Wilkie Collins - The Dead Alive

Wilkie Collins, 1853

So often the stories we enjoyed as kids don’t hold up when we reread them as supposedly mature adults. Dale Andrews discussed this in particular about the Hardy Boys and I’ve noted this recently while rereading S. S. Van Dyne.

One of the earliest novels I read in the 4th or 5th grade was a battered copy of The Moonstone, one of the many hundreds of books my family hoarded in case of cultural collapse and literary starvation. At the time, I didn’t know The Moonstone was special, that it was considered the first modern English mystery novel. I simply enjoyed it so much I would remember it for decades.

Its author, Wilkie Collins (1824–1889), is recognized as one of the great authors of the Victorian era, reaching his peak during the 1860s. It was during this decade he published The Woman in White (1860), No Name (1862), Armadale (1866), and The Moonstone (1868). Also during this time his friendship with Charles Dickens grew and developed to the point of collaboration.

Bully

Many of us feel a particular distaste for school bullies, but Collins credits a class tormentor for awakening his creative talent where he “learnt to be amusing on short notice.” When Collins was 14, he appeased his in-residence persecutor with stories. “It was this brute who first awakened in me, his poor little victim, a power of which but for him I might never have been aware. … When I left school, I continued story telling for my own pleasure.”

The Dead Alive
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The Dead Alive
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Today’s The Dead Alive, sometimes called John Jago’s Ghost, features at least one bully and arguably a second. Note Collins’ smooth, modern style. While not as ‘deep’ as his friend Dickens’, Collins’ writing isn’t nearly as dense. Some Victorians require intense mental mastication, but Collins’ words dissolve on the tongue like a well-made pastry.

A few reviewers believe Abraham Lincoln’s Trailor Murder Mystery was answered by this Wilkie Collins’ story. That assessment is likely a mistake. While it’s impossible to determine whether Collins was aware of Lincoln’s case, it’s far more certain Collins based his story on another American case, that of the Boorn Brothers in Vermont. Not only will readers will find the parallels irrefutable, but Collins himself admits such in his afterword.

And now, a tale by Wilkie Collins…

A Writer's Guide to Booksignings

My favorite story about signings was told by Erma Bombeck years ago. She said that during one of her book signing events at a large store, only two people stopped by her signing table all day: one needed directions to the restroom and one asked her how much she wanted for the table. Funny story, but it can be a pretty accurate description of some of these signings. Nothing's ever certain, nothing's ever guaranteed. All you can do is show up, bring along a positive attitude, and hope you don't wind up sitting there twiddling your thumbs, or playing checkers with the manager in an otherwise empty store.

By the way, note that the title of this piece isn't "The Writer's Guide . . ."--it's "A Writer's Guide . . ." The opinions this writer will voice later are mine alone, and I welcome any and all opposing views (I might learn something).

The best of times/the worst of times

The nicest thing ever to happen to me at a booksigning occurred last spring, at a noon-to-four Saturday signing at a Books-A-Million in Meridian, Mississippi (about 100 miles east of my home). A middle-aged guy came in, saw me signing books, and introduced himself. He told me he had been here in this very store a week earlier, when he'd been driving through on I-20 on his way to Atlanta from his home in Dallas, and had spotted one of my books in the mystery section and had purchased it to have something to read during his spare time in Georgia. I thanked him for having done that, and he said, "No, thank you. The reason I'm here again is that I'm on my way back to Texas today and I liked the book so much I stopped in to buy your other four books too." That was of course music to my ears, and I would never have known anything about it if I hadn't happened to be signing there that afternoon.

On the flip side of that is a trip I made a couple years ago to a signing at an indie store elsewhere in the state. I ended up sitting there for three hours, staring out the window at the street and watching the parking meters expire. Not one customer came through the front door that afternoon. The owner of the store was as gracious as could be, and I enjoyed meeting her, but saleswise that was my worst day so far, at a signing. My best days at regular (non-special-event) signings have been at chain bookstores at Christmastime, and my best days otherwise have been the launch/kickoff signings for new books (all my launches so far have been at Lemuria, a wonderful independent bookstore here in Jackson). All writers seem to do well at those "special" events because they're widely publicized and attract friends and family.

