Our Favorite MysteryPeople Moments

mysterypeople panel
From the left, Scott Montgomery, Jesse Sublett, Hopeton Hay, Meg Gardiner, Mark Pryor, Janice Hamrick, and Molly Odintz.
  • Introduction by Scott Montgomery

This past weekend, MysteryPeople celebrated our fifth anniversary, with a panel discussion featuring local authors Mark Pryor, Jesse Sublett, Meg Gardiner, and Janice Hamrick, and local critic Hopeton Hay. Molly and I moderated the discussion. Afterwards, we all enjoyed celebratory cake, beverages, and most importantly, trivia with giveaways.

After our anniversary party on Saturday wrapped up, we decided to share some of our favorite event moments throughout the history of MysteryPeople. Below, we’ve shared our favorite memories of the fantastic authors who came through and the fun times we’ve had with them during and after our events. Molly and myself picked six standout moments each. As you will learn, Craig Johnson in particular has gotten to be an important part of our store.

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Scott’s Top Ten Mysteries of 2014

Scott’s Top 10 (Okay, Eleven)


This was quite a full year for crime fiction. Raymond Chandler came back and Moe Prager left. Emerging voices like Benjamin Whitmer  and Matthew McBride made a stand and veterans like James Ellroy came back. Matt Scudder was in a great movie and the poster couple  for toxic marriage in Gone Girl got beautifully adapted. Needless to say it was difficult to make a top 10 list, so I found a way to  shoehorn in eleven.


cry father1. Cry Father by Benjamin Whitmer

This book, following the dark criminal adventures of a tree cutter in disaster sites in mourning for his son, is a perfect piece  of brutal poetry. Raw in its emotion, it speaks to and for the people society pushes to the margins. I plan to read this book at  least every ten years for the rest of my life.

 


hollow girl2. The Hollow Girl by Reed Farrel Coleman

The final Moe Prager novel deeply involves Coleman’s recurring theme of identity in a way that forces one of the most human private detectives ever put on the page to deal with his own concept of self. A pitch perfect swan song.

 


fever3. The Fever by Megan Abbott

Mysterious seizures hit a group of high school girls, causing hysteria in an upstate new York town. Abbott blends mystery, horror, and  coming of age, digging emotionally deep into community, family, and female friendship with an aching and dark mood.

 


swollen red sun4. A Swollen Red Sun by Matthew McBride

A masterpiece of rural crime fiction. When a Missouri sheriff’s deputy steals $72,000 out of a meth dealer’s trailer in a moment of  weakness, it sets the spark that sends a corrupt county up into flames. A relentless novel that moves like a muscle car on an open  road.


the drop poor boys game5. The Drop by Dennis Lehane & The Poor Boy’s Game by Dennis Tafoya

Both of these books tapped into the emotional core of their stories with poignancy while still delivering a bad-ass hard-boiled tale.  Lehane’s lonely bartender being batted about by the mob and Tafoya’s damaged U.S. marshal who has to fight the mob off are characters  who will stay with you for some time.


last death of jack harbin6. The Last Death Of Jack Harbin by Terry Shames

The second Samuel Craddock novel has the retired police chief looking into the murder of a disabled war veteran. As he investigates, Samuel  becomes a witness to the sins of his town and society in this moving mystery.

 


the forty-two7. The Forty-Two by Ed Kurtz

A tension filled thriller that effectively uses early Eighties Time Square as a backdrop in all its seedy glory. Kurtz uses grind  house theaters, peepshows, and greasy spoons like Hitchcock used Mount Rushmore and The Statue Of Liberty.


forsaken ace atkins8. The Forsaken by Ace Atkins

The fourth Quinn Colson novel has the Mississippi sheriff dealing with race issues, biker gangs, county Kingpin Johnny Stagg, and an  old crime connected to his father who disappeared years ago. Entertaining dialogue and action with strong thematic undercurrents.


mark pryor the blood promise9. The Blood Promise by Mark Pryor

A great thriller with vivid characters and a plot that ties a modern treaty signing to an event during The French Revolution. Further  proof of why Pryor’s Hugo Marston is one of the best new heroes.

