, Ross MacDonald and many others.  Fortunately, I stumbled on my all-time favorite:  the Matt Scudder series written by Lawrence Block.  For my money, they’re still the best mystery stories in print; especially the first half dozen or so books in the series.

MP: As with several of the books, The Iron Sickle deals with repressed history.  What is the danger of not knowing all of our past?

ML: The Korean War is often called the forgotten war and for good reason. People forget that Korea had a huge impact on the American strategy in Vietnam.  In Korea, we were able to fight the Communists to a standstill and left the country divided into north and south.  In Vietnam, the goal was the same.  To keep a supposedly democratic South Vietnam and leave North Vietnam under the Communists.  Many people correctly pointed out that to win the war we should invade North Vietnam (either that or withdraw completely).  But the lesson of the Korean War had shown that if we threatened to overrun the north, the Communist Chinese would intervene; as they had in Korea with an estimated two to three million “volunteer” soldiers.  Nobody wanted that, so years of stalemate ensued.

We also forget how much damage was done to Korea.  Our bombing campaign left only “rubble bouncing on rubble.”  Those the words of an American pilot.  Even Winston Churchill criticized the U.S. for “splashing” napalm all over North Korea. Two to three million people died in a country of a little over twenty-five million.  The trauma was inestimable.  And it lingered for years, even to this day, which is what The Iron Sickle is all about.


You can ask Matin Limón your own questions when he calls into our Hard Word Book club discussion of his first Sueño-Bascom novel, Jade Lady Burning, on September 24th, at 7PM.

MysteryPeople Q&A with Matthew McBride

On Wednesday, the 27th of August, at 7 pm, our Hard Word Book Club will discuss A Swollen Red Sun by Matthew McBride. The book follows a chain of violence triggered by a moment of weakness from a sheriff’s deputy when he takes $52,000 from meth dealer Jerry Dean Skagg’s trailer. The book was our July Pick Of The Month, so we can’t wait to discuss it. Matt was kind enough to take some questions from us.


MysteryPeople: How do you feel about all the favorable reactions to the book?

Matthew McBride: It’s very nice, and still kind of hard to believe. As a writer, you hope people will buy your book and you want them to like it, but I never expected to sell as many copies as I have. It’s mind-blowing, and I’m grateful. Having strangers write you and tell you they love your book is cool. Because I know how it feels to read something you love and feel that way. You want to connect with the author, so you reach out to them. I’ve done that.

MP: While meth is in a lot of rural crime fiction, it is practically a character here. How has it affected where you live?

MM: I’ve been tempted to brand the book Meth Lit, because meth really is a character in this book, and it has affected my life and the lives of those around me in various ways. In Gasconade County, if you’re sick, you can’t even buy Actifed from the pharmacy without a prescription. For some things you have to show a driver’s license. For other things you have to drive to another county. And while Gasconade County is not now technically considered the meth capital of the world as I mention in the book (that distinction now belongs to one of our neighboring counties), it has certainly been called that at times. In the 90’s and into the 2000’s—and even still to this day—meth labs are raided almost weekly. And it was much worse a few years ago. You can read about it every week in the Gasconade County Republican. Someone is always getting busted or someone’s house is getting raided. People get caught cooking meth and they go to jail and they bond out and the cops give them a few weeks to regroup and resupply themselves and then they hit them again. Sometimes guys get caught for the second time before they’ve even been to court for the first time.

It’s all about Pseudoephedrine, the active ingredient harvested from these pills; the component meth cooks need most to perfect their product. About ten years ago they started making you show your drivers license and sign a sheet of paper at the pharmacy window. Now Gasconade County prevents you from buying anything with Pseudoephedrine in it period without a doctor’s prescription. So unless you want to pay an office visit, you have to drive 40 miles to a different county, show your driver’s license, then sign a piece of paper stating you will not cook meth. While these laws are inconvenient for law-abiding, non-meth producing citizens, they were actually created to make it harder for chefs to get the pills they need to cook with, and these laws have made a difference—to an extent—but for every new law that’s made to curb the accessibility to precursors, there’s a guy who cooks crank that’s a very resourceful gentleman and he will just find a new way to make it. If such and such pill cannot be obtained without a prescription, he’ll just find the next best pill that will work, and then that pill becomes the new pill. The quality of the product may suffer, but people will still buy it. And they’ll love it. Even though the product is inferior to what they had previously known. They’ll still snort it or smoke it or shoot it and be grateful for it, while already scheming about how they will get more crank when the crank they have runs out.

