Posts Tagged ‘Eliot Ness and the Mad Butcher’

R.I.P. Emma Peel…and a Wolfpack Spy Revealed

Tuesday, September 15th, 2020

I am, obviously, at that age when the icons of my youth are going on ahead of me into whatever lies ahead. Emma Peel is gone. Not at all forgotten.

Still, losing Diana Rigg at 82 sounds much too soon – she was still displaying her considerable acting skills and powers of personality in Victoria and the forthcoming Black Narcissus.

The British Invasion was the Big Thing when I was in high school, and that of course immediately brings to mind the Beatles and their fellow rock ‘n’ roll invaders. But the British Invasion was also James Bond, and the Spy Craze – even The Man from U.N.C.L.E. was an Ian Fleming brainchild (thought that fact has been lost in the shuffle a bit). Sometimes the rock aspect collided with the spy craze, as when Johnny Rivers did the theme song for Secret Agent (as the Brit Danger Man was retitled for USA consumption). And would Michael Caine’s career have gotten its jump start if Harry Palmer hadn’t brought John Lennon to mind in The Ipcress File (1965)?

From the UK came the greatest of Spy Craze TV series, The Avengers (well, let’s call it a tie with The Prisoner). Emma Peel’s predecessor – as the black catsuit-clad partner of bowler-and-bumbershoot-sporting John Steed, portrayed by urbane Patrick Macnee – was Cathy Gale. The original distaff martial-arts Avenger (to “boys” my age, those Marvel Avengers should be called the Pretenders) was Honor Blackman, whose final curtain call preceded Diana Rigg’s by just a few months.

The Bond connections are many. Honor Blackman was (could anyone reading this really not know) Pussy Galore in Goldfinger (1964); and Patrick Macnee was James Bond’s Lordly sidekick in the Roger Moore entry, View to a Kill (1985). Macnee was not, as some would have, the cousin of (sort of) James Bond, David Niven (Casino Royale, 1965), though the two actors did appear together in The Elusive Pimpernel (1950).

Most significantly, Diana Rigg portrayed Contessa Teresa di Vicenzo in On Her Majesty’s Secret Service (1969), and became not just the love of Bond’s life but his wife, albeit briefly. The former Emma Peel was, not surprisingly, appealing in the role and her presence shored up the place-holder presence of George Lazenby as Bond in what was the greatest James Bond movie Sean Connery never made.

Diana Rigg was an accomplished and much-lauded screen actress, and I won’t go into all of her remarkable list of credits here. I’ll mention only my favorite performance by her, after Emma Peel and Tracy di Vicenzo, which is Arlena Stuart Marshall in Evil Under the Sun (1982), the best of the big screen Poirot movies (feel free to disagree, but do so knowing I’m not listening).

What is significant about Diana Rigg, it seems to me, is how she managed to be an actress of incredible sex appeal and at the same time convey an undeniable, even intimidating intelligence, at a time (the first Bond era, remember) when “birds” were mostly mini-skirts, eye make-up, and lots of teased hair. She could even smirk with intelligence, and the way she and The Avengers spoofed the inherently absurd spy fad gave the series its special zing. Her range as an actress is astonishing. I always had a sense that she wanted to give the audience her best, but if they didn’t like it, that was their problem.

So it is with a bittersweet smile, and a gathering sense of my own mortality, that I blow a kiss goodbye to Emma Peel, knowing that she and Diana Rigg will live forever.

Now, hoping it’s not a display of bad taste, I will segue into finally announcing the series that Matt Clemens and I are doing for Wolfpack. You’ll see the connection in a moment, or perhaps as soon as you hear the title of the first novel: Come Spy With Me.

Matt and I created the lead characters and developed the premise for the series twenty years ago in a couple of little seen short stories. John Sand is a recently retired British secret agent whose cover was blown world-wide when a famous series of novels by an ex-spy colleague of his became best sellers. The stories – at least the trilogy we have agreed to produce – take place in the, shall we say, Swinging Sixties.

