THREE GREAT COUPLES IN CRIME FICTION AND THRILLERS

In honor of Valentine’s Day, MysteryPeople presents three couples that fall in love until possible violent death do they part. Either schemers, sleuths, or spies, these lovers hold our attention.

Double Indemnity Cover ImageWalter Huff & Phyllis Nerdlinger (James M. Cain’s Double Indemnity) – Maybe not the nicest couple, but along  with Frank and Cora from Cain’s The Postman always Rings Twice, these two set the noir trend of lovers bumping off one’s spouse for the sweet life. The movie version went in a different direction in the last third of the story with Cain’s version giving them a fate both more romantic and darker.

 

 

And Only to Deceive (Lady Emily Mysteries #1) Cover ImageLady Emily & Colin Hargraves (Tasha Alexander’s Lady Emily series) – These two did not meet cute. It was when her fiancé was murdered and he was the best man in And Only To Deceive. Both rebels of their Victorian upper class, these two flirt and bicker while solving crimes and sometimes saving Britain. Picture Jane Austen writing The Thin Man.

 

 

 

Ahriman: The Spirit of Destruction Cover ImagePetra Shirazi & The Ahriman (Puja Guha’s The Ahriman Trilogy) – Petra is a spy, The Ahriman is an Iranian assassin. They find themselves in each other’s sights, but still fall in love as they are manipulated by bad men and their own governments, building up a lot of trust issues. Guha keeps you caring about their relationship as much as their lives as you flip through the pages.

 

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INTERVIEW WITH DAVID SWINSON

The MysteryPeople Pick Of The Month, Trigger, is the final installment of David Swinson’s trilogy featuring Frank Marr, a private detective who is also a drug addict. We find Frank trying to quit when he is given the job to help clear his former D.C.P.D. partner from an alleged bad shooting. Another part of his past comes into play when he has to work with Calvin, a young black man he mistreated when he was a cop. It is a gritty crime novel with few easy answers but a lot of humanity. David was kind enough to take some questions from us.

Trigger (Frank Marr #3) Cover ImageMysteryPeople Scott: Did Frank Marr’s attempt at kicking his habit inform the tone of the book?

David Swinson: Yes, since it’s written in first person, present tense, Frank’s voice had to change. Being high on cocaine all the time hid a lot of the real Frank, and I tried to bring more of his true character out in Trigger.

MPS: In the opening chapter I felt that Frank was putting his life more at risk now that he was off drugs and what he was replacing the rush with, than when he was using. Is that a legitimate feeling?

DS: I think Frank put himself more at risk while using. He wasn’t hundred percent. He thought cocaine made him one-hundred percent, but it put him more at risk, both emotionally and in certain situations like hitting a dealer’s house, all because of the powerful need for the drug. Cocaine always comes first so that makes it more dangerous. He’s more calculated now, even tests himself. That, and alcohol is his new high. Still risky, though.

MPS: The main plot deals with Frank getting information to absolve his former partner from a bad police shooting. As someone who is a former police officer, what did you want to convey about those situations that the media reports and debates, but doesn’t fully examine?

DS: I want to show the audience that things aren’t always clear cut. There is a lot of gray. I wanted to touch on that, and try to show the reality of both sides, in particular, what a good cop goes through. Also, that smartphones have changed everything because a lot of officer-related shootings are now caught on camera for everyone to see. That’s not a bad thing, just like I don’t think body cams are a bad thing. The difference is that smartphones catch shootings that the media wouldn’t otherwise know about, and justified or not they are put out there for everyone to see. Every case is different. Some are obviously criminal, but most of them are not. It’s hard for the public to understand that, though, because any shooting that involves serious bodily harm or death is a terrible thing.

MPS: I picked up more humor in this book. Where do you think that came from?

DS: Much of it came from the awkward relationship between Frank and Calvin. I also think Frank sees things a bit differently being off cocaine.

MPS: You’ve said these books were planned as a trilogy. As a writer what did you enjoy most about Frank Marr?

DS: Being able to write about a character that is outside of myself. Before I sat down to start writing The Second Girl, I  took tons of notes. Frank Marr was already in my head, but during the course of writing The Second Girl he took on a life of his own, changed a lot. I always knew who he’d be, but the trick while writing was to figure out how to make him likeable. That I think was the most fun.

MPS: You’ve had several different and varying occupations. Any idea of what you’d being doing now if you weren’t a writer?