But for old schoolers that have been in the game for the long haul, they remember what the good stuff was like. How pure it used to be and how easily it was obtained, and I’m sure a small part of them (guys like Jerry Dean Skaggs) will always look back with fond memories of previous product and long for the good old days.

MP: Frank Sinatra In A Blender was more along the satirical lines, while A Swollen Red Sun is a bit weightier (but no less entertaining). Was the change in tone conscious?

MM: If I had any real goal with my second book, it was to write something completely different from my first book. The characters are much deeper, and they’re drawn in such a way you can relate to them because they’re dealing with real world problems. Issues that we all deal with: Death and disease and loss. Suicide and infidelity and drug addiction. And the extremes people go to to satisfy those addictions.

While Frank Sinatra in a Blender was about embracing addictions, A Swollen Red Sun is about being a slave to them.

MP: Two of your favorite authors, Daniel Woodrell and Dan Ray Pollock, have endorsed the book. What from their work do you hope to apply to yours?

MM: They have become literary heroes to a generation of writers and if I could write half as well as either one of them I’d be walking in tall cotton. But honestly, when I wrote A Swollen Red Sun back in 2010 all I could think about was how cool it would be to meet them. Then maybe I could figure out a way to ask them to read my book without feeling like an asshole. But eventually I did meet them both, and over the years I’ve gotten to know them well, have even read and drank with them, so having their names and words on the cover mean a lot to me. The very same writers who have influenced me now believe in me, and not a lot of writers can say that—plus, there are blurbs from: Todd Robinson, Hilary Davidson, Johnny Shaw, and Ben Whitmer. Writers I genuinely care about as people and whose work I admire.

Between both books, I’ve gotten some amazing blurbs that I’ll always be thankful for. So anytime I see these people at a bar, I owe them a drink. Always. Because that’s the rule.

MP: You have a reputation among your peers as one of the best self-editors. Can you talk about your process after that first draft?

MM: Surely you’re making this up; I cannot imagine anyone saying this. In fact, I know five or six editors who are giving you the finger right now—but!—if I have become a good self-editor, it’s just because I have worked with much better editors than me and I’ve learned from them. Truth is: editors don’t get enough credit. They don’t. And sometimes they don’t get any. But they should. Because it’s the editor that really ties the book together. They polish the words and tighten everything down. The more you write and publish, the more you’ll work with editors and the more you will learn. You don’t even have to try. You just pick things up and they stick with you. Small skills you didn’t even realize you had until you found yourself using them. But I’m also very obsessive/compulsive, so that surely plays a role. It’s a curse, really. I write quickly, but I’m slow to let things go. I need to reread everything fifty times. I’ll do ten or twenty rewrites of anything before I’ll even show Stacia (my agent), who is actually my first editor.

What it comes down to is this: I loathe the thought of anyone reading something I’ve written that’s not as good as it can possibly be. If I think there’s a way to improve what I wrote and make it better I have to try. It’s all about editing: rereading and rewriting. In a way, writing books has ruined me. I look for mistakes all the time now. Even when I’m dining out. I can’t read a menu. I proofread everything.

MP: Would you tell us what you’re up to next?

MM: I don’t even know myself. Maybe nothing. Then again, I might start a new book a half-hour from now. When it comes to writing, I don’t plan a single word. Planning what I want to say robs creativity from the process. For me, writing is about total freedom.


The Hard Word Book Club meets the last Wednesday of each month in BookPeople’s cafe at 7 pm. Join us on Wednesday, August 26, for a discussion of Matthew McBride’s A Swollen Red Sun, available on our shelves and via bookpeople.com.

The Mystery Community Takes the Ice Bucket Challenge

The Ice Bucket Challenge to raise awareness and donations to combat ALS is starting to run through the crime fiction community.

als alifair
Alifair Burke, author of  two mystery series, one starring NYPD Detective Ellie Hatcher, and the other driven by Portland, OR, Prosecutor Samantha Kincaid, accepted the challenge from Michael Connelly, author of the Hieronymus “Harry” Bosch series and the Mickey Haller novels, who also dumped the ice water on her.