John Sand has married a wealthy young woman named Stacey and, in Come Spy With Me, we join them on their honeymoon, where if we had any sense of propriety we wouldn’t witness their carnal conduct. I’ll leave it to you to decide how much propriety Matt Clemens and I have.

But not to worry. The mushy stuff is temporary – carnal gives way to carnage soon enough, and John Sand is as hard-edged a man of action as, well, the famous fictional spy that was based on him.

The name “Sand,” by the way, is a very much conscious tip of the jaunty ‘60s cap to the mono-named lead of Ennis Willie’s series of novels written in that era, which influenced me almost as much as Mickey Spillane, Richard Stark, and Ian Fleming.

You will hear more about this series as the weeks progress – the first book will, as I’ve indicated, be out well before the end of the year. We’ll have a cover to show you before too very long.

When Matt and I discussed getting an advance blurb from an appropriate author, only one name came to mind: Raymond Benson, author of officially licensed James Bond novels (and short stories and video games) and the landmark The James Bond Bedside Companion. Raymond is also the author of the Black Stiletto novels and Hotel Destiny – A Ghost Noir.

Raymond was gracious enough to look at Come Spy With Me in manuscript, and this is what he says:

Come Spy With Me is a heck of a ride! The characters are smooth, the real-world cameos are fun, the action is electric, and the sex is rightly retro. This homage to Mr. Fleming, Mr. Bond, and all the other pulp spy thrillers of the 1960s will leave you craving for the next installment!”

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This is a lovely review of the forthcoming second Ms. Tree collection from Titan – Skeleton in the Closet.

Here is a compendium of reviews of Eliot Ness and the Mad Butcher, mostly very good.

My co-author, A. Brad Schwartz and I, will be discussing Eliot Ness and the Mad Butcher next Sunday, September 20, at 1 pm Central. Join us with your own questions.

M.A.C.

“Real” Books Now Available from Wolfpack!

Tuesday, September 8th, 2020

This will be a brief update because my office is shutting down for my son Nate to install a new computer with various new programs.

But I will take the time to announce the following: print versions of both Mommy and Mommy’s Day are available for $9.99. Be sure to click on PAPERBACK at the listing to get the right price (and cover). [Note from Nate: The links in this update go directly to Amazon.]

Also available as “real” books from Wolfpack are Murderlized – the collected short stories of Matt Clemens and me (10.99); all four Eliot Ness books, The Dark City, Butcher’s Dozen, Bullet Proof, and Murder by the Numbers ($10.99 each); and Murder His and Hers, stories by Barb and me ($9.99).

Your support of these titles will be much appreciated. Their success paves the way for new original books (and further reprints) by me, me and Matt, and me and Barb.

Yeah, I know – that’s an obnoxious amount of “me” – and “I” know it.

* * *

Here’s a great Kiss Her Goodbye review, reprinted from a long-ago post.

This is a rather tepid endorsement of Eliot Ness & the Mad Butcher.

Finally, here’s a list putting a story by Mickey Spillane and me on the “must-read” list.

M.A.C.

Charles Dickens, Anthony Newley and Real Books

Tuesday, September 1st, 2020
Dark City (Wolfpack Edition)

The physical editions of my books at Wolfpack have started to kick in! You can get Murder – His & Hers right now. And all four Ness novels are individually available – [Amazon links] The Dark City, Butcher’s Dozen, Bullet Proof, and Murder by the Numbers. They share the same cover as the Eliot Ness Mystery Omnibus, but with variant colors.

* * *

Barb and I – thanks to the efforts of our son Nate – were able to watch Bill and Ted Face the Music on its opening night, streaming it. We love Bill and Ted’s Excellent Adventure, and also like the sequel, Bill and Ted’s Bogus Journey; I would put this long awaited third installment on at least a par with the sequel.

Like its predecessors, it’s a very smart movie about a couple of lovable dudes who are perhaps not as dumb as they appear, rather are just of their time and generation. As Nate commented, in the midst of this Covid/Trump reality, for one sweet funny evening, the world felt normal again. Like nothing had changed.