DS: Since my teens, I have not imagined myself being anything other than a writer. I knew I’d have to work a job because I wanted to pay bills, but being a writer was always there. I can’t imagine not writing because it has been with me for so long – the desire. I suppose that if I didn’t have the desire, I’d remain happily retired (hopefully), spending time with my family like I do now, but with more time on my hands.

 

3 Picks for February

The Book Artist: A Hugo Marston Novel Cover ImageThe Book Artist by Mark Pryor

Mark Pryor returns with Hugo Marston, head of security for the U.S. embassy in Paris. Hugo has to clear his girlfriend Claudia for the murder of a sculptress he took to dinner. Also, Cofer, the criminal from Tom Green and his FBI past comes back for revenge. Pryor juggles both of these stories with wit, suspense and a seemingly effortless style. Mark will be at BookPeople February 9th at 6PM  to discuss The Book Artist.

 

Brothers Keepers Cover ImageBrother’s Keeper by Donald Westlake

A monk tries to save his monastery on Park Avenue from being bought out by a greedy land developer, committing several sins in the process. Hard Case Crime brings back this Donald Westlake novel from 1975 that demonstrates his craft for character and humor. A subtle satire of religion, big business, and all our human frailties that the author appears to embrace.

 

Last Night (The Searchers #2) Cover ImageLast Night by Karen Ellis

When a black working class nineteen year old helps a white upper middle class girl find some weed to buy, they take a dark journey through New York. Ellis weaves their story with the the two police detectives each trying to find them after they have been reported missing. Every character you meet is both fully formed and sharply delineated in this story that looks at class, race, and the ways a city divides.

Pick of the Month – TRIGGER By David Swinson

David Swinson’s Frank Marr has become one of my favorite private eyes. A functioning drug addict with a lot of dysfunctional relationships, he is just as likely to go looking for a fix before a suspect. In Trigger, reported to be the end of the Frank Marr trilogy, he takes a case that could lead to redemption or send him spiraling to oblivion.

Marr has quit using, but he doesn’t appear much better. He still raids drug houses, but flushes down the contraband he finds, using the rush as a replacement for the narcotics. The fact that he downs a lot of alcohol throughout the book is also suspect. He walks a razor’s edge asking to get cut.

Leslie Costello, the attorney he works for who is also his ex, gives him a job that hits close. She’s representing his former D.C.P.D. partner Al Luna who is accused of a bad shooting. Al swears he saw a gun, but none can be found at the scene. Frank’s work for the defense has him working with Calvin, a young black man who was at the wrong end of his abuse of authority in his police days. Their search for answers puts them in the middle of a drug war with shifting sides.

Swinson pulls no punches in his depiction of Frank. He follows the hard boiled school of the reader taking the protagonist on his own terms. If you haven’t read the previous books, The Second Girl and Crime Song, you may have difficulty in liking him at first. He is responsible for his own faults and has become a prisoner of them. We root for him to get past his sins and mistakes, allowing the decent man who is in there to fully come to form.

The plot itself also may be challenging to the reader. It almost works inverse to most mysteries, with more understanding, facts, and truth leading to more ambiguity. It reflects the right and wrong of the streets becoming more abstract from what Frank and Calvin learn from one another. It also ties into our concern we have for Frank returning to drugs for the dark confusing world the case leads him through.

If Trigger’s world is dark, it finds light in many of the characters, especially in its lead. His code provides an anchor for his soul on the rough, cold seas. He and others show that an ability to reach out to one another and share perspectives makes the streets easier to navigate. Frank Marr’s life may be harrowing, but there is hope if he can trust others for help.

WRITING AT A DETAILED LEVEL: AN INTERVIEW WITH CAROL POTENZA

Caror Potenza won the 2019 Tony Hillerman award along with a book contract for her novel Hearts Of The Missing. It also made MysteryPeople’s top five reviews of the year. It introduces us to Nicky Matthews, an officer in New Mexico’s Fire-Sky reservation’s tribal police. When she catches a body with a heart missing it leads to a deadly conspiracy on the rez, involving money, class, and tribalism. Carol was kind enough to answer some questions from us.

Hearts of the Missing: A Mystery Cover ImageMysteryPeople Scott: The first time I ever heard of The Fire-Sky tribe was in your book. What makes their tribe unique?

Carol Potenza: After much thought, I decided to create a fictional New Mexico tribe: the Tsiba’ashi D’yini or Fire-Sky. I did this for a couple of reasons: one, I didn’t know any of the individual Native Pueblo cultures well enough to select a specific tribe; and, two, I have sources on a couple of pueblos who helped me out with things like traditional practices, Native American sovereignty, and police procedures, but who preferred to remain anonymous. I wanted my protagonist to be an outsider to Native culture so I could emphasize both differences and similarities between the people in my book. In the end, I decided I’d use known elements—details I could find already published or shared, for example—from the nineteen New Mexican Pueblos, and not dig into anything these tribes wanted kept private.