It goes without saying that every author has his or her own approach to booksignings. Some sit there with arms folded and glare at everyone who passes, and others leap over tables in frantic pursuit of any customer who happens to glance in their direction. Most, thank goodness, use methods that fall somewhere between these two extremes.

Not that it matters, but here's what I have always done (or tried to do) at non-indie-store booksignings:


Ten-point checklist

1. I arrive early.

2. When I get there, I introduce myself to the manager and as many of the staff as I can. These are people you want on your side, and they're usually interesting folks anyhow.

3. If my signing area hasn't already been set up, I offer suggestions of where I'd like to be located. I've found that someplace near the front entrance works best. You might think that would be obvious, but some managers like to position their visiting authors in the in-store cafe area, or in an out-of-the-way spot to give them more room. That doesn't work well, for me. If you're in the cafe you're stuck among a bunch of folks more interested in eating and drinking and talking to each other than in buying your book--or having to listen to you talk to people about buying your book--and if you're in the back of the store or any other low-traffic area there's always the chance that a potential buyer will enter and leave without ever even knowing you're there.

4. Again, if everything hasn't been set up yet, I go back to the shelves or the storeroom and help the staff carry my books to my table. In some cases I've even lugged the table and chair to the signing area myself. Authors who consider themselves above these kinds of menial tasks should get a grip on reality. (Unless maybe they're Stephen King. Nobody's going to think less of me for doing it, because nobody knows who I am anyway.)

5. If there's an in-store cafe, I ask whoever's behind the counter for a bottle of water or a refillable cup of water to keep with me at the signing table. If he or she later happens to bring me a cookie or an apple danish to help sustain me during my ordeal, so much the better.

6. I remain standing most of the time, and use my chair only when I'm signing a book. But that's just me. And I'm careful never to have more than one chair at my table. I did that once, and a tired lady with two babies in a stroller wound up sitting there and talking to me for half an hour. She of course didn't buy a book.

7. I try to make eye contact and at least nod a greeting to shoppers when they enter the store or pass my table. If it seems natural enough, I'll walk over and hand them a brochure of my book and say, "I'm John Floyd--I'm here signing books today," and then get out of their way. I don't ask them if they like to read or if they like mystery stories or if they've heard of my books. There's a fine line here, between being proactive and being annoying, and I have an extremely low tolerance level for this kind of thing, when I'm the shopper. Besides, the person you give a brochure to will often come back later and want to hear about your books, and when that happens you have a far better chance of a sale. (NOTE: My publisher provides a simple three-fold color brochure for each book title, and to me those are more important than bookmarks, posters, or any other kind of promotional material.)

8. If a buyer wants me to personalize his or her book, I ask how the name is spelled. Even if it's John or Jane. And I have yet to guess correctly on Sara vs. Sarah.

9. I stick a bookmark (usually for one of my other titles) in every book I sign.

10. I leave late.


Random observations

If I have observed anything in the ten years I've been doing this (my first collection of shorts was published in '06), I have observed that a writer stands a better chance of selling a lot of books if he or she signs at a chain bookstore. Independent stores are fantastic and will always be dear to my heart, but unless you're hosting a launch or the store is in your hometown, I predict you'll sign more books at a Barnes & Noble, Books-A-Million, etc., simply because there'll be more people in the store. More foot-traffic equals more sales.

In the Believe-It-or-Not department, I have learned that you'll sell more books at a solo signing than at a joint signing with other authors. You'll probably have more fun at the multiple-author signings because you always meet new contacts and renew old friendships, but I can almost guarantee that you will sell fewer books. In my case, I always, always sell more if I'm the only writer signing in a particular venue on a particular day. I think it has something to do with human nature: a prospective buyer is much more likely to approach one person at a table than to approach a group of people, especially a group of people who might already be chatting with each other. Another thing I have found is that sometimes a reader will hesitate to buy a book from only one writer at a multi-author table for fear the other(s) might take offense. Maybe this is just a southern thing.