But we shouldn’t get too cocky about the past. Of late, Barb and I have been watching a lot of film and TV adaptations of Charles Dickens novels, escaping from 2020 into the 1800s. That escape, though, has an uncomfortable number of parallels – homeless people (check), government-abused kids (check), an unfair court system (check), corrupt politicians (check), an uncaring wealthy class (check), pollution (check), disease (check)…and on and on.

Still, it’s another time and place and kind of a relief to be anywhere but here. So I’ll recommend a few of the really worthwhile Dickens adaptations. All of these are available on DVD and some on Blu-ray, with many available for streaming.

If you have the time, nothing beats the eight-hour-plus stage version (on video) of Nicholas Nickleby (1982), the Hamilton of its day. Standouts in a huge cast are Roger Rees in the title role and definitive Dickens actor Alun Armstrong as (among other characters) the ignorant, sadistic schoolmaster Squeers.

David Lean was one of the greatest filmmakers of all time, and his two Dickens adaptations are as good as movie versions get: Great Expectations (1946) with John Mills and Alec Guinness; and Oliver Twist (1948) with Robert Newton and Anthony Newley (not the main actors but favorites of mine). Add to that list, of course, Scrooge (1951) with Alistair Sim (which I’ve lauded here many times).

Andrew Davies has scripted two relatively recent BBC mini-series that are the gold standard of Dickens TV adaptations: Bleak House (2005) with Gillian Anderson and
Charles Dance; and Little Dorrit (2008) with Claire Foy and Matthew Macfadyen. The Mystery of Edwin Drood (2012), scripted by Gwyneth Hughes, is first-rate, too, especially Drood actor Matthew Rhys, who is now (of course) Perry Mason.

As good as David Lean is, the BBC’s early ‘80s long-form renditions (often a dozen half-hour episodes, which suggest the serialized format of the original Dickens works) are in some ways superior, as they tend to adapt each novel in its near entirety. When certain colorful incidental characters in Dickens are, understandably, omitted from films two hours or less in length, much of the richness and humor of the original novels is lost.

Also, aspects of Dickens are distorted in the shorter form of films and TV movies. Yes, there are wild coincidences, but when woven throughout a very long narrative, filled with characters, those coincidences seem a part of the fabric of life and not convenient plot devices. And without the deeper characterizations, the principal characters can seem to be chess pieces Dickens is moving, a feeling one doesn’t get from the books.

For example, not just including David Lean’s version, Great Expectations has been filmed a number of times quite effectively. The BBC mini-series with Gillian Anderson and David Suchet is excellent. But the far less lavish 1981 BBC mini-series, with its six-hour length, tells the entire story of the novel, with much deeper characterizations than any other adaptation, especially for Pip (Gerry Sundquist) and his convict friend (Stratford Johns. The definitive Miss Marple, Joan Hickson, turns outalso to be the definitive Miss Havisham, bringing remarkable depth to a character who can be a cartoon.

Less celebrated Dickens novels come to worthwhile life, too, in the longer-form ‘80s and ‘90s BBC adaptations – Domby and Son (1983), another Andrew Davies script; Martin Chuzzlewit (1994) with Paul Scofield and Tom Wilkinson; David Copperfield (1999) with Bob Hoskins and Maggie Smith; and Our Mutual Friend (1998) with Steven Mackintosh and Keeley Hawes.

I mentioned actor Alun Armstrong above. Of the films and TV versions I’ve mentioned here, he is in about half. He has played villains, lovable sorts, and even made a great Inspector Bucket. We thought he did a great job in Martin Chuzzlewit, too, until we realized that was Pete Postlethwaite.

Look, there are plenty of good and at least watchable Dickens adaptations. But these are worth your time. Are there any that aren’t?

Hard Times (1994) with Alan Bates and Richard E. Grant is a hard go. Bates is a fine actor but he hams it up here, in a grotesquely arty, misjudged take on Dickens.

