Janice Hamrick’s series featuring Jocelyn Shore (or her “Death” series, as you might call it), is a breath of fresh air. It borrows elements from several subgenres and plants them in the traditional mystery form. In her latest, Death Rides Again, the Austin high school teacher is back in her small Texas hometown, dealing with her family and their relationships as much as she does with murder. If that sounds too “cozy” or soft, there’s gun play, drug cartels, and a great action climax with a lion (trust me, it works). Janice was kind enough to answer a few questions about the book, Texas, and family. For the record, she is the only only author I know who redacts her own swear words.
MYSTERYPEOPLE: Death Rides Again is your most Texas book. As a transplant, what makes living in the Lone Star state a unique experience?
JANICE HAMRICK: I LOVE Texas. Living here is a constant reminder of the American experience and the character and strength of the people that settled the West. I can’t drive five minutes outside the city without wondering how the heck people traveled even half an hour through such harsh country, let alone for weeks on end. The land itself is completely unforgiving. The creeks are dry ninety-five percent of the time; the other five percent they’re flash flooding. The plants are designed to kill you – if they aren’t poisonous, they’re covered in thorns. The animals are worse. Fire ants, snakes, coyotes, hawks – we’ve got ‘em all. We’re actually warned not to leave small dogs outside because they can be scooped up by birds of prey. (I have a little dog, but she’s chunky enough that it would take a pterodactyl to lift her, and the last time I checked even Texas doesn’t have those.) The best thing is that Texans seem to take it all in stride.
MP: What makes it a great state to write about?
JH: Everything’s bigger (and better) in Texas! For one thing, Texans have a real sense of state pride and identity. I travel a great deal, and no matter where I go, everyone “knows” Texas. I think a lot of Europeans secretly believe that we still ride horses and carry guns – an impression I would never try to correct, because on a certain level it just seems right. For writers, Texas is less a setting and more of a character in its own right. Who wouldn’t love writing about it?
MP: One thing I loved about the book is while Jocelyn’s love for her family is evident, she can believe many of them are capable of blackmail and murder. What did you want to explore with family dynamics in this book?
JH: Family dynamics are always rich fodder for a writer. I think most of us deeply believe that we ourselves are completely normal, while other people (especially family members) are bat-sh** crazy. Family members are simply the crazies we can’t avoid, especially around the holidays. Jocelyn is a lot of fun because she has a pretty realistic opinion of people in general and of her relatives in particular. The fact that she believes some family members are capable of blackmail and murder doesn’t in any way lessen her love and probably actually increases her respect for them.
MP: Every time I start to give Jocelyn’s cousin, Kyla, the benefit of the doubt, she does something extremely self centered or puts Jocelyn in an uncomfortable situation. What does the relationship between the two of them provide for you?
JH: Although they’re cousins, Kyla and Jocelyn are closer than most sisters, and they have a certain amount of sibling rivalry going on most of the time. You’ve heard the old joke about an older brother protecting the younger one from a bully and saying “No one beats up my brother…except me.” Kyla is a lot like that. She loves Jocelyn, but she’s not above poking the bear, whether for her own amusement or because she thinks Jocelyn needs a sharp nudge. For Jocelyn, Kyla is the fun, adventurous, flamboyant soul that she’d like to be, if she had the nerve and the complete lack of social filters. For a writer, that kind of complex relationship provides infinite possibilities.
MP: While you get categorized as a “cozy” or “light” mystery author, your books have enough gunfire, beatings, corruption, and drug cartels to keep a hard boiled fan like myself engaged. How would you describe the series?
JH: I think of the books as traditional mysteries with a dash of humor and romance, and I think they are a little edgier than the typical “cozy” mystery. I’m actually happy they don’t easily fit into a category, because I’d like readers to consider the stories and characters individually and not start with a lot of preconceived ideas. Of course, it bites me in the…well, you know what…when a reader gets upset by something they weren’t expecting.
MP: What makeS Jocelyn a character worth returning to for you?
