Thanksgiving 2016

November 22nd, 2016 by Max Allan Collins

In a year like the one I’ve experienced, it might seem tough to be thankful.

Those of you follow these updates know that I’ve had some health issues. The year began with carotid surgery preceding open-heart surgery, during which I had a stroke. While not major, the stroke left me with a fairly useless right hand – couldn’t type, didn’t even have a signature. And a writer losing his or her signature has lost a key piece of identity.

What followed was a lot of work getting my hand functional again and recovering from the surgery with physical and occupational therapy. Also, in the run-up to the heart surgery, something growing in my lower right lung lobe made itself known, requiring keeping an eye on. Eventually I was scheduled to go in for surgery that would probably be just a closer look, but might result in more serious surgery.

While all of this was going on, my son Nate’s bride Abby gave birth to Sam Collins, a preemie who fought a brave battle for life. Nate and Abby practically lived in the hospital for a month while this little tadpole of a kid fought to be a baby. We visited as often as we could, though this was going on concurrent with my heart condition stuff, and that limited us some.

Then both Barb and I managed to get pertussis, which is to say whooping cough. I got mine in August and she got hers a few weeks later, and we are still coughing (the hundred-day cough, they call it). My adventures, recounted in detail in previous updates, included rushing back from New Orleans the moment I landed because Barb’s pertussis had sent her to the emergency room; and having my lung surgery postponed for a month to allow me to get over my bout with the stuff.

The surgery wound up being more serious. A baseball-size thingie was taken out of my lower right lobe. It’s now been diagnosed as MALT-lymphoma, which has nothing to do with old Pop Jenkins down at the soda shop.

Then, while I was recovering from the lung surgery, glued to the TV, I witnessed Donald Trump being elected president of the United States.

So what the hell do I have to be thankful for?

Almost everything (except for the Trump part).

We can start with this career that has allowed me to concoct stories and get paid for it for four decades. We can move from there to my wife Barb, whose love and support got me through all of the bullshit above – she always knows when I need a tender shoulder and also when I need a kick in the pants. She is not a self-pity fan.

From there we can move to my great son and his equally great wife, who gave me this wonderful grandson who has overcome all of the obstacles and is now smart and healthy and very funny. You may have a baby or a baby grandkid who seems pretty cool, but can yours do an evil maniacal laugh at sixteen months?

As for my travails, I was typing almost immediately when I got home from the hospital. Initially all I could move was the mouse, and for some weeks the sensitivity of the computer keyboard was how my weak right hand was able to register anything. But two weeks home after my three-week hospital stay (two of it in O.T. and P.T.), I was working on my draft of Antiques Frame. Before long I was writing The Will to Kill, the new Mike Hammer, and Executive Order with my pal Matt Clemens. Throughout every stage of various recoveries, I have found that my writing has been unimpeded, that it is a place I can go and think of nothing but the story at hand.

Every day I filled at least a full notebook page with my signature, and within a month I had it back. If you ever need an M.A.C signature, my wife can tear one of out the notebook I filled with them. (Ask for one from a later page.)

The pertussis Barb and I shared brought us even closer together, because we were dealing with it at the same time. I won’t pretend it didn’t suck, but something odd happens when you are sick and have a reasonable expectation to get well – you start to really, really appreciate normal, everyday life. To look forward to the most trivial damn things – a meal out, a movie, a walk on an autumn day.

As for the lung thing, I am in a wait-and-see mode, and have a few more tests to take, but I am assured this is a treatable, very survivable condition…and I may have no recurrence. At this point there’s been no talk of chemo or radiation.

If that comes, rest assured I will do everything I can to keep writing, and taking advantage of the support and friendship my readers, editors and my great agent Dominick Abel have always provided. Do not worry about me. I am fine, and I am blessed.

Thanks.

* * *

Here’s the Brash Books blog with stuff about Road to Perdition the novel and Quarry as well.

Here’s a nice latterday review of Kill Your Darlings, though oddly the Bouchercon aspect of the story (usually the favorite aspect of readers) is not so favored here.

Finally, here’s a cool review of Dan John Miller reading Better Dead.

M.A.C.