 


after im gone10. After I’m Gone by Laura Lipman

Lippman looks at the disappearance of a shady businessman through the wife, daughter, and murdered mistress he left behind. Lippmann  uses the lives of these ladies as a clever window into family, class, religion, and feminism in the last half of the twentieth  century.


Copies of each book are available on our shelves and via bookpeople.com.

 

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.

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 Review: THE FORTY-TWO by Ed Kurtz

the forty-two
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.

Crime Fiction Remembers Lou Reed

lou reed 5

When Lou Reed died on October 27th, not only did musicians feel the loss, but just about anybody who has fearlessly created since the 1970s. He brought a darker, literary sensibility to rock n’ roll, as he explained in this interview on Night Flight:

It’s no surprise he had a lasting impact on those who write crime fiction.

On the day of his death, Reed Farrel Coleman, author of the Moe Prager series, posted this on facebook:

“Lou Reed taught me a lesson about art, though we never met. It was the mid-70s and I had played the shit out of Transformer and Rock and Roll Animal. I could not stop listening to the latter and thought that I had to go and see Lou Reed live and hear that kickass band of his. Well, when tickets came on sale to see him at what was then the Academy of Music on 14th Street, I got tickets with my friends. The concert was the most disappointing concert I had ever seen and, to this day, is the most disappointing. Lou Reed had completely changed his band. In Steve Hunter’s place was a sax player, not even another guitarist. Reed played almost none of his old music–his own or from the Velvet Undergound. What he did play was all slow tempo and utterly downbeat. Frankly, I hated it, but have thought more about that show than any other concert I have ever been at. I guess in some ways, it is the most memorable show I have ever been at. Art is not always meant to be pleasing to the audience.”

“I discovered Lou Reed as a teenager in a kind of backwards way, through R.E.M.’s covers of Velvet Underground’s ‘Femme Fatale’, ‘Ill Be Your Mirror’, and ‘Pale Blue Eyes’,” said Megan Abbott (Dare Me). “That sent me on a multi-year fixation with Lou Reed and VU–a writer’s dream, those albums, because they evoke whole, shimmering worlds. You listen to those albums and you are transported, in the truest sense. Every time, over the years, that I have listened to those songs, however dark (maybe especially the dark ones), I wanted “in.” His stories always felt true, earned, and beautiful.”

Josh Stallings, author or the Moses McGuire series, came of age during Reed’s rise as a solo artist. “As a teenager, Reed convinced me I could write about the world around me, the junkies and transvestites I knew had a place to be heard. He did for music what Mean Streets did for film. They spoke directly to me and said it was ok to tell the truth.”

Chandler wrote about LA in the ’30s and ’40s; Lou Reed’s territory was the New York of the ’70s and ’80s. The dangerous New York. Any of the people he sung about could have been questioned by Matthew Scudder, Lawerence Block’s private eye from that era. While using the same style and attitude as Chandler, it could be argued his influence had the inverse effect (like many original artists do). While Chandler looked under the the glossy sheen of his city, Reed looked at the damage and decay that littered New York and saw the poetry in it’s dark misfits.

“Lou Reed was the patron saint of freaks and weirdos. The poet laureate of those who walk margins and push boundaries,” said Chris F. Holm, author of The Collector series. Holm’s work is greatly influenced by the books, movies and music of Lou Reed’s era.

“I came to him from punk, following the smoke back through the decades to the folks who lit the spark.” Holms explained. “But discovering Reed’s work wasn’t a history lesson, so much as a revelation. He was more than simply a precursor or progenitor; his songs painted pictures of a world no one else dared sing about — pictures at once beautiful and grotesque, biting and achingly sympathetic. Reed had the rare gift of being able to simultaneously convey affection and contempt, honesty and artifice. His songs taught me how much weight a single phrase can carry. And they taught me there’s no subject matter so dark, something beautiful can’t be made of it.”