Two of the people she challenged were McKenna Jordan, owner of Houston’s Murder By The Book, and her dad, James Lee Burke, winner of the Edgar Award and writer of the Dave Robicheaux mysteries.
reed farrell coleman

One of our favorites, Reed Farrel Coleman, acclaimed author of The Hollow Girl,  took the challenge.

He challenged SJ Rozan, Hilary Davidson, and Gary Phillips. Gary accepted the challenge on Reed’s facebook and Hilary and SJ are good sports, so look forward to more videos.

MysteryPeople Q&A With Ed Kurtz


Ed Kurtz joins us this Friday, August 22nd, at 7 pm, to speak about and sign his new book, The Forty-Two, set in the Times Square of the early Eighties with the feel of the grindhouse movies that played there. Kurtz started out writing horror but has since expanded into noir, and we hope he keeps writing in the mystery section for quite some time. After the event, we will screen Vigilante, a classic of the genre. Ed was kind enough to take some questions from us about the book and the films that inspired it.


MysteryPeople: Which came first, the story or wanting to set one in Times Square?

Ed Kurtz: I’d been wanting to write about the 42nd Street scene the way it was for some time, and between reading Bill Landis’s Sleazoid Express and Jimmy McDonough’s terrific biography of Andy Milligan (upon whom Andy Donovan is based), I decided it was time. The set-up seemed a natural fit to me—a grindhouse fanatic getting involved in a murder right in one of the Forty-Two’s most infamous theaters.

MP: Times Square exists in the story as another character and a complex one at that. How did you go about writing about a place in a previous era?

EK: Quite a lot of research—and quite a lot of maps and photos. As I state (apologize about?) in the acknowledgments, I was born in the wrong time and place to have experienced the Deuce firsthand, but as a lifelong exploitation addict it’s in my blood. That said, I needed to know late 1970s/early 1980s New York well, so I read voluminously, studied all those maps and photographs, and kept my writing space strewn with all of that stuff to completely immerse myself in the milieu. I even got my hands on old copies of the Village Voice so that the films playing in the book are accurate. My biggest fear was messing it all up, of course, so I sent it to a friend and colleague, a dyed-in-the-wool New Yorker, to give it a brutal analysis once it was done. To my delight he told me I’d only flubbed one minor detail. I’m not saying which.

MP:  At times the book has the feel of a grindhouse film to it. What did you want to take from those movies to apply to your own work?

EK: The down-and-dirty electric energy of the best—or at least most entertaining—of the exploitation pictures from that period is what I wanted to emulate in The Forty-Two. I hope when people read the book they can see the grain and spots and cigarette burns on the celluloid, hear the crackle of the overused film print. I love this stuff every bit as much as Charley does in the novel, and I wanted that little obsession of ours, mine and my character’s, to bleed through the narrative. You have to wallow a little bit to really get what makes the sleazehound tick, I think, and the novel allows the reader to slum with Charley without all the danger he faces!

MP: You’ve been writing a lot of crime fiction lately. What attracted you to it?

EK: I have always loved crime fiction, particularly with a noir bent, for its attention to darker impulses among human beings that tend to be more subtle than that found in a lot of horror. Themes like obsessive love and revenge, for example, strike such deeper chords than buckets of blood—though I’m certainly attracted to that, too! I started out in horror, and I think that much is evident in a lot of my crime output like The Forty-Two, but I also don’t think the two are all that different. I’m interested in the choices people make, good and bad, and how it can change them and affect their circumstances. How choices can bring out the best or worst in a character, which seems to me a crucial part of crime fiction storytelling.

MP: As someone who has written in several genres, do you see the point in those divisions or is a story a story to you?

EK: For the most part, the latter. When I wrote A Wind of Knives, I set out to create a story about love and revenge, and found myself puzzled that to most commentators it was a “gay Western.” I can’t see the need in ghettoizing literature to that extent, apart from pointing out those aspects that might be most interesting to particular readers, I suppose. My love for grindhouse and the Times Square scene comes directly from my love of horror, so the two are inseparable in my head—so although The Forty-Two is a crime novel, the horror aspects are there, too. Sometimes I like to say I write about people doing bad things to each other, if I’m forced to categorize. But even that is probably oversimplifying. It reminds me of how aggravated I get when I hear someone refer to a novel as “literary,” when a novel is by definition literary, whether it’s William Faulkner or Edgar Rice Burroughs.