Jerry Lewis

November 15th, 2016 by Max Allan Collins

This weekend past Barb and I traveled to St. Louis to spend some time with son Nate, daughter-in-law Abby and grandson Sam (16 months). In part this was an experiment to see how I’d do on a trip like this, post-surgery, and the answer is not bad, although lots of naps were required.

The other occasion for the trip was a one-man show, “An Evening With Jerry Lewis,” at the Family Center in St. Charles. Since Jerry is 90, this would not be a wild, screaming, song-and-dance performance – in recent years, Jerry has been reminiscing and showing film clips while seated in a center-stage director’s chair.

I am an unrepentant Jerry Lewis fan. At 68, I grew up first on the Martin & Lewis movies and then on Jerry’s solo cinematic efforts. I also saw Martin & Lewis on television, and later Lewis alone, countless times. My adoration stopped at sitting through entire MDA telethons, but I did usually catch some of each one and often watched Jerry’s melodramatic rendering of “You’ll Never Walk Alone,” which always managed to be both stirring and embarrassing.

The late Bruce Peters, my musical collaborator with the Daybreakers and Crusin’, said more than once, “The only thing funnier than Jerry Lewis at his best is Jerry Lewis at his worst.” There’s some truth in that. In the ‘60s Jerry often tried to sound erudite and educated, and that way lay madness. He seemed at war with the unruly child that made him famous. Wanted us to know that the “kid” wasn’t the real him…though the opposite was obvious.

For those of us who were unruly children ourselves in those years, we were entranced by Jerry’s depiction of a big kid in such films as Who’s Minding the Store? (1963), The Disorderly Orderly (1964), The Patsy (1964), The Family Jewels (1965), The Ladies Man (1961), The Errand Boy (1961), Cinderfella (1960), The Bellboy (1960), The Geisha Boy (1958), and Rock-A-Bye Baby (1958). Then there were the sixteen Martin & Lewis films between 1949 and 1956 including, notably, Scared Stiff (1953), Hollywood or Bust (1956), and Artists and Models (1956). That latter film had young Jerry corrupted by comic books – heaven.

Martin & Lewis were the comedy Beatles. I never got over it when they broke up. I’m still not over it. And there isn’t even a Yoko to blame, though Jerry remains a prime suspect. I always recall what Martin himself said: “The two best things that ever happened to me were teaming up with Jerry Lewis, and breaking up with Jerry Lewis.”

Jerry directed many of his own best films – The Nutty Professor and The Ladies Man, for instance. For the latter he developed “video assist,” a tool found indispensable by directors ever since. His tome The Total Filmmaker (1971) was developed from almost 500 hours of Jerry teaching at USC, and is one of the best books on the subject ever written.

This is not to say that Jerry did not make some terrible films. By the late ‘60s, despite his youthful appearance, he finally had to abandon his “kid” persona on film. With The Nutty Professor (1963), that was no problem, and it proved to be his masterpiece. With such misguided films as Way…Way Out (1966), Three on a Couch (1966), Hook, Line and Sinker (1969) and Which Way to the Front? (1970), he lost his way, often delving uncomfortably into sex farce. But all of these misfires have moments of hilarity. Even the last film cited, Jerry’s notorious, barely-released Nazi spoof, has an extended sequence late in the film where the star/director takes on Hitler in an outrageously comic way that rivals Mel Brooks in The Producers.

You’ll note that for the most part here I refer to Jerry Lewis as “Jerry.” I think most Baby Boomers who grew up laughing at his films think of him that way. Some Baby Boomers came to loathe this man they grew up with, seeing him (like the Rat Pack) as representative of phony show biz at its worst. On SCTV, a fairly unrelenting take on the Lewis’ pretensions as a filmmaker became the subject of a Bobby Bittman (Eugene Levy) sketch. But also on SCTV, Martin Short revealed his love for Lewis in “Jerry Lewis Live on the Champs Elysees,” which celebrated its subject even as it somewhat acidly spoofed him. Jerry was apparently not offended, nor should he have been.