JH: I love Jocelyn’s blend of optimism and realism. She has a lot of insight into the people around her, and she is perfectly able to see the darker side of their characters and motivations, but at the same time she honestly likes most of them. Even for people she actually does distrust or dislike, she is still able to feel some empathy or understanding. Her ability to take the good with the bad is the key to all her relationships as well as to much of the humor in the book. I also really like the way in which she was feeling pretty fragile and damaged after her divorce (in Death on Tour), but has slowly started regaining her sense of confidence and strength without ever turning bitter.
If you have your own questions for Janice, she’ll be here at BookPeople, this Wednesday, June 19th at 7pm signing and discussing Death Rides Again. Join us!
Chris M. grabbed a few shots from last night’s Noir at the Bar: Father’s Day edition. Thanks again to Scott Phillips, Jed Ayres and Jesse Sublett for the awesome readings.
Jed Ayres blowing minds with the hilarious crime fiction in his collection, F*ckload of Shorts.
THE Scott Phillips reading from his new novel, Rake.
Jesse Sublett singin’ them sad, sad murder ballads. He also read from his latest, Grave Digger Blues.
Scott M. got in on the action, too.
The next Noir at the Bar is on the books for Saturday, July 20 and will feature Marcia Clark, Josh Stallings and Tim Hallinan. Stay tuned for details.
Alex Grecian’s debut novel The Yard was a big hit with us. As Tommy said in his review, “He makes us feel as if we are walking the gas lit, refuse choked streets of Whitechapel, shoulder to shoulder with London’s finest. The Yard is one of my favorite mysteries of the last few years. Alex Grecian takes us on a dark journey that includes grisly murder, a visit to a 19th century sanitarium, and enough bone chilling tension to fill three books.”
The good news is that Grecian in fact has filled a second book with a new story of Scotland Yard’s Murder Squad, The Black Country, and it’s on shelves today! Alex answered a few questions for his publisher, which they were kind enough to send along. They were also kind enough to agree to send Alex here to BookPeople – you can catch him speaking about and signing The Black Country here this Friday, May 24 at 7PM.
Q: THE BLACK COUNTRY is the second book in your series about Scotland Yard’s first Murder Squad in Victorian England. This time you’ve left London for the Midlands…what’s THE BLACK COUNTRY about?
A: In the Midlands village of Blackhampton, a couple and their toddler go missing. Then a little girl finds an eyeball in a bird’s nest and the local constable sends for help from Scotland Yard. When the detectives get there, they discover that the village itself is sinking into the mines beneath it and half the population has been stricken with a plague. To top it off, there’s a mysterious figure lurking in the woods and the villagers are convinced it’s a monster from a local children’s rhyme: Rawhead and Bloody Bones.
Q: Which characters from The Yard return in this novel?
A: All three of the main characters from The Yard return for this second outing. Inspector Walter Day is back, along with Sergeant Nevil Hammersmith. And they call in Dr Kingsley and his assistant Henry for some help with forensics. A handful of the supporting characters from the first book make appearances here, too, but they’re only seen briefly.
Q: You have said that you were somewhat inspired by the old British horror films put out from the Hammer Studios in the 1960s and 70s. How so? Did elements of those films make their way into THE BLACK COUNTRY?
A: The Hammer horror films I remember seeing as a child were more like creepy adventure stories. At least, that’s how they’ve survived in the back of my head somewhere. I’m sure they were influential on me because I tend to write creepy adventure stories now. That said, if there’s a film that influenced THE BLACK COUNTRY, it would have to be The Wicker Man, which used some of the same stock actors as the Hammer movies, but was a little more sophisticated and disturbing than most of the Hammer Studio’s films were. In The Wicker Man, a policeman goes to a Scottish island that’s cut off from the mainland. A girl’s gone missing and he’s got to find her, but runs afoul of the villagers’ superstitions. It’s incredibly atmospheric and among my favorite films of that period. Aside from the obvious surface similarities, though, THE BLACK COUNTRY is a very different sort of story.
Check it out, Scott M. has a piece up over on the Mulholland blog where he answers the questions, “What is noir?”