The Old Curiosity Shop (1979) is, in my probably worthless opinion, as bad as Dickens ever got; he seems to be spoofing himself without his readers realizing it, like the Turtles doing a parody of themselves with “Elinore” (“I really think you’re groovy, let’s go out to a movie”) and nobody getting it. But the novel deserved better than the 1979 BBC mini-series with its cringingly over-the-top Trevor Peacock’s Quilp at centerstage.

Of course, the ridiculously villainous Quilp is part of why I think Dickens is having a laugh at himself and his audience (right down to, SPOILER ALERT, killing Little Nell). Much better, though little seen (particularly in its longer, richer version), is Anthony Newley sending Quilp and himself up in the 1975 musical variously known as Mr. Quilp and The Old Curiosity Shop. The assumption that audiences who enjoyed Carol Reed’s recent Oliver! would adore Dickens’ dreary self-parody was probably the first mistake; still, this version is pretty good.

Newley, who as a child star made his first major claim to fame playing the Artful Dodger for David Lean, was coming full circle with his outrageously over-the-top Quilp, throwing in for good measure a solid score he wrote himself (not his best, as that was invariably reserved for his collaborations with Leslie Briccuse). Newley, who died at 67, enjoyed a final triumph starring in the Briccuse musical Scrooge on the West End and touring the UK provinces.

I don’t recall if I’ve mentioned Newley here before. He is on my very short list of “ideels” (as Li’l Abner described Fearless Fosdick). It’s a list including people like Bobby Darin, Mickey Spillane, Audie Murphy and Jack Webb. My ideels, each and every one it would seem, somehow demand defending – Darin was an obnoxious pretender, Spillane ruined mystery fiction, Murphy couldn’t act, Jack Webb was a joke. I have defended all of them and will continue to do so till my dying day.

As for Newley…

He is a genuinely quirky and willfully mannered performer, his distinctive vocal style the kind of thing that kept impressionists in business in the ‘60s and ‘70s. He is also the primary influence on David Bowie as a singer and performer, something Bowie often admitted.

With Briccuse, Newley wrote two great Broadway scores, each filled with standards: Stop the World I Want to Get Off and Roar of the Greasepaint, Smell of the Crowd. With Briccuse and John Barry, he wrote the theme for Goldfinger. He and Briccuse wrote the music for Willy Wonka – “Candy Man” and “Pure Imagination” and even the ditty sung by the Oompah Loompahs.

While to my knowledge it’s never been revived (Stop the World has been a number of times), Roar of the Greasepaint has not. Among the songs are “Who Can I Turn To,” “On a Wonderful Day Like Today,” “The Joker,” and the remarkably resilient “Feeling Good.”

In 1965 in New York, on summer vacation with my parents, I saw Roar of the Greasepaint at the Shubert Theater. I have seen many musical plays, including any number on Broadway and many more in Chicago, and countless concerts by stars of both the Vegas variety and the rock persuasion.

I’ve never seen anything better than Roar of the Greasepaint, Smell of the Crowd. Nothing as compelling or as funny or as mesmerizing. Newley’s was the single best performance I’ve ever seen. He was not unsupported: Captain Hook himself, Cyril Ritchard, was a regal “Sir” to Newley’s cockney Cocky – both were tramps, bums, with more than a hint of circus clown. Amid urchins out of Oliver!, with other contestants a beautiful woman and a black man, they played the Game of Life, with Sir making up and changing and rearranging the rules as they went.

I am going to share with you some of what I saw that night. Newley, right around the time I saw him performing at the Shubert, appeared on Ed Sullivan. In costume and in character, he delivered an amazing “Who Can I Turn To,” a song brilliantly conceived by its authors to work as an unrequited love song and, in the show’s context, as being addressed by Cocky to the God who has abandoned him. Have a look.

We’ll talk about his film Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? another time.

* * *

Eliot Ness and the Mad Butcher is deemed one of six true crime books you should be reading right now.

Finally, you kind of have to dig for it, but a discussion of one of my Batman stories can be found in this essay about Batman vs. Batman.

M.A.C.