The live performance in St. Louis found Jerry, not surprisingly, in a reflective mood. Seated before a large audience in his director’s chair, a big projection screen looming above, Jerry nonetheless created an intimate atmosphere as he shared stories and an eclectic series of clips from his career, often showcasing others (Milton Berle, Sammy Davis, Henny Youngman, Totie Fields) more than himself. Plenty of Martin & Lewis clips were interspersed, as well as such famous sequences from his films as the staircase dance from Cinderfella and the mimed boardroom sequence from The Errand Boy. The musical typewriter bit, a Lewis favorite, he performed live. Throughout the evening he peppered his presentation with one-liners, some mildly politically incorrect by today’s standards, and while the expected clips from Nutty Professor and The Ladies Man were absent, he presented a number of obscure, hilarious pieces from MDA shows that would be lost to time if Jerry Lewis weren’t his own dedicated librarian.

Among the funniest moments were Jerry in the ‘50s doing a “Be My Love” pantomime and his unscheduled appearance as a clueless member of a male chorus on an ‘80s MDA telethon; among the most moving was a pair of late ‘50s renditions of “Sonny Boy,” first with his father Danny and then with his ten year-old son (and rock-star-to-be) Gary. Of course he presented the Sinatra-arranged reunion of Martin and Lewis on the 1976 MDA telethon.

The show was a quick hour-and-a-half, and lacked the promised audience Q and A. But for this Baby Boomer, the chance to spend one last evening with Jerry Lewis was not to be missed.

Giants once walked the earth. This one is still with us, for now, if seated in a director’s chair.

* * *

Check out this wonderful review of the expanded novel version of Road to Perdition from the always interesting Bookgasm.

Here’s the Hollywood Reporter on Quarry.

And here’s a review of the novel The Last Quarry.

Here’s a nice review of Dan John Miller’s reading of Better Dead, the latest Nate Heller novel.

Finally, HBO is readying Quarry for blu-ray release (probably DVD as well).

M.A.C.

Quarry’s Daddy on the TV Series

November 8th, 2016 by Max Allan Collins

So what’s my opinion of the QUARRY TV series?

It’s a first-rate show. The finale (like the opening episode) is a feature-length crime story worthy of release as an indie film. The Vietnamese war sequence – one long take – is as remarkable a piece of filmmaking as I’ve seen in some time, capturing the feel and pressure and insanity of battle. The cast has been stellar, as well, and the cinematography, art direction, location work, music selection, those elements and more, have been damn near flawless. Greg Yaitanes directed all eight episodes, meaning he pulled off a sustained nine-hour movie, an amazing feat.

Yet I get e-mails and comments from some readers bemoaning that the show isn’t like the books, and in some cases I have been criticized for essentially selling out, letting a bunch of Hollywood punks run roughshod over my creation. Well, first of all, if somebody wants to give me money to make a movie or TV show out of my stuff, and the price is right, they can star a sock monkey and set the show on Venus for all I care. As James M. Cain said (slightly paraphrasing here), “Hollywood hasn’t done anything to my books – they’re right here on the shelf.”

The books are the books. They have existed and will exist, strictly on my terms. Certain aspects of the novels just do not translate to film (this includes the Quarry-derived film THE LAST LULLABY, which I co-wrote). The QUARRY novels are almost entirely dependent on the first-person voice of Quarry himself – his sense of humor, his personal philosophy, the very sound of the things he says, the irony, the black humor. That’s lost in any QUARRY adaptation, unless you use voiceover, which is just not the same (and usually clumsy).

Additionally, the books are short, compact narratives depicting the jobs that Quarry goes on – none of them individually would sustain a season of television. Once the decision was made to do long-form narrative like MAD MEN or BREAKING BAD, the near novella form of the novels had to be dropped. The approach of the novels is what TV folks call “procedural.” Cinemax wanted a cast of recurring characters with their own evolving storylines – the novels are lone-wolf affairs, with few if any recurring characters.