A third observation: If your best chance of selling a reasonable number of books is at a mega-bookstore, your least chance is (1) at a store that doesn't otherwise sell books and (2) a presentation to a group of people other than readers. Don't get me wrong: I gratefully accept invitations to do signings at coffeeshops and gift shops and to speak to groups at retirement homes and local schools--I spoke to a high-school class last week, and had a great time. But if we're talking profitability, those places obviously don't produce a lot of sales. I think the ten best-to-worst venues, in terms of the probability of selling/signing a lot of books at one time, are:

1. Chain bookstores (B&N, B.A.M, the now-defunct Borders, etc.)
2. Independent bookstores
3. Writers' conferences and book festivals (local, regional, national)
4. Book clubs
5. "Friends of the Library" groups
6. Other library events (brown-bag luncheons, author roundtables, etc.)
7. Civic club meetings (Rotary, Lions, Kiwanis, etc.)
8. Area events (fairs, flea markets, church socials)
9. Stores other than bookstores
10. Senior centers and school classrooms

Many of you will certainly disagree with this ranking, and that's fine. Some authors' comfort level at something like a library or church event might be greater than at a more commercial or unfamiliar venue, and if that's true for you, do whatever works. Again, these are my observations only. Remember too that ANY of these opportunities is a lot better than sitting at home or in your publisher's office looking at your hopefully-good-but-possibly-dismal sales figures.

Let me mention a couple more advantages/disadvantages regarding chain bookstores vs. indies. Chain-store signings can sometimes be easier on the author because the books are usually already on the shelves (handled via the publisher and distributor), and you don't have to transport them to and from the store as you might at a smaller bookstore. Conversely, though, if you sell out of all your books in a chain store, they often won't allow you to bring more books in; at independent stores you can just go out to your car and fetch another stack.

A final note. I've found that the best signing times are the last two or three weekends before Mother's Day and the eight or ten weekends before Christmas. (At least here in the South.) My publisher always tries to schedule me at large bookstores almost every Saturday in December, November, and late October. For the past seven or eight years, I've even appeared at some of the same stores twice during the pre-Christmas season (once in October and once in December). I have never yet signed on Christmas Eve because that's family time for me, but that's obviously one of the best days of the year if it suits your schedule.

Questions

For those of you who are writers, where are the places you most enjoy signing books? At which places have you been most successful? Do you consider signings fun, or a chore? (I actually enjoy them.) Do you schedule your own events, or does your publisher handle that? Do you prefer solo signings or multi-author events? Do you ever try to schedule signings in different locations for different times of the same day? (I don't.) Have your sales been better at indie stores or the big chains? Do you or your publisher produce bookmarks and/or brochures, and do you use them during signings? Do you often speak to civic/library/school groups and sell your books there? How aggressive are you at approaching readers (potential buyers) at signings? Are you sick of shoppers who go into a bookstore, buy an Elf on the Shelf or a Batman T-shirt, and never once look at a book? Are you sick of these questions?

The truth is, unless you're a big-name writer, signings are a necessary task. Like 'em or not, they remain a great way to meet the reading public and move the books you've written. So, as my publisher would say, grin and bear it.

Is that name spelled Catherine or Katherine?


BY THE WAY … I'd like to announce that my friend and fellow writer Herschel Cozine will be posting a guest column in this space two weeks from now, on March 5. Be sure to tune in for that piece--I suspect it will be shorter than this one and I'm certain it will be better written. Herschel, welcome once again to SleuthSayers!