The Mail, A New Book, Sex Island, and Bang-Zoom!

Tuesday, August 18th, 2020

Before I get into more edifying topics – “edifying” in the case of these updates being a euphemism for “self-serving” – I am going to carefully wade into a topic that may be viewed as political. And it is, admittedly…but in a nonpartisan way.

While I occasionally slip, I do my best here not to get into political territory, though I am something of an opinionated political junkie myself in real life. But I have seen several friendships I value become damaged if not ruined by the topic of President Trump. And I have valued business associates (who are also friends) who I would put at risk of alienating if I spoke my views. Finally, those of you who are good enough to check in here to listen to me babble are on the most basic level my customers (as Mickey Spillane used to say) and I don’t care to alienate those who help Barb and me keep the lights on around this joint.

But the situation with the United States Postal Service right now goes way beyond politics. It is a bipartisan problem and we all – all – should step up. It may be incompetence on the part of a postmaster with no background in the postal service; it may be something akin to sabotage, in which case it’s not at all well-thought out sabotage. If the mail is being slowed down on purpose, Republicans need to remember that in the past their party has benefitted far more from mail-in ballots than Democrats – the military, traditionally Republican-leaning to say the least, depends on mail-in ballots. (Mail-in ballots and absentee ballots – like the ones the President and the First Lady use in Florida – are essentially the same thing. Please don’t bother me with a diatribe about how they are not. Please do not write to tell me voting by mail leads to wide-spread fraud, because there is zero evidence to indicate that’s the case.)

This slowdown – which includes removing hundreds of high-speed mail-sorting machines, pulling mailboxes from street corners (public pressure has already addressed this…maybe), firing seasoned employees at all levels, curtailing overtime, and letting mail pile up – has an impact far beyond any misguided, wrongheaded attempt to suppress Democratic votes.

It impacts seniors like Barb and me, and veterans all around the country, from getting their meds in a timely manner. It slows social security checks. It slows down checks from employers (all of my checks come through the mail). It means credit card, rent, mortgage and other vital payments don’t get there on time. It means small businesses have difficulty getting their products to market. It means consumers (many house-bound now) who have to order various goods from home do not get them without a delay. It also means that goods arrive damaged (I have seen this happen personally – books, magazines, DVDs and Blu-rays coming mangled or crushed, over the past few weeks).

And, yes, in a pandemic, voters – particularly seniors like Barb and me – should have the ability to vote from home, by mail, with confidence that our votes will be counted.

What can you do?

E-mail your Senators. Your House representatives, too. It’s easy to use Google to get to them, even if you don’t know their names. Typing in “United States congress Muscatine, Iowa” got me right to Dave Loebsack of Iowa’s Second Congressional District. Typing in “Iowa United States Senator” got me right to Joni Ernst and Chuck Grassley (both apparently named at birth by the ghost of Charles Dickens). When you get to their web sites, you’ll find e-mail contact with them a breeze. Be polite. Don’t make bad parenthetical jokes about Charles Dickens. Let them know how your life, how you personally, are being impacted. Tell them you want the postmaster to rescind policies that he himself says have had “unanticipated consequences.” Tell them to properly fund the post office now. Let them think your vote might come their way if they show some responsibility on this issue.

* * *
Murderlized Cover
E-Book: Amazon Purchase Link
Paperback:Amazon Purchase Link

I am delighted to report that Murderlized, a collection of short stories by my longtime collaborator Matthew V. Clemens and me, is available as a Kindle e-book from Wolfpack right now. The cover is fantastic, in my opinion. Matt digs it, too.

Wolfpack secured from me the rights to a number of my books, as you probably have noticed. The e-books are getting out there first, but you will be able to order physical books soon. The efficient wolves in the pack are working right now to get the four Eliot-Ness-in-Cleveland novels out in a two-volume (two-book-per) set of An Eliot Ness Mystery Omnibus. A single volume collecting Mommy and Mommy’s Day: A Suspense Duo is coming, too.