MPS: Nicky Matthews is fresh take on the police protagonist. How did you go about constructing her?

CP: Thank you. That’s a wonderful compliment. I think a lot of authors live in their heads. I know I do. As Nicky’s character evolved, I realized I had a little bit of a “Walter Mitty” syndrome. I’d fashioned my protagonist as someone I admired, someone I wished I could be. Nicky is younger, in great physical shape, has straighter hair, and is much braver than I am. She stands up to bullies and knows what to say to them in the moment, while I always craft that perfect come-back after a confrontation is long over. She’s willing to do the right thing no matter what, even if it means she might lose her job—or her life. Nicky has flaws and personal problems, too, but they’ve come about because her character isn’t afraid to push boundaries, be fearless, expose herself.

Nicky also has “visions”, something she says she’d never had until she started working on the Fire-Sky reservation. I gave her this ability because some of my contacts on New Mexico Pueblos actually saw and experienced the things Nicky sees in the novel—like the old Native woman in the glass. I used their true stories to make Nicky different from any police protagonist I’d read. And I have a lot more ghost stories to weave into my books.

MPS: You use the mystery theme of identity in a wonderful way that is tied to the culture. What did you want to explore about tribal identity?

CP: In Hearts of the Missing, I wanted to explore not what makes people different, but what makes people the same. To do that, I needed a sequestered or separated community. Living in New Mexico, I had a number of cultures to choose from—we are a minority-majority state. I chose Native American Pueblo culture because I had friends, family, and contacts who worked and lived on reservations and pueblos, and, like a lot of Americans, my family lore included Native American ancestors. Then I flipped everything on its head. I wanted my European-American heroine to be an outsider in a Native American sovereign nation. In the Tsiba’ashi D’yini pueblo, ancestry and genetics defined who an individual was. Because of her ancestry, her genetics, she will never be a member of the tribe she’s come to love. Even if you’d lived on the pueblo all your life, like my Ryan Bernal character, you can’t become a tribal member if you had the wrong genetic ancestry. I wanted to explore how the notion of genetic belonging could be both exclusive and destructive as well as inclusive and protective.

MPS: As a debut author, did you pull from any influences?

CP: Oh, yes. I love stories that use science in their plots, whether it’s pandemics or epidemics, forensics, DNA, genetics and genetic engineering, artificial intelligence, ancient cultures, archeology, paleontology, and the list goes on. As I started to gather the pieces of Hearts of the Missing, I wanted science to play a major role. Books like Preston and Child’s Relic, Thunderhead, and Fever Dream, and Michael Crichton’s Jurassic Park and Congo were inspirations because they took believable science and twisted it into such amazing, complex, and satisfying stories.

Probably the biggest influence is the writing group I joined when I first decided to write, along with its members. The Land of Enchantment Romance Authors (LERA) in Albuquerque taught me how to craft an emotionally engaging story, one where the reader truly cares for the characters, becomes buried in the pages, and has a stake in the outcome. Romance writing is about emotion and character connection. I took what I’d learned from romance writing—what I’m still learning—and used it in Hearts of the Missing, even though it’s a southwestern mystery with supernatural elements.

MPS: You won the Tony Hillerman Award and I felt some echoes of his work in yours. Is there anything you admire about his writing?

CP: I admire Hillerman’s sense of setting and his description of the desert southwest, so spare yet so evocative. I admire the respect and fondness he had for the Native American cultures he wrote about. And I loved the way he butted cultures into each other: Navajo and whites; Zuni and Navajo; Navajo and Tano—a fictional pueblo culture in Sacred Clowns. He used the outsider/insider themes so deftly to add tension and conflict.

MPS: I noticed you have a background in chemistry and biochemistry. Can you see any way those skills are applied to the way you write?

CP: A scientific PhD trains you how to approach unsolved scientific questions. It teaches you how to gather evidence, assemble it into a coherent story, present it to your peers in the form of written, reviewed publications. It demands huge amounts of background reading and research, the linking together of sometimes-disparate ideas for new revelations. A science background dictates an understanding—at a detailed level—of how techniques work, the ability to find and tie up loose ends. It pushes you not to do derivative work, but to explore some new and unique property or direction to prove your hypotheses. Sound familiar? I think it parallels what an author has to do when writing a police procedural mystery.