Nonetheless, I have been impressed from the beginning that writers Michael Fuller and Graham Gordy have been able to draw upon the novels in resourceful, respectful ways that guarantee that my DNA stays in the mix. The eight-episode season that just concluded draws heavily upon the first novel, QUARRY (1976), which presents Quarry five years into doing hits for the Broker. The backstory of that novel – Quarry coming home to find his wife having an affair, followed by Quarry killing the guy – is depicted in the first episode right down to how the cheater dies. As director Yaitanes has made clear, the TV series is an origin story, a prequel to the novel series. And Mike and Graham understood, from the start, that Quarry was a PTSD vet (though the term wasn’t around when I wrote the early novels) and that the Vietnam War was very much an underlying theme. I was very pleased when they agreed with me that the show be set in early ‘70s period.

The Broker remains very much my character, and the way he insinuates himself into Quarry’s life on the show is clever and satisfying. In the 1976 novel, Quarry discovers the Broker is involved in heroin trafficking and this initiates the deterioration of their relationship – that aspect is present in the series in a major way. Also, Quarry in that first novel is working with a gay partner who is losing his focus – also a major aspect of the series. Quarry’s self-hating annoyance at the Broker’s various proteges comes from the 1976 novel as well.

Don’t be confused by my Executive Producer credit – that’s doesn’t mean I have control of anything. The TV series is the vision of Fuller and Gordy (as executed by Yaitanes), and when I write an episode, I am following their lead. It’s their baby. And of course when I’m writing a QUARRY novel, it’s all mine. Nobody gets near that crib but me.

What is important is that the original novels get some nice attention drawn to them, because of the quality TV series the books have spawned. It means more sales. More readers. More money. Much as I love my work, this is not a hobby – I’m trying to make a living here. When something like the QUARRY TV series happens that I can be proud of, so much the better.

Haven’t watched Wild Dog on ARROW yet, by the way. Is he played by a sock monkey? Just wondering.

* * *

The extended battle sequence I mention above is discussed by director Yaitanes here.

Here’s a short, sweet review of the new expanded version of the ROAD TO PERDITION prose novel. It was picked up by AP and has had wide coverage on the Net.

Finally, here are “15 Things You Didn’t Know About Wild Dog.”

M.A.C.

Every Breath I Take

November 1st, 2016 by Max Allan Collins

Anybody who has been following my weekly updates this year, even casually, knows I’ve had “health issues.” For a guy who’s been healthy as a horse his entire life, that’s taken some getting used to.

I started to write a recap of my heart surgery and all the procedures leading up to it, but my eyes started to glaze. Let’s cut to (unfortunate phrase) something that turned up in the run-up to the previous surgery – an “infiltrate” in my lower right lung lobe. What follows is a sequel to my three-part “Heart & Soul” write-up about my heart-surgery hospitalization. There will only be one part, this time, and remember what Patty McCormack said in MOMMY’S DAY: “Don’t you know the sequel is never better than the original?”

Last Monday (Oct. 24, as I write this), Barb and I arrived at Trinity Medical Center in Rock Island at ten a.m. for my noon surgery. Barb was deposited in a waiting room where there were plenty of chairs but nonetheless she discovered that people coughing thought sitting close to her was a good idea. I was shuffled off to a space that was larger than a cubicle but smaller than a hospital room where I was required to climb into one of those your-ass-is-hanging-out robes, questioned, given an EKG and drained of some blood (Halloween coming) and subjected to the procedure I was dreading more than surgery: an IV.

The nurse supervising all this, doing much of it herself, was great. All of the nurses I would encounter on this trip were really good, several absolutely top-notch. Barb was allowed to join me at this point. My surgeon, Dr. K, came in with his easy-going bedside manner and made us feel fine, or as fine as possible. The surgery would last an hour, unless he found something he wanted to deal with on the spot, and that could take a couple of hours.

I was feeling pretty cocky. I was convinced this was nothing much, since heart-surgery patients have been through too much to be easily intimidated, and rejected the ride down the hall on my back or in a wheelchair and instead jauntily strolled down the corridor with a nurse, nodding and smiling to all we encountered, my ass hanging out, of course. It’s not my worst feature.

In the operating room, I cracked wise, putting everybody at ease, and soon I was under. When I awoke, seemingly moments later, I was in intense pain. My back felt like I was having the most intense muscular cramp I’d ever experienced. Though it’s a blur, I learned fairly soon that Dr. K had removed half of my lower right lung lobe, and that a chest tube was in, which was causing a lot of my discomfort.