And Murderlized will soon be available as real book, too, as will everything of mine that Wolfpack is bringing out. I hope to be able to do my legendary Book Giveaways for all of these titles, as that occurs.

Murderlized is a massive collection of almost all of the short stories Matt and I have written together in the twenty or so years of our collaboration. (The only missing tales are a couple of licensed stories – one involving Hellboy, another set in the Buffy universe – that were problematic to include.) These are dark tales that fall in the realm of mystery/suspense, and several are overtly detective-oriented, with a few delving into outright horror. One thing Matt and I have done over the years, on occasion, is write the equivalent of a TV pilot – putting an idea for a book series on its feet by way of a short story. An unofficial CSI spin-off set in a Midwestern city is one example, and two horror stories in the X-Files vein represent recent attempts that may yet turn into novels. The series that Matt and I are doing for Wolfpack – which we’ll be revealing a little later – began with two short stories we wrote years ago (one of which appears in Murderlized…but no further hints).

As for the significance of the title, the namesake story has Moe Howard of the Three Stooges solving the murder of Ted Healy, the comedian for whom the stooges first stooged. It’s one of our favorites.

Matt and I go back a long way. I met him in the mid-‘80s when he came to book signings and Crusin’ band gigs, but really got to know him around 1987 at the Mississippi Valley Writers Conference, where I taught every summer for over twenty-five years. I encountered many promising and talented writers at the conference, and at least half a dozen nationally published novelists came out of my classes. I don’t take credit for that – not full credit, anyway – but several romance novels were dedicated to me, and it wasn’t for my Errol Flynn-like charms.

Matt was a familiar, positive presence at that conference, becoming a kind of host. He took my class several times, winning the John Locher Memorial Award. He also formed a friendship with the late Karl Largent, highly successful techno-thriller author, and began doing research and more for Karl, including presenting writing classes with him. I bought a story from Matt in 1993 for an anthology, and was impressed enough with his work to suggest we collaborate on a short story. That story, “A Pebble for Papa,” is included in Murderlized.

I began getting very busy with movie and TV tie-in work all through the ‘90s, doing numerous film novels and a pair of NYPD Blue novels. But when I was offered the CSI series, shortly after it began, I called Matt and asked if he’d seen the series (I hadn’t). He had. He’d done some research for me in the past, so I brought him on in that capacity and – since he knew the show – we co-plotted the first book. Quickly he got to know a number of cops locally and was bringing in just the kind of inside forensics info I needed.

I wound up having him develop a story treatment, with the scenes involving evidence and science fleshed out. Quickly that evolved into a collaboration where we plotted the books together, with him writing a story treatment (really a short rough draft), and me the final book. We did that for eight novels, and two CSI: Miami novels as well. We hit the USA Today bestseller list numerous times. More licensing poured in. I did several CSI video games alone, but brought Matt in to help on CSI: Miami. Together we wrote three CSI graphic novels and one CSI: New York graphic novel. We did a bunch of CSI jigsaw puzzles, too (short stories with the puzzle image including clues needed to solve the mystery). For five years we were the sole licensing writers for CSI and its spin-offs. For another two years we did the bulk of that work.

From this came the three Dark Angel novels and three Criminal Minds novels. (I should note that I wrote all of the movie novels alone.) At that point we wanted to break away as a tie-in team and write our own joint projects, which led to the two J.C. Harrow serial killer thrillers, You Can’t Stop Me and No One Will Hear You, followed by the thriller What Doesn’t Kill Her and the Reeder and Rogers political thrillers, Supreme Justice, Fate of the Union and Executive Order.

After my open heart surgery (among other medical fun and games), I stopped pursuing tie-in work other than Mike Hammer, and I of course already had a collaborator on those – the late Mickey Spillane. Matt and I wrote a few short stories during this period, but mostly I was working either alone (including the Krista Larson series) or with Barb (on the Antiques series).

Then Wolfpack came along, which seemed the perfect place for Collins and Clemens to get back to work together, and apart – I intend to do a Krista Larson novel for Wolfpack, and Matt and I will probably be doing a Reeder and Rogers for Wolfpack, as well. I say probably because we want to see where the country is politically after the coming election before diving back into those troubled, murky waters. Also, Matt is working on a solo western.