“The beauty of noir, though, is that there is no hard, fast definition. Its originators didn’t even know they were crating a genre. There are no set rules. It is as elusive as the shadows it’s identified with. It has the ability to be malleable, able to fit different times and perceptions. Noir plays by few rules.”
~Post by Chris M.
Let’s face it; Scandinavian crime fiction is becoming a densely populated scene due to the recent success of Steig Larsson and his The Girl with The Dragon Tattoo (aka The Millennium Trilogy) books. Because of this American readers are seeing more and more books plastered with the phrase “For Fans of Steig Larsson” and “If you liked The Girl with the Dragon Tattoo…” but it’s all just a marketing ploy designed to cash-in on the success of one man’s work, and it doesn’t do Scandinavian writers any favors. Contrary to what American publishers would have you believe all Scandinavian crime fiction is not the same. As an avid reader of Nordic crime novels it’s a little disheartening to see this unique brand of fiction glossed over and compared to its most successful export. So where does this leave readers who are interested in Scandinavian crime fiction? Sadly, it leaves them mostly in the dark. But never fear, dear readers, for I have come to shed some much needed light on this diverse and varied genre!
Even as I write this I’m thinking of dozens of great Nordic crime writers who have little in common with Mr. Larsson yet somehow get lumped in the same pile. As much as I’d like to rattle off a list of my favorite working Nords, I will restrain myself. What I am going to do is give you an introduction to a promising new writer who I believe will satisfy your need for icy crimes and desolate landscapes. That writer is James Thompson, an American (gasp!) who’s been living in Finland for over a decade and who’s Inspector Kari Vaara novels rival some of the best crime writing from native Scandinavians and Americans alike.
I was first introduced to James Thompson when Book People’s crime connoisseur Scott Montgomery handed me a copy of Thompson’s first novel, Snow Angels. Scott knows I’m a sucker for snow-covered carnage, but I don’t think he had any idea of just how much I’d love James Thompson’s work. In Snow Angels we are introduced to Inspector Kari Vaara, the chief of police in a small Finnish village (his home town). Vaara is the quiet brooding type. He hides his emotions and is loyal to the ideal of justice, which is essentially what drives him. At first I didn’t know what to think of Vaara. He’s a tough guy with a heart of gold, but so are tons of other characters in this genre, so why should I care about him?
The thing that makes Vaara unique from other characters is the way he justifies his actions and the lengths he will go to protect his loved ones. He’s not a crooked cop, but he will be if it means doing what’s best for his family. This creates an interesting tension within Thompson’s novels. In Snow Angels we watch Vaara investigate the brutal murder of an African Finnish movie star, and over the course of the investigation Vaara is confronted by characters from his past; including his ex-wife, his abusive father, and the memory of his dead sister. When I think of Thompson’s novels together I better understand the progression of Kari Vaara. Snow Angels is his origin story. It is where we learn his flaws, strengths, and motivations, and it’s also a way to contextualize him. This is the man as he exists now: having already gone through trauma both physical (a bum knee) and psychological. Thompson presents us with a character with a rich history, which is a smart move because it gives him plenty of content and characters to play with, and in every one of his novels he sends Vaara reeling into his own sordid past.
Vaara is not alone is his quest for justice. His wife Kate, an American, plays a vital role in both his personal and professional lives. Kari is a protector, it’s his nature, and one of the most interesting things about him is the ways in which he attempts to protect his family, sometimes with physical violence, but more often with his words. He struggles between telling Kate too much and not enough, and he constantly worries that he’s said the wrong thing when, in reality, he hasn’t. It’s a depth of character that we crime fans don’t often see, and it makes Kari Vaara that much more believable and endearing. We want the best for him, and he wants the best for his family. In Snow Angels Vaara deals with death and destruction on a massively personal level, and by the end it’s a wonder that he’s still standing on his own two feet.