MARRIED FOR THE MATERIAL: AN INTERVIEW WITH LES EDGERTON ABOUT HIS MEMOIR, ADRENALINE JUNKIE

Les Edgerton’s crime novels careen through humor, heartbreak, and harrowing situations with a voice that seems often worn and and lived in. It comes from the fact he’s lived a lot of what he writes about. When his memoir Adrenaline Junkie came out last year, many of us couldn’t wait to read it, wanting to know what he hasn’t shared. It turns out, there was a lot. His life as outlaw, convict, hairdresser, husband to a few wives, and writer has given him a lot to draw from. I was lucky enough to interview Les about Adrenaline Junkie and get a few stories from him. Warning, Les isn’t a politically correct writer and neither is this interview.

Adrenaline Junkie: A Memoir Cover ImageMysteryPeople Scott: You’re someone who always has lived an interesting life and you continue to do so. What made you think this was the time to write your memoir?

Les Edgerton: Actually, I wrote it several years ago, Scott. I was just waiting for the right publisher. I’ve had several publishers who wanted to take it, but I wanted one who could get it reviewed in the right places and get it placed on bookshelves nationally.

MPS: You’ve used a lot of your experiences in your fiction. Did you notice anything changing in the tone or style as presenting them as actual personal occurrences?

LE: Not at all. I use my same writer’s voice on everything I write, be it various fiction genres or nonfiction. That was the primary concept I voiced in my first writer’s craft book, Finding Your Voice, and I believe that today as much as I did when I wrote that book years ago.

MPS: I’ve told some people that many of the more dangerous and exciting times you had weren’t in prison or as a criminal, but as a hair dresser. What was it it about that life style that put you on the edge?

LE: Yep. You’re exactly right. I was single much of the time I did hair and that means I was getting into lots of women’s knickers. Here’s a true story that illustrates the times. I was working at a salon named Snobs in New Orleans when the movie Shampoo came out one weekend. When I walked into the salon on Monday, there were all these guys in the lobby. I asked the owner, Tony Jones, what the heck was going on, and he laughed and said these guys had seen Shampoo and for the first time realized that not all hairstylists were gay—they were here to check out where their wives and girlfriends were getting their hair done. And, they were right to be suspicious—we were nailing lots and lots of women who came in to get their hair done. In fact, Warren Beatty was really mild in the movie. We daily did a lot more than he did in the movie. He was kind of a piker. There’s something kind of magical that happens when you lay a woman back into a shampoo bowl and begin shampooing her hair—it just creates a sexual bond immediately. I’ve had hundreds and hundreds of sexual experiences with women whose hair I did.  Their husbands and boyfriends were right to check us out…

Here’s a fairly typical experience. I had just opened up a salon in a small Indiana town and was cutting the mayor’s wife’s hair. I was just about finished and we were just talking about everyday things, when out of the blue, she reached over and grabbed my johnson. So we had sex and then she started to leave and I asked her if she hadn’t forgotten something. What? she said, and I said, you forgot to pay. You want me to pay after what we did? she said. Well, yeah, I said. You don’t want me to think of you as a prostitute, do you? She saw I was right so she paid me. She didn’t tip though…

Another time, I had a shop in South Bend, Indiana, and was going to college at IUSB. One day, I’m cutting this woman’s hair and one of my friends, Bob Wensits, was sitting on a waiting couch when the phone rang. It was a man with a pronounced southern accent who began accusing me of screwing his wife. The truth is, I was doing exactly that. I began saying things like, I think you’ve got the wrong number, sir, and I’d never do anything like that—lame-o stuff like that—and finally, he said, I’m coming over there and I’m bringing my gun. I hung up and immediately swung the lady in the chair so she was between me and the front window and hurried up, finished her cut, hustled her out the door and locked it. The instant I locked it, Bob fell off the couch, laughing so hard he was crying and then revealed to me the caller was one of our friends, Fred Sulok. Bob said, I don’t believe what you did—you got that woman between you and the window. Well, I said, do I look like I’ve got a low I.Q. to you?

There were many, many experiences like that… I’ve been shot at and had women try to disembowel me with knives and lots of things like that…

MPS: You devote an entire chapter to the rape you experienced in prison. It feels raw and true, because it came across as you were still processing it. I’m assuming it was the toughest thing to write, so how did you approach it going in?

LE: Well, it was raw and true, so there’s that. I just approached writing it like I do everything else. Just tell it the way it happened. Any writer worth his salt has that “piece of ice” in their heart that Graham Greene talked about and I’m no exception. I can compartmentalize anything that happens to me and separate out my reporting from the emotion of the experience itself. I wouldn’t be much of a writer if I wasn’t capable of doing that.