Wolfpack has been incredibly welcoming to me, and I am particularly grateful to have my short stories collected – the ones I’ve done with Matt in Murderlized, the ones I’ve done with Barb in Murder – His and Hers and the forthcoming Suspense – His and Hers, and the ones I wrote alone in Blue Christmas and the forthcoming Reincarnal.

But, of course, I need your support. If you buy e-books, you’ll find that Wolfpack will always have my material at a friendly price point (and often at sale prices). For those of you who – like me – prefer “physical media” (there must be a better way to use the English language), actual books of these titles are coming soon.

* * *

About once a week, my son Nate has been coming down the street, after getting his two kids to bed, to view a late-night movie with his old man. We tend toward Asian stuff, like classic Jackie Chan material and boxed sets of obscurities by great Japanese director Seijun Suzuki. Lately we’ve been delving into the Criterion Collection’s Blu-ray box set of Bruce Lee films, most recently Enter the Dragon.

Toward the beginning of the film, blaxploitation star Jim Kelly is pointlessly harassed by two racist cops who pull their vehicle up, hop out, and violently assault him (although it doesn’t work out well for them). Later Bruce Lee is told about a creepy rich guy who is a modern-day white slaver who has an attractive female mistress who recruits under-age girls and gets them addicted to drugs, then takes them to a sex island where they can service corrupt big wigs.

Nate looked at me and I looked at him.

“Not much has changed,” I said.

“Not much has changed,” he said.

* * *

Over the weekend I completed the second of three novellas for Neotext that introduce a new female detective character (about whom much more in the not too distance future, as the Mystery Science Theater theme puts it). I still have to re-read the manuscript for typos and inconsistencies and general tweaking.

But the beat goes on.

* * *

And FYI:

THRILLING DETECTIVE & JOHNS HOPKINS UNIVERSITY PRESS
Proudly Present
DETECTIVES IN THE SHADOWS
A Hard-Boiled History

Detectives in the Shadows

A special digital event about crime fiction’s hard-boiled history, featuring acclaimed and bestselling authors and celebrating the awesome new book by Susanna Lee.

WHEN: Tuesday, August 18, 2020. 6 p.m. EDT.

WHERE: Join us via Zoom at https://us02web.zoom.us/j/87153268756

More info: https://thrillingdetective.wordpress.com/2020/04/08/the-thrilling-detective-zoom/

Join a riveting online discussion on the past and present of hard-boiled crime fiction with leading crime fiction authors. Featuring Max Allan Collins (Road to Perdition), Ace Atkins (the Quinn Colson series), and Alex Segura (the Pete Fernandez series), the live event will celebrate the release of Susanna Lee’s new history of the genre, Detectives in the Shadows: A Hard-Boiled History. The event will be hosted via Zoom by Kevin Burton Smith of the Thrilling Detective Web Site and Johns Hopkins University Press.

America has had a love affair with the hard-boiled detective since the 1920s, when Prohibition called into question who really stood on the right and wrong side of the law. And nowhere did this hero shine more than in crime fiction. In Detectives in the Shadows, literary and cultural critic Susanna Lee tracks the evolution of this character type—from Race Williams to Philip Marlowe and from Mike Hammer to Jessica Jones.

In addition to being accomplished authors, everyone on the panel has a vast knowledge of the genre’s history. Enjoy a fascinating moderated discussion about crime fiction’s most iconic gumshoes and participate in a live Q&A with the panelists.

* * *

Here’s a radio interview Brad Schwartz and I did for our new Eliot Ness and the Mad Butcher.

And, for those of you sitting on the fence about whether or not to buy a copy, here’s a Crime Readers excerpt from that book.

Finally, here’s a fun career piece on the great Darren McGavin. The Mike Hammer material draws from (and credits) Jim Traylor and me for our book Mickey Spillane on Screen.

M.A.C.