After the events of Snow Angels Kari and Kate move from their desolate village to the bustling metropolis of Helsinki. In Thompson’s second novel, Lucifer’s Tears, Vaara takes a job as a homicide detective for the Helsinki Police and life finally seems to be getting back to normal, except for the excruciating headaches and insomnia he now suffers. Lucifer’s Tears is very different from Snow Angels. Sure, the protagonist is the same, but by changing the setting from quiet village to major city Thompson opens up the scope of his imagination and really excels. Don’t get me wrong, Snow Angels is absolutely wonderful and necessary in the series, but Thompson seems to hit his stride as an author in Lucifer’s Tears. The characters he introduces are more complex, the crimes are more inventive, and the added historical information adds so much depth to the novel it’s hard to imagine he was content writing about a tiny little Finnish village.
I think of Lucifer’s Tears as the start of Kari Vaara series, while Snow Angels is more like a prequel. The events of Lucifer’s Tears introduce us to a lot of characters who will play vital roles in Thompson’s third novel, Helsinki White, thus further giving it that feeling of true beginning. Snow Angels is about Vaara and Lucifer’s Tears and Helsinki White are about Vaara and his friends and family in Helsinki. They are worlds away from each other in both tone and scope and, in my opinion, are better written. Just as Lucifer’s Tears outshined Snow Angels, so too does Helsinki White outshine its predecessor.
Helsinki White is by far my favorite of Thompson’s novels, but if you think you can just skip the first two and go straight for number three you are sorely mistaken. I love Helsinki White because it continues to pull at the threads from the other novels. Vaara is still haunted and there is no easy fix for what troubles him. The tension is still there, but it has been affected by the events he’s witnessed. Helsinki White is also the most socially reflective of Thompson’s novels; it deals with the growing racial tensions in modern day Finland and the attitudes toward ethnic minorities throughout Europe. The focus of Helsinki White gives it a little more punch than previous novels. It’s a subject that is close to home for American and European audiences, and it can be hard to read at times because it feels so real. It combines the classic police procedural with elements of espionage and covert tactical warfare to create something totally unique. It’s an immensely satisfying novel that I could not put down.
What I’ve enjoyed the most about the Kari Vaara novels is that each one is better than the last. Thompson is getting better with each installment. He understands his characters and knows how to write them. There is more consistency, scope, imagination, twists, and good old-fashioned carnage in every new novel, and that’s what keeps me coming back for more. I can tell that Thompson is having fun, and that makes it all the more enjoyable for me. My hope is that James Thompson will continue to grow as an author so that we readers can reap the benefit of his wonderful imagination. He may be an American, but damn if he doesn’t write Scandinavian crime better than most Scandinavians. He has an intimate knowledge and respect for the country he writes about, and it shows. Crime writers should take a cue from James Thompson and inject that same passion and love into their work, because it really does pay off in the end.
Book: The Twenty Year Death by Ariel S. Winter
Reviewed by: Chris Mattix
Most writers have enough trouble coming up with a solid idea for a first novel that they tend to keep things simple. Most writers are not Ariel S. Winter. A newcomer to the world of crime fiction, Winter has managed to deliver a debut novel that is both broad in scope and painfully simple in message.
As an avid reader of modern and vintage crime fiction I will admit to being a bit skeptical when I read the press release for The Twenty-Year Death, Winter’s first novel for powerhouse publisher Hard Case Crime. The initial press for The Twenty-Year Death heralds it as a masterwork of storytelling that rivals the best crime writing of this or any age, but press releases are designed to do one thing and one thing only, sell books; and all the glowing reviews in the world couldn’t scare away my hesitation.
In The Twenty-Year Death Winter breaks his tale into three separate novels, each taking on the voice of a different master of the genre. The first novel, Malniveau Prison, is done in the style of ’20s writer Georges Simenon, the second, The Falling Star, in the voice on Raymond Chandler, and the third, Police at the Funeral, in the style of Jim Thompson. Winter’s writing is something of a marvel as he is able to capture the essence of the masters he emulates, while also offering a refreshing spin on their styles. If you’ve read anything by any one of those writers you will get a little more out of The Twenty-Year Death, but there really aren’t any prerequisites for cracking into this gem.