I guess I could wear a “MeToo” button, couldn’t I?

MPS: The thing I admired most about you in reading Adrenaline Junkie is that you almost always had a close friend around, whether they helped get you into trouble or out of it. Did you learn more or view them any differently when they became part of your writing?

LE: Not sure what you’re asking here, Scott. Do you mean do I view my friends differently when they become part of my writing? If so, the answer is no. All of the people in my life fit what one of my ex-wives said to me after we divorced. She said, you just married me for material, didn’t you? To which I replied, yes. And, that’s the way I’ve always viewed anyone I come into contact with. As material. It’s just what writers do.

MPS: I’ve often heard you say the two things you love the most are writing and talking about writing. What is the most important thing writing has given you?

LE: My life. I wouldn’t care to live a life without writing. What would I do? Mow my lawn and sit around watching TV? No thanks… Have you watched TV lately? Have you ever mowed a stupid lawn? There’s just never been anything else I’ve done that compares to writing. Nothing.

 

INTERVIEW WITH MATT COYLE

Matt Coyle’s Wrong Light was our December Pick Of The Month. It’s the fifth in the series featuring San Diego private detective Rick Cahill. Rick is hired to protect Naomi Hendrix, a radio personality being stalked. The problem is her tormentor could be tied to some secrets she is keeping and the job puts Rick in a plot involving the Irish gypsy con artists known as the travelers, the Russian mob, and Cahill’s own troubled past. Matt will be joining Patricia Smiley and Puja Guha on January 9th at 7pm at BookPeople. He was kind enough to answer some questions beforehand.

Wrong Light (Rick Cahill #5) Cover ImageMysteryPeople Scott: You had Rick go through a major character arc in the previous novels. Now that he’s come to terms with certain things from the past, what do you want to do with him now?

Matt Coyle: In some ways, Rick is now starting with a clean slate. He’s cast away one heavy anchor from his life that helped form who he is even though he learns the facts were not what he thought they were. Still, he’s more free to be the man he wants to be, but can never escape the actions he’s taken throughout his life and their repercussions. In Wrong Light, Rick is forced to confront who he has become and who he wants to be.

MPS: Naomi Hendrix is a great take on the mystery woman in P.I. fiction. How did you go about constructing her?

MC: Thanks. When I decided to write about a talk radio host being stalked, I thought back to radio personalities of the past before the airwaves became so politicized and confrontational. There used to be nighttime shows where people called in with problems and hoped for sage, soothing advice. Naomi is from that era, but I put her in today. I wanted her to be charismatic and mysterious. Once I figured out her background, which is a mystery for much of the book, she came to life and took over the rest.

MPS: You use the Irish con artists, the travelers as part of the story. What appealed to you about them for part of a book?

MC: They are very clannish and insular and I wanted that secretiveness to shroud some of the mystery of the story. I wondered what it would take to escape that world and what would happen when you tired.

MPS: What I love about the Cahill books, they have everything you want from P.I. fiction, but there is a real feel of detective work with its stake outs and tailing. What do you want to capture about the way Rick does his job?

MC: I try to show the unexciting parts of the job to make Rick’s day to day life seem real without letting the story get boring. If he’s sitting on a stakeout when, seemingly, nothing happens I like to throw in a little twist that steers the story in a different direction. My main concern, though, is showing how Rick becomes emotionally invested in some cases and how dangerous that is to him and those he tries to help.

MPS: While the books have a modern voice, there are echoes of classic hard boiled detective fiction in them. Do you draw from any influences?

MC: While I don’t consciously try to let my influences inform my work, I don’t think one can ever completely escape them. That’s probably a good thing. I read Chandler and Macdonald when I was a teenager and I’m sure they’ve influenced my work more than I realize. The one trope I’ll admit to using is the lone wolf detective. I like to think of Rick as a gunfighter who comes to town to try to right wrongs according to his own sense of justice. However, he has become more collaborative in his investigations which shows some growth on his part. Progress!

MPS: What does the private eye story allow you to do as a writer?

MC: To paraphrase what Ross Macdonald once said, a private eye can encounter all the social strata of America with the simple excuse of following where the clues of his case lead him. It’s very freeing. You’re not limited to one lane. Beyond that, I think P.I. stories are best when they examine character and crime is an avenue to do that. Stress reveals character and nothing causes more stress than the murder of a friend or loved one. Not only does the murder stress the family and friends of the victim, but also the people investigating the crime and even the murderer. Give me murder and I’ll show you character.