Learning From Children's Books

I'm almost certain that I never read Arnold Lobel's books when I was a child myself—or at least none of them stand among all the many books I do remember reading and rereading and adoring when I was younger. Lobel, as many probably already know, was the author and illustrator behind nearly 100 books, some of which he wrote himself, some which he illustrated for others. Among his best-known creations are probably the various Frog and Toad books—Frog and Toad Are Friends (1970), Frog and Toad Together (1972), Frog and Toad All Year (1976), and Days with Frog and Toad (1979)—but he's also the author of Prince Bertram the Bad (1963), Small Pig (1969), Owl at Home (1975), Mouse Soup (1977), Uncle Elephant (1981), and the Caldecott Medal winner Fables (1980), among scores of others.
While many of these books were certainly published in time for me to have read them as a child myself, my own experiences with Lobel's books has come later. The son of an old girlfriend loved Small Pig, and the two of us bonded over a reading of it. One of my wife Tara's favorite childhood books was Prince Bertram the Bad, a well-worn copy now, and when our son Dash was born, I tracked down a pristine first edition of it for us to share with him. And in addition to that book, Dash has grown to love other of the titles above—particular those Frog and Toad books (a gift from good friends) and Uncle Elephant, the title that first introduced him to the idea of chapter books, of stories that add up to a larger story. (Is this the point where I plug my own novel-in-stories? Oh, well, why not?)

I don't know that there's any part of the day I enjoy better than reading stories with Dash, and when I get to pick the evening's books, I often gravitate toward the Lobel titles on his shelves—stories that strike me again and again with their simplicity, their beauty, and their humanity.

Many people may think of children's books as teaching opportunities on various levels. Children need to learn to read, of course (our Frog and Toad collection is part of the "I Can Read!" series), but there's also the sense of lessons being learned, values being instilled, often some moral to the story in many books at this level. And I'm certain that there are lessons to be found in Lobel's books too—in the case of Frog and Toad, lessons about what friendship means and how friendship works, clearly, and it's been argued, persuasively, that these books also promote positive images of same-sex relationships; here's just one essay of many on this idea.

What strikes me as much as those positive messages, however, is the fact that not everything in the books stays positive—which isn't to say that it's negative, but rather that the author seems to acknowledge and appreciate the foibles and faults of characters as much as their strengths; in the story "A Swim," Toad is embarrassed by people seeing his bathing suit and laughing at him, and while a conventional story might have Frog ease him out of his embarrassment, boosting his ego, saving his pride, this one has Frog laughing along with everyone else at the end of the story, because, as he says, "you do look funny in your bathing suit." The stories recognize too the capriciousness of the world, maybe even the indifference of the universe. I adore the story "The Surprise" in which Frog and Toad each sneak over to the other's yard to rake October's messy fallen leaves—such generosity!—but then, as each of them are returning home, a wind comes up and the piles of leaves that each of them have raked blow everywhere. With this twist, each of them get home to find not a freshly raked yard but the same old mess they'd left. As Frog says, "Tomorrow I will clean up the leaves that are all over my own lawn. How surprised Toad must be!" And in perfect balance, over at his own house, Toad says, "Tomorrow I will get to work and rake all of my own leaves. How surprised Frog must be!" The story ends with the sentence, "That night Frog and Toad were both happy when they each turned out the light and went to bed." O. Henry couldn't have done it better.

When I read Lobel with my son, I find myself not thinking of the lessons learned or the values instilled but of the sheer perfection—I do not use that word lightly—of the stories as stories...and of what I as a writer might take from them. I mentioned simplicity above as a hallmark of his work, but I'm often in awe of the brilliant balance in these stories: the establishment of character, the laying in of only the necessary elements, the balance of all those elements, and the rightness of the endings—which seem to me to strike that ideal mixture of being both surprising and inevitable...and, to fall back on that other word, all too human. In the story "Christmas Eve," Toad is worried that Frog is late for the holiday dinner but he doesn't know how late because his clock is broken. Stuck in that timelessness and the literally immeasurable waiting, Toad begins to imagine the worst that could've happened to his friend, and he begins to gather everything he needs to save him: a rope to pull him from the hole he must have fallen in, a lantern to guide him from wherever he's become lost, a frying pan to battle the beast who might be threatening him. Thus armed, he rushes out into the cold night—only to run into Frog coming in. "I am very sorry to be late," says Frog. "I was wrapping your present"—which is, of course....