MP: If someone was wanting to understand grindhouse cinema what three films would you have them start with?

EK: Just three? I could give you three hundred, and I’d be happy to do it, but I’ll play nice. Just to spread things around a bit, I’ll touch on some different genres that were common to the place and time Charley McCormick is haunting the Forty-Two.

Five Fingers of Death, aka King BoxerCheng Chang Ho’s 1973 kung fu classic got a bit lost in the shuffle when Enter the Dragon was released the same year, but it was a mainstay on 42nd Street and one of the very best examples of the sort of violent martial arts extravaganzas that opened the door to the kung fu craze…and was a perfect fit for the grindhouse scene and tastes. Highly recommended.

Ilsa, She-Wolf of the SSDon Edmond’s infamous 1974 smorgasbord of sleaze and poor taste introduced Dyane Thorne in her first turn as the sadistic Ilsa, classlessly using the Nazi era as the backdrop for as much nudity, violence, and kinky sex as he could get away with. By no means suitable for everyone, the film nonetheless was a major presence on the Deuce and paved the way for countless mimics. Predecessors from Italy like Pasolini’s Salo and Cavani’s The Night Porter may have set the stage for this sort of WWII-era degeneracy, but no one did it more outrageously than Ilsa. (Fun fact: it was shot on leftover Hogan’s Heroes sets! Bob Crane probably loved it.)

Zombie, aka Zombie 2 — Intended as a cheap, unofficial sequel to George Romero’s Dawn of the Dead (which was released in Italy as Zombi), Lucio Fulci’s made this gut-munching gore masterpiece a classic all its own and filled it with so many wild set pieces—from the underwater zombie/shark fight to one of the most stomach-churning bits of eyeball violence you’ll ever endure—that the picture is every bit as unforgettable as the American counterpart it was meant to capitalize upon. Bleak, unrelenting, and gritty as hell, it may not be Fulci’s best outing (which is probably The Beyond), but an unbelievably entertaining piece of trashy 70s Eurohorror and another pillar of the Forty-Two.


MysteryPeople welcomes Ed Kurtz to BookPeople Friday, August 22, at 7 pm on our third floor. He will be speaking and signing his new book The Forty Two. The signing will be followed by a screening of Vigilante, a grindhouse classic. Copies of The Forty Two are available on our shelves and via bookpeople.com. All BookPeople events are free and open to the public.

Double Feature: WINTER’S BONE

This Wednesday, August 20, MysteryPeople is proud to present the latest and last installment of our summer Noir Double Feature series. For those of you new to the series, each event is a two-parter: we screen a film based on a book available on our shelves and then discuss the book and movie together. For our last screening, we present to you Winter’s Bone, director Debra Granik‘s 2010 adaption of Daniel Woodrell’s book of the same name.

Winter’s Bone, both as a film and as a novel, presents an icy, poetic portrait of Ozark strength and suffering. The film and novel have much the same plot.  The story begins as Ree Dolly, teenage caretaker for her younger brothers and mentally ill mother, finds out that her meth cooker father has put their house up as collateral to make bail. When he fails to appear for a court date, Ree must go on a quest to find him – a quest that proves more dangerous than she could have imagined, as she works her way through relatives and members of the community in an increasingly desperate quest.

Daniel Woodrell lived the world he portrayed, and he understands that teens like Ree Dolly have few options. Ree plans to join the military, something Daniel Woodrell himself did at the age of 17. If she loses her property, she can foist her younger brothers and her mentally ill mother off on relatives. However, she knows that by doing so, she will condemn her brothers to a life of criminality and most likely prison, and she doesn’t trust others to take in her mother long-term. Knowing that she must ensure her family’s safety before she herself can leave means that she will risk any danger to ensure their future well being, and her future escape.

Winter’s Bone portrays a world where men are either obstacles or absent, and women are the forces that preserve their near-destroyed community. As Ree goes from relative to relative looking for her father, she must approach any man through their woman, and it is the women of the community that decide what information to pass on and what to hold back.