That discomfort was shocking – worse than the heart surgery aftermath had been. I had not been expecting this – it was like waking to find out a truck had hit the operating room.

Before very long Barb was right there with me. She knew, when the operation went deep into a second hour, this was not what we’d expected.

Let’s get this out of the way – she is one amazing woman. She was with me all the way, right there, with support, love and sweet humor. The nurses all commented on what a great wife I have (I do not recall her being told she has a great husband…an oversight, I’m sure). She looked beautiful throughout, and several nurses who discovered we’d been married 48 years were stunned that she might be, well, as old as me.

As afternoon eased (ha!) into evening, Barb and I came to grips with the reality: what was advertised as a probable overnight stay would be at least three or four days, maybe longer (this Dr. K soon confirmed). I didn’t eat anything that first day, but the pain medication (one of those press-it-for-more buttons) did well enough. We watched MSNBC (my conservative friends will now lose all sympathy for me) because I’m a political junkie, especially election years. I had books along, but didn’t have the focus to read. I had my portable blu-ray player along, too, but just wasn’t in the mood.

Barb stayed till about nine p.m. I was coming in and out of it – I’d sleep an hour, watch TV an hour, sleep an hour. And of course medical stuff was doing on, lots of checking my vitals and tending to monitors. Here I encountered the first great nurse, Trish, who chatted with me like an old friend whenever she found me awake. She was a reader, it seemed. She wound up with a signed TARGET LANCER (she’s a Chicago girl).

The stay in the ICU was pleasant, considering, and I expressed a desire not to be moved to another floor, as is the custom on the second day. I was told there wasn’t much chance of moving me, since there were “a lot of beds ahead of me,” so I would probably be able to stay with Trish and the other nurses I’d gotten to know. Like Antonio and Maria, student nurses from Blackhawk College, whose smiles made terrific medicine.

And of course that evening I was moved to the sixth floor. Barb was unhappy. The room was small (though, incredibly, had once been a double). The TV was high, at an angle helpful to no one. One of two dim wall lights was burnt out (not on my side of the room). There was an area for a sink, but no sink. Barb described it as “Strictly Motel 8.”

Wayne, an older nurse with a Willie Nelson beard and the soothing Southern accent to with it, came along to make our stay more pleasant. He moved the bed near the working light, bitching about the lack of sink (putting us on the same team), and creating a generally welcoming atmosphere.

Along the way I came to terms with hospital food. On my previous trip, Barb had smuggled in a restaurant meal every day to off-set the horror, but I was determined not to put her through that again. I studied that menu like a professor working on a fragment of Sanskrit parchment, and learned what could be abided here – an omelette (made to order) for breakfast, with orange juice and either English muffin or bagel and cream cheese; lunch: meatloaf with gravy, mashed potatoes with gravy, green beans, slice of bread (for God’s sake not “dinner roll!”), vanilla pudding; supper: penne pasta and meat sauce, corn, bread again, pudding again. More than that I cannot help you.

By the third day I was getting worried, but the pain (though controlled by the magic button) was not letting up. I couldn’t reach for anything outside of my immediate grasp without excruciating pain kicking in. I was envisioning weeks of brutal, blubbering recovery. Nonetheless, I resumed my cocky manner and when the physical therapist, a nice young woman, came around, I disdainfully accepted the walker she offered and went up and down the hall, as well as half a flight of steps, without any other help (though the P.T. gal hovered).

Deposited back in my bed, I gave the therapist a jaunty wave and, once she left, lay in a whimpering pile.

That afternoon, however, Dr. K came around and gave Barb a detailed version of stuff he’d told me the day before, when she wasn’t around. (I’d tried to report it back to her, but it was a jumble.) His opinion was that the thing he’d removed from me wasn’t malignant, and it certainly wasn’t lung cancer. But it was possible it could be some lesser cancer, and was being shipped around the country like lost luggage. Experts would let us know in a week or two.

Then he asked Barb to leave the room and he put me on my left side and removed the chest tube. Now I’d had two chest tubes removed in the heart-surgery adventure, not fun, so I was pretty scared, and my body was no help, going into immediate spasms. But the tube came out easily, and instantly – instantly! – the pain was reduced by at least half.

