Guest Post: Manning Wolfe on The Drama of the Law

The Drama of the Law: What’s the Origin of the Legal Thriller?

Guest Post from Manning Wolfe

Lawyer and writer Manning Wolfe was kind enough to contribute a piece to our blog on the early days of the legal thriller, plus plenty of recommendations of contemporary and classic legal thrillers. Her debut, Dollar Signsis a legal thriller set in Austin. Come by BookPeople on Tuesday, July 12th, at 7 PM, for an evening with Manning Wolfe, Martin Limón, and Billy Kring. 

Before I began writing legal thrillers, I asked myself why we love the law and what brought about our fascination with civil conflict stories and those involving people in trouble with authority. I went in search of the origins of the genre and found a rich history of chills and thrills.

What is a legal thriller?

John Grisham, the most well-known attorney writing in the genre says: “You throw an innocent person in there, get ‘em caught up in a conspiracy and you get ‘em out.” I think we must include a bit of education about the law and its procedures, possibly a courtroom scene, and that about sums up the legal thriller. The history behind the evolution would take a book or two to recount. Here are the highlights.

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Great Mystery Reads for Black History Month

Post by Molly Odintz

F ebruary is Black History Month, not Black Mystery Month. However, fiction – especially pulp fiction, with its emphasis on raw emotion and experience – can be the best way to approach the sensations, as well as the actual facts, of history. Mysteries today tend to be seen as a mainly white genre, and there’s plenty of statistics, as well as the We Need Diverse Books movement, pointing out that authors of color tend to garner fewer reviews and less promotion than white authors. However, the history of mystery is as diverse as its present.

I’ve been working to learn more about the history of African-American mystery writers myself, and in the process, I wanted to bring some thoughts and recommendations to this blog.  Here are a few recommended mystery reads for the month of February, including classics, historical mysteries, and stories with contemporary settings, yet strong connections to the past.

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Jenny Milchman’s Top Five Tales of Domestic Suspense

  • Guest post by Jenny Milchman

There’s a new genre in town, and it goes by the name of domestic suspense. Syndicated reviewer Oline Cogdill coined the term family thriller, which also suits it.

A family thriller focuses on a circumstance we can relate to. The kind of tale that could, given a slight twist of the knob, happen to us or someone we love. This novel takes ordinary people and places them in an extraordinary situation. What do they do then?

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Down and Dirty in the Country: A Quick Look at Rural Noir

Noir is a genre usually identified with the city. Concrete and steel cut off our anti-hero, throwing an endless shadow over him or her. At the same time, however, authors were also looking at the darkness, isolation, and evil in small towns or farms. When we weren’t looking, the sub-sub-genre of rural noir took over like kudzu.

The roots of rural noir come from the Southern Gothic authors. One could argue that William Faulkner was an early practitioner. As I Lay Dying uses many noir tropes with a stylized point of view, family secrets, dark humor, and a bleak look at class. Flannery O’Connor is another author whose influence shows itself in the works of current rural noir authors. Her use of religion and perspective of evil can be seen in the work of Jake Hinkson in such modern classics as Hell On Church Street

“Noir is a genre usually identified with the city…at the same time, however, authors were also looking at the darkness, isolation, and evil in small towns or farms.”

One of the first great examples of rural noir is James Ross’ They Don’t Dance Much. Using Southern speech, much like Chandler used the Southern California dialect, Ross tells the story of jack McDonald, a failed farmer who ends up running a road house owned by schemer Smut Mulligan, who later pulls Jack into a robbery and murder. A power play ends up between the two involving Lola, the wife of the town proprietor Smut is having an affair with. It took the James M. Cain noir structure and themes and put a country spin on it.

Jim Thompson wrote many tales from the city, but some of his best dealt with shady small town lawmen. The Killer Inside Me, still one of the most chilling books ever written, features West Texas deputy and psychopath, Lou Ford. Lou pretends to be a dim hick, who mainly tortures the town citizens, many with their own dark secrets and agendas, by talking in cliches and platitudes. When he develops a brutal relationship with a prostitute, he and the town both violently spiral downward.

“…the violence almost becomes redemptive in this black satire on small town culture and bigotry…”

Thompson took the bad lawmen to new heights in the Sixties with Pop. 1280. MysteryPeople screens Coup de Torchon, French director Bertrand Tavernier’s Algerian-set film version of the Pop. 1280, on Sunday, July 7, as part of our Double Feature Film Series. Screenings will be followed by a discussion of the book and film, and all screenings are free and open to the public. Nick Correy is the lazy, philandering sheriff of a small Southern town during the Nineteen-Teens. When he’s challenged in an election and kills to stay in the lead, we learn how smart and dangerous he is. What is odd is how Nick keeps his genial tone and how the violence almost becomes redemptive in this black satire on small town culture and bigotry. It is interesting to note that Thompson’s father was an Oklahoma sheriff who was caught embezzling when the writer was young.

The author who truly opened the door for rural noir was Daniel Woodrell. Originally writing about Rene Shade, a police detective in a corrupt Louisiana parish, in his Bayou Trilogy, he later moved his settings to the Ozarks, were he was born and raised, in such novels as Winter’s Bone (screened last year as part of our Noir Double Feature Film Series) Woodrell’s novels are somewhat the country cousins to George Pelecanos’ D.C. novels, including the recently released and critically acclaimed The Martini Shot: A Novella and StoriesWoodrell and Pelecanos both create character-driven stories, where criminals are motivated by extreme poverty and drugs (crack for Pelecanos, meth for Woodrell) plague an entire community. Woodrell dives into his stories on a personal level with a poetic prose style. The beginning paragraph of Tomato Red, with its page-long, run-on sentence, is work of great humor and craft. He delves into the lives of the working class and the poor from his area, inspiring a wave of other writers to use their rural background in their noir.

“…rural noir has a strong lineage, an established canon, and the manifest destiny to travel down every back road and tell its story…”

Several of these writers inspired by Woodrell have already established themselves in the rural noir cannon. Frank Bill built a reputation through his short stories dealing with hard men and harder women pushed to the brink of violence and beyond, exemplified in the collection Crimes In Southern Indiana. His debut novel, Donnybrook, is about several characters and the trail of blood they leave behind as they head to a bare knuckle fight. Donnybrook shows how meth in the Midwest has fused the drug and culture together. Another great take on the subject is Matthew McBride’s relentless A Swollen Red Sun. McBride sets a Missouri county aflame when a deputy takes seventy-two thousand dollars from a meth dealer’s trailer in a moment of weakness. The book is reminiscent of Dashiell Hammett’s Red Harvest in its look at how a corrupt society destroys itself. Benjamin Whitmer’s anti-heroes get ping-ponged from their country homes to the city, trapped by their violent compulsions, developed of necessity but leaving his characters isolated and alone. Both of his books, Pike and Cry Father, are emotional gut punches.

the genre of rural noir is expanding rapidly, and it has room to do it. Both David Joy and Jamie Kornegay have shown new back roads with their novels Where All Light Tends To Go and Soil. Jamie Kornegay joins us Monday, May 4, for Noir at the Bar at Opal Divine’s. Frank Wheeler, Jr.’s debut, The Good Life, set in rural Nebraska, hopefully ushers in a long career writing great rural noir set in Midwestern wastelands. We also have yet to see many female writers and authors of color embrace the sub-genre. As rural noir grows in self-confidence and acclaim, I hope to see many more diverse voices in the genre, but already, rural noir has a strong lineagean established canon, and the manifest destiny to travel down every back road and tell its story. Like Hank William’s country boy, the genre can survive, and even thrive.