Winter’s Bone contains a beautiful reversal of noir tropes – instead of an irresponsible, violent man who has created many of his own difficulties, Woodrell has written a strong young woman who tackles challenges head-on, no matter how insurmountable her difficulties may seem. Winter’s Bone passes the Bechdel test in spades. Ree exist within a fully realized female world where topics of conversation run the gamut. She also has strong bonds of friendship that give her the courage to continue dealing with her extraordinarily difficult life.

Winter’s Bone takes place in a community where predefined roles govern each life from cradle to grave. There are no options other than to mimic the lives of those who have come before, and standing in the community is determined solely by how well you fulfill those roles. Happiness, therefore, can come only through succeeding in your role or in leaving the community entirely.

Winter’s Bone has found universal acclaim both as a novel and a film, and although the film is mostly faithful to the novel, the two compliment each other rather than acting as redundant. Winter’s Bone as a book comes in a long line of critically lauded works by Woodrell. The film catapulted Jennifer Lawrence to fame with her powerful performance, as well as bringing director Debra Granik to prominence. The film does not use sets, but uses actual Ozark houses, and this is just one part of the authenticity of Woodrell’s story and Granik’s production.

Come to BookPeople’s third floor, Wednesday, August 20, for a near-perfect movie and a perfect novel. Our screening starts at 6, and discussion of the book and film will follow the screening. As always, our events are free and open to the public. Copies of Winter’s Bone can be found on our shelves and via bookpeople.com.


 

Double Feature Stats

Adherence to book:

4.5 [out of 1-5]

Recommended films:

Ride with the Devil, In Country, Cold Mountain, Harlan County, USA

Recommended books:

Anything by Daniel Woodrell, A Good Man is Hard to Find, by Flannery O’Connor, Crimes in Southern Indiana, by Frank BillPike by Benjamin Whitmer

International Crime Fiction: LAIDLAW, by William McIlvanney

Post by Molly
This month in international crime fiction, we travel to the rain-soaked streets of Edinburgh in the 1970s. Europa Editions, through their World Noir imprint, has brought Laidlaw, the first of William McIlvanney’s Laidlaw Investigations across the water for their debut on American soil. McIlvanney is considered the father of “Tartan Noir,” which, admittedly, describes a wide variety of Scottish detective novelists whose main commonality seems to be their country of origin rather than any unified style. Still, before McIlvanney began writing his trilogy of novels starring DI Laidlaw and DC Harkness in the mid-1970s, crime fiction was virtually nonexistent in the highlands or the lowlands, and most detective novelists in Scotland today, including Ian Rankin, Val McDermid, and Denise Mina, have been strongly influenced by these early works.

In McIlvanney’s first novel, simply titled Laidlaw, a young woman has been brutally murdered. DI Laidlaw, a detective of unusual methods and dour visage, must go in search of a killer. To complicate matters, the girl’s father is also searching for his daughter’s murderer. If Detective Laidlaw finds him first, he has the hope of a fair trial and a life in prison. If the girl’s father finds him first, his brief and tortured existence will come to a sudden end.  To complicate the matter, the father has strong connections to the local mafia, some of whom take a moral stand against sex crimes despite numerous other criminal activities and are willing to give as much aid as necessary to make the father’s revenge complete.

McIlvanney has written in many genres and mediums during his lifetime, including poetry and screenwriting. He has an innate understanding of how to use the framework of a murder to draw attention to wider divisions and dysfunctions in society. Laidlaw uses each point in the narrative as a chance to reflect on the wider implications, and McIlvanney deliberately structures his narrative to allow for these moments of reflection. Laidlaw, despite a length of around 250 pages, manages to delve into homophobia, class conflict, drug addiction, religious divisions, and terrible weather, and each pause for thought is more beautifully written than the last. In particular, McIlvanney creates DI Laidlaw – intuitive, working class, and voice of humanistic tolerance – and then writes DC Harkness – college educated, young and handsome, bigoted and superior – as the perfect foil. Their debates contain many of the divisions of Scottish society that still exist today.

Much of what comes to mind when we think about Scotland – rain, lack of humor, depressed introspection – lend themselves particularly well to the noir genre. While reading Laidlaw, I got the sense that noir coming to Scotland was noir coming home. Europa Editions, as they continue to release McIlvanney’s novels, do a great service to the American reading public, and I, personally, cannot wait to read the next one.