That afternoon I realized I was out of the woods. I could reach for things! I felt more or less human. And Barb and I became determined that I would be home tomorrow, on the fourth day of this episode.

Through this, Barb continued to spend the days and early evenings with me, and I watched more political stuff with and without her. My sleep in the hospital always is uneven, in part because there are interruptions for taking your vitals and making you do breathing exercises; but also because it just is. Worst of all was a 4 a.m. blood draw – while there’s lots of blood in my books, I prefer it absent from my life. Anyway, I would sleep for an hour or two, read or watch something for an hour or two, rinse, repeat.

I watched two movies, neither very good, but not terrible. One was a noir called PLUNDER ROAD (1957) where a bunch of unsympathetic characters pull off a robbery and flee and, 71 minutes later, wind up dead. Okay by me. The other was YOUNG SAVAGES (1961), a juvie courtroom melodrama with Burt Lancaster as a D.A. who comes to the conclusion that maybe he shouldn’t fry three kids for a murder. It’s based on the novel A MATTER OF CONVICTION by Evan Hunter, apparently an attempt to make BLACKBOARD JUNGLE lightning strike twice (it didn’t) and not a patch on any of his Ed McBain 87th Precinct novels.

Now back when we were anticipating this hospital visit, Barb had scolded me about my choice of movies. Why didn’t I watch something good? Something great? Why subject myself to such schlock? Her opinion was that watching good movies would make me suffer less. Regular readers here may recall that I reviewed the fourteen such flicks I saw on my heart-surgery romp, and that they were only moderately less painful than the surgery.

And now I know why I do this to myself – it suddenly came to me! Why watch something really good when you’re miserable and can’t truly enjoy it? Instead, watch some mediocrity that has an element of interest to you (actor, screenwriter, director, cheesy genre) and just kill the time. Do you really want to make VERTIGO or KISS ME DEADLY a hospital memory?

Anyway, the next day I felt even better, and was cocky again, showing off for the physical therapist, rejecting the walker, walking twice as far, going up and down the stairs, a real Olympic work-out. We encountered, on our journey, a P.T. gal from the fifth floor and we had a warm reunion at the nurses’ station. Everybody was proud of me. Aware my ass was hanging out, I reminded these women where my eyes were.

Back in my room, Tessa – my main physical therapist from the fifth floor back in February – came looking for me. That meant a lot. She’s beautifully pregnant now, and I made both Barb and Tessa laugh when I denied paternity. These are the kind of inappropriate remarks you can make at my age in the hospital.

All that was left was to convince Dr. K that I was ready to be discharged. When he entered the room, I stood up so fast from the poorly designed hospital-room recliner that I almost blew it by falling down. But he only smiled, asked a few questions, and sent us on our way. In hospital terms, “being sent on your way” means you sit for three hours waiting for the paperwork to come through.

So I’m back home with the beautiful Barbara. Oddly I don’t feel as well as I did that last day in the hospital. It’s context. You feel great for the hospital. At home, you wondering, Maybe I should still be in the hospital…

I’m writing this on Sunday October 30. On Friday I did some work with Matt Clemens regarding the cover for EXECUTIVE ORDER. Yesterday I did some editorial work on the third Caleb York novel. Baby steps. Tomorrow I will see how much I can get done on a Caleb chapter.

Yes, we are waiting for a shoe to drop where the thing they cut out of me is concerned. Positivity and prayers are welcome, but we feel good. Not cocky, but good.


One week after surgery. (M.A.C., not the pumpkin.)

* * *

The final episode of the first season of QUARRY has aired. I’ll share thoughts about it next time.

Here’s an interesting review of that episode.

Here’s a remarkable overview of my work, with an emphasis on QUARRY and lots of fun pics.

Check out this terrific interview with Mike Fuller and Graham Gordy, QUARRY’s TV stepfathers.

And this one with director Greg Yaitanes.

Here’s a look at the show itself.

QUARRY is number seven on this list of the best 11 TV series of the season.

And finally check out this great take on the QUARRY series from the Washington Post.

M.A.C.