Each novel is both uniquely different from and crucial to the overarching plot of the book as a whole. In each novel we are introduced to new protagonists who narrate the story from their own perspective, and each novel satisfies the universal craving for murder and villainy found in fans of the genre. Mainiveau Prison begins with the discovery of a local baker found dead in the streets of a quiet French village, The Falling Star focuses on the brutal murder of a Hollywood starlet, and Police at the Funeral, in true Jim Thompson fashion, deals with the inner dialogue of the man who committed the murder.
While each novel is successful as a standalone story, the really amazing thing about The Twenty-Year Death is how Winter is able to weave them together to tell a single story about the deterioration of man. I’m trying my best not to give anything away, but let’s just say that there are a couple of characters who become more and more prevalent as The Twenty Year Death progresses. In the end this is a cautionary tale about the consequences of our actions, words, emotions, wants, and fears. It’s about the ease of making mistakes, and what those mistakes can drive us to do. I had an idea of the overall theme of The Twenty-Year Death when I began, but it wasn’t until I turned the final page that I truly understood what the title means.
I can’t begin to tell you have much fun I had reading The Twenty Year Death. It’s unlike any book I’ve read before and I am shocked at the skill Winter puts on display, especially considering this is his debut novel. I read a lot of crime fiction this year, but The Twenty Year Death is my hands-down favorite. It’s destined to become a classic, and you have absolutely no excuse for ignoring it. Yes it’s that good: believe the hype.
Copies of The Twenty Year Death are available on the shelves at BookPeople and on our website.
The guys over at NoirCon, the big conference that celebrates all things noir, sent this over to us. They’ve teamed up with Out of the Gutter Online for a new writing contest. Between July 1 and October 15, one story between 5,000 and 8,000 words will be selected each month for Atomic Noir: Four Dark Original Stories Inspired by Post-World War II Crime Fiction, which will be handed out at this year’s NoirCon in Philadelphia, PA. In addition to being included, winners get fifty clams and a free copy of the book. The second round of submissions just opened. Check out all the details about how to submit here. Good luck, dark scribblers!
On August 5th, Scott Montgomery and David Hansard restart their free History Of Mystery Class. The two look at authors and books that have made a huge impact on crime fiction. There’s no charge, no reservation required, and it’s a heck of a lot more fun than anything you sat through in high school. Few books have changed the crime fiction game as much as The Friends Of Eddie Coyle, which is what they’ll be discussing this month.
Written by Boston attorney George V. Higgins, this book captures the authenticity of the streets and politics of the justice system like no other. Under one hundred and eighty tight pages, the voices of his small time gangsters and cops ring true. It’s gutter-level view and dialogue influenced the likes of Elmore Leonard and Dennis Lehane.
The discussion is at 6PM on our third floor. Beforehand at 4pm, we’ll be viewing the film version directed by Peter Yates and starring Robert Mitchum. The book is 10% off to those who attend.
The latest book from award-winning Austin mystery author Janice Hamrick is on our shelves today. In Death Makes the Cut, single high school teacher Jocelyn Shore has to deal with the murder of a colleague, filling in as the tennis coach, and a homicide detective who is taken with her. We’re big fans of Janice’s first book, Death on Tour, and are thrilled to celebrate this new book with her on Friday, July 27 at 7p. Come out and discover why we’re so taken with Janice both in print and in person.
Congratulations, Janice!
Think you have a novel in you? Working on some crime fiction of your own and could use some pointers? Then join us this Saturday, June 16 for How to Write a Mystery, a free workshop we’re hosting along with Sisters and Crime. Award winning author Joan Upton Hall will lead three sessions: 9:30-11:30am; 1:00-3:00pm; 4:00-6:00pm. Come for one, come for all, whatever you’d like! There’s no charge, and no registration is required. We’ll meet up on BookPeople’s third floor. All are welcome! Tell your friends!
DiscussingKilling Floor by Lee Child
on Monday, July 1st, 7p.
A Serpent's Tooth
June 2013
George Wier
.