If you liked this, check out:

anything by Ian Rankin, Denise Mina, Val McDermid, or Christopher Brookmyre


Laidlaw, by William McIlvanney, is available on our shelves and via bookpeople.com. Molly blogs on international crime fiction every third Thursday of the month. Her last post took a look at Adrian McKinty’s Troubles Trilogy. Look for her next post on September 19.

Crime Fiction Friday: ROADBEDS by Ed Kurtz

crime scene
Roadbeds by Ed Kurtz

We can’t wait for next week, Friday 22nd at 7PM to host Ed Kurtz to discuss his first crime novel The Forty-Two (along with a screening of one of his favorite grind house movies, Vigilante). Starting out as a horror writer, Ed has been earning respect for those in crime fiction with his short work, like this story from Shotgun Honey.

“Roadbeds” by Ed Kurtz

 

“Maury was taking a smoke break when the two thugs showed up. They arrived in a black Lincoln and summoned the crew boss from the dusty light of the car’s headlamps. Lucky was bawling out a digger at the time, a Puerto Rican backhoe operator, and Lucky didn’t quit bawling a guy out for anything. But he quit it for them.

The P.R. stared and Maury figured he was probably the only guy on site who didn’t grasp the situation. He’d never seen Cuco Minchillo’s guys come around a worksite in the dead of night, didn’t even know they worked for the guy whose name was on all the equipment. Minchillo & Sons. Both his sons were dead…”

Click here to read the full story.


Ed Kurtz will read from & sign his new novel here at BookPeople on Friday, August 22nd at 7PM! You can pre-order signed copies of The Forty-Two now via bookpeople.com, or find a copy on our shelves in-store.

MysteryPeople Q&A with Glenn Gray

GlennGray_TheLittleBoyInside

Glenn Gray’s The Little Boy Inside & Other Stories has won us over, but the collection has earned fans beyond MysteryPeople. Both Joe Lansdale and Scott Phillips are fans of his work. A practicing radiologist, he often uses medical anomalies to launch into his genre-bending tales. We put a few questions to Glenn and here’s what he said.


MysteryPeople: In simple genre terms, you’re all over the place. How would you describe your work?

Glenn Gray: Some kind of twisted medical type stuff maybe? Not really sure. I’ve heard it referred to as body horror, weird fiction and medical noir. I never really thought much about genre, I just write and see what happens. The medical stuff seems horrific to some readers, but to me, it’s often funny. I write the kind of stories I’d want to read, and I found over time I got a kick out of writing certain types of stories. Certain genres overlap in my mind anyway, like noir, horror and crime. To me, it’s all just dark. If I had to pick one description of my work, friend and writer buddy David James Keaton early on dubbed my
stuff as Cronenboiled or Cronenbergian noir, which I really dug. I owe DJK for that one.

MP: Much of your work comes from your experience in the medical profession.  What do other writers who are non-practicioners get wrong about the field?

GG: I’m an anatomy nut, so any description of anatomy has to be correct. And things have to make sense from an anatomic or physiologic standpoint. For example, if there’s a knife or gun wound to the neck, and the jugular was sliced, it wouldn’t be pumping fountain-like arcs of blood. The jugular is a vein, it doesn’t pump. It’s a minor point because it’s next to the carotid artery, which will pump, so if one is cut it’s likely the other will be too. Those are the kind of details that stand out to me. Fun part is, I’ve had writer friends message me and ask all sorts of wild questions, like the proper way to rip someone’s head off with bare hands, or if something with a medical element sounds plausible. It’s great fun being able to help out that way.

MP: Who are your influences?

GG: Roald Dahl, Stephen King, Richard Matheson, Chuck Palahniuk and Joe R. Lansdale, to name a few. Mostly because they write what I like to read and write, dark and often with a humorous component. And usually a little twisted or with a fantastical element. I like stuff that goes off the rails but has some basis in reality, however minor. So the reader thinks, this is a little crazy, but I wonder if it could really happen? They all write a lot of short fiction too, which is cool because I love reading the short stuff.  And they’re hard to pinpoint on genre, which helps enforce the notion that it just doesn’t matter. Write whatever the heck you want, what makes you happy first, then worry about it later. That’s the way I see it anyway.