Tim Bryant, a Texas musician, publisher and author of the Dutch Curridge PI series, respected his clarity in the bleakness. “Lou became his character and spoke in a clear voice. You didn’t have to read between the lines or guess what he meant. I heard him mention at least once that he was attempting to bring a novelist’s eye to songwriting. I think he very much succeeded. (Only Warren Zevon comes anywhere close to matching him in this regard.) I likewise took his fearlessness, his willingness to look straight into the dark and not blink as a lesson in my fiction writing.”

Scott Adlerberg (Spiders and Flies) said, “He was fearless in what he chose to write his songs about, something to be admired and emulated. You know that he wrote songs he cared about and wanted to write, audience reaction be damned (a good lesson for writers ideally), and he developed the material in a lot of his songs as narratives, with an emphasis on the telling detail. Also, there’s emotion in his songs but not sentimentality, a distinction always to be remembered, I think, when writing.”

“I don’t know if you ever noticed, but Lou never sang. He spoke his lyrics as though they were short stories.” Tom Pitts (Piggyback) commented. “A song like ‘Walk On The Wild Side’ is a great example of encapsulating characters and delivering them with tight poetic verses. But for me, no song /story of his is as great as ‘Street Hassle’. Especially the version on Take No Prisoners. When he talks about dropping the overdose victim in the street, it pulls you right in to a place in time like no other .”

Jon Steele, author of the Angelus series agreed. “‘A Walk On The Wild Side’ is a novel”

Others mentioned their favorite song or record, as well.

“‘The Gift’ is a great horror story.” Liza Lutz said. “I loved Waldo Jeffers, but maybe because he sounded like John Cage. Now I have to listen to that again.”

Todd Robinson (The Hard Bounce) played him while writing, at times. “I wrote the entirety of my short story Peaches listening to Lou Reed and Velvet Underground to get my mind in a specific New York time and place.

“I did the same with my book The Forty-Two,” said Ed Kurtz. “Loads of Lou, especially New York and ‘Set the Twilight Reeling.'”

The person I knew I absolutely had to ask about Lou Reed was musician and hard boiled author Jesse Sublett, whose book Grave Digger Blues has the edges, satire, darkness, and don’t-give-a-damn attitude of Lou Reed’s work.

“For me, writing and music have always been jumbled up together, so from the first pages of the first detective story I ever wrote, Lou Reed was in there. For starters, there’s the alienation thing, where the detective or the criminal or the victim, take your pick, feels outside of the everyday world, like a fugitive or a stalker or the tarnished knight on everybody’s hit list. And for that, you don’t have to be on drugs, or a criminal, you just have to have stumbled out onto the twilight edge of experience. Since Lou died, I’ve heard from a number of people who knew me right after my girlfriend was murdered in 1976, and they remember me playing Lou Reed’s Transformer 24/7. When I was diagnosed with Stage 4 cancer in 1997 and also, one morning after sitting with my dad in the hospital as he was dying and he had morphine hallucinations and said, “The ceiling is on fire, flames shooting out of the wall, and it’s dripping down on your head,” I walked outside, as I have many times in such situations, and the birds are singing and leaves on trees are glowing with chlorophyll, and I’m thinking, Wow, the world is so beautiful. That’s what I mean by the twilight edge of experience. Lou got that so well. If you’ve been there, you understand. I’ve played “Sister Ray” probably 500 times on stage, “Waiting for my Man” even more, and a dozen other songs. Lou’s songs aren’t all about transvestites and shooting drugs any more than Raymond Chandler is about murder and perversion. And by the way, LouReed was a big Raymond Chandler fan, and when I saw Lou saying something about that, then I saw Bryan Ferry say the same thing, I said to myself, I ought to check out this Chandler guy. Goodnight, Lou. Goodnight.”