MP: Do you have any interest in doing a novel?

GG: Working on it. I just finished a sci-fi novella and I’m working on a second collection of short fiction as well. The novel is turning out to be a mix of genres like the short stuff.  Some medicine, some crime and some weirdness.

MP: What is your main aim for the reader when you write?

GG: First and foremost is to entertain. I want the reader to have fun. The bonus is if they feel something. Something visceral. Queasy maybe? And think about their body in a way they haven’t before. About how complex the body is, how we’re all just one mishap away from disaster. How so many organ systems keep functioning in concert day after day. It’s amazing to me that more doesn’t go wrong more often.

MP: Is there anything too gross to write about?

GG: Nah. Don’t think so. And I’ve learned that everyone’s definition of gross is very different. I think any topic can be written about, it’s just how you do it. It’s all about the angle.


Copies of The Little Boy Inside & Other Stories are only available on our shelves at BookPeople. Stop by or give us a call at (512) 472-5050 to pick up your copy today!

Murder In The Afternoon with Craig Johnson and the Cold Dish

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We’re kicking off our Murder In The Afternoon book club with a store favorite. Craig Johnson’s The Cold Dish is edging up on its tenth anniversary. It is the first of the Walt Longmire series that inspired the A&E television show Longmire, and will be the first of our book club.

In The Cold Dish, we’re introduced to the Wyoming sheriff Walt Longmire and his colorful deputies when a murder case divides his Absaroka County. A couple years back a group of boys raped a girl from the nearby Cheyenne reservation and only received a slap on the wrist for their horrendous crime. Now, someone is picking them off one by one, leaving an Indian feather on each body. Even though the subject matter is serious, Johnson’s characters are often hilarious, giving comic relief and human warmth. The book served as a template for an episode of Longmire, but with a much different ending.

We’re happy to announced Craig Johnson will be joining us via conference call. We will be meeting on BookPeople’s third floor at 2PM, on Tuesday, the 19th. Copies of The Cold Dish are 10% off for those attending.


Sometimes you can’t wait until the evening to talk about murder. With that in mind, we invite you to join us for Murder In The Afternoon book club, meeting on third Tuesday each month at 2PM on BookPeople’s third floor. Join us for coffee, tea, and discussions of some of some of our favorite books in the mystery genre. All meetings are free and open to the public!

MysteryPeople Review: THE FORTY-TWO by Ed Kurtz

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The Forty-Two by Ed Kurtz

Setting has always been an important element in crime fiction. Whether Hammett’s San Francisco, Chandler’s LA, Hillerman’s Four Corners, or Pelecanos’ DC, the protagonist has an intense relationship with their hometown. Ed Kurtz shows his understanding of this in his novel, The Forty-Two.

The title refers to New York’s Times Square of the early Eighties. Kurtz brings it to life in all of its sleazy glory with the hookers, junkies, peep shows, and questionable dining establishments. Most important to our hero, Charley McCormick, is The Forty-Two‘s
grindhouse theaters that crank out exploitation films from their projectors. The first chapter is a beautiful introdution to Charley and the Square on a Friday night as he looks for his film fix, the bloodier the better.

Charley gets more blood than he bargained for. A young woman sits next to him during a slasher double bill, even though the theater is half empty. When the first feature is over, Charley discovers she’s been murdered. He’s plunged into a nightmare involving mobsters, arson, an archaic form of porn, and the future of his beloved Forty-Two. Kurtz uses his tools as a horror writer, ratcheting the dread and tension like a dark craftsman and delivers the emotion and Charley’s observations with the skill of a veteran hard boiled poet.

It is in the depiction of Times Square where the book really shines. Kurtz transports you back to a time and place with details that pop, but never overwhelm. We get the sights, sounds, and (be forewarned) smells of the place which express Charley’s love for it.

The Forty-Two terrorizes, entertains, and transports us. Ed Kurtz hits all the genre tropes with a fresh, lurid spin. He gives us an involving read that serves as a look, both subtle and deep, at the places we attach ourselves to.


Ed Kurtz will read from & sign his new novel here at BookPeople on Friday, August 22nd at 7PM! You can pre-order signed copies of The Forty-Two now via bookpeople.com, or find a copy on our shelves in-store.

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