The New York Times obituary for Lobel noted that drawing came easier for him than writing: ''Writing is very painful to me,'' he said in an interview in 1979. ''I have to force myself not to think in visual terms, because I know if I start to think of pictures, I'll cop out on the text.'' Whatever the process, the stories themselves prove that the pain paid off—at least for us readers and us writers too, who maybe can learn something of our own from all this.

What about others? Any other writers out there who can point to children's books or stories that have informed their own work? or that serve as a model for what you yourself want to do? I'm intrigued to hear—for selfish reasons, ultimately. Dash always needs more good things to read.

The Good Soldier

Ford Madox Ford

I was on a panel about writing at our local library and the moderator asked each of us "What book or story would you love to have written, and have put your name to?"  My answer was - and is - The Good Soldier, by Ford Madox Ford.

It may be the perfect novel.  I read it every year both for pleasure and to analyze its amazing structure.  Very short (under 200 pages), tightly woven, seemingly infinitely layered and complex, Ford himself said that "I had never really tried to put into any novel of mine all that I knew about writing...  On the day I was 40, I sat down to show what I could do – and The Good Soldier resulted."

It begins, "This is the saddest story I have ever heard."  And right there is the first hint that we're dealing with one of the most unreliable narrators in history.  Because John Dowell didn't hear this story:  he lived it.  John Dowell and his wife Florence, both Americans, meet Captain Edward Ashburnham and his wife, Leonora, of Branshaw Teleragh, England, at a spa in Nauheim, Germany, where Edward and Florence are being treated for heart ailments.  The Ashburnhams "take up" with the Dowells, and they spend all their time together for the next nine years.  Until it all collapses when Florence dies, and Dowell discovers a number of things:

• that Edward and Florence having an affair, which he never knew.
• that Florence never had a heart problem at all.  Instead, she'd faked a heart complaint to stay in Europe, originally so that she could continue her affair with her uncle's American bodyguard and helper, Jimmy. 
• that Edward and Leonora hadn't spoken in private for perhaps twenty years.
• that Edward was a serial philanderer, whose known adventures began with a conviction (!) for assaulting an Irish servant on a train.  
• that Edward was now in love with his young ward, Nancy Rufford.  
• that Florence killed herself... well, look down under questions...

The 1981 TV adaptation, with Jeremy Brett and others

Dowell also admits a few things:

• that he and Florence never had sex, because of her supposed heart problem.
• that he is extremely glad to be rid of Florence.  Florence begins as "poor dear Florence" and ends up "a contaminating influence...  vulgar... a common flirt... an unstoppable talker..."
• that he is now extremely wealthy, because Florence was an heiress. 
• that he wants to marry Nancy Rufford. 

And then there are the things that are hinted at, implied, downright said but then denied.

• Dowell admires Leonora Ashburnham more than any woman on earth, and also considers her "the villain of the piece".  
• Dowell's admiration of certain men, beginning and ending with Edward Ashburnham, of whom he says, "I loved Edward Ashburnham - and that I love him because he was just myself.  If I had had the courage and the virility and possibly also the physique of Edward Ashburnham I should, I fancy, have done much what he did..."  But there was also a nephew, Carter ("handsome and dark and gentle and tall and modest....  [whose] relatives... seemed to have something darkly mysterious against him") , and hints at others.  
• Dowell's greed for the sensuous pleasures of life, from caviar to Kummel to... other things...
• Dowell has never worked a day in his life.

The first reading of the book is heartbreaking.  Both Edward and Florence commit suicide, and Nancy Rufford goes insane.  Believe it or not, this is not a spoiler:  this is first chapter stuff.  The point is, that the first reading, gives you the plot, the second - maybe - gives you the motivations, and the third...  well, there's a lot of questions.

• Why did Florence commit suicide?  Was she really that heartbroken about Edward and/or that terrified of Dowell?  (Dowell describes them both as "violent" men...) 
• Did Florence commit suicide?  (There was a letter...) 
• What was Dowell doing during the two to four hours between Florence's death and and the discovery of her body? 
• Why did Dowell marry Florence, a woman he did not love, take her straight to Europe, and do everything she and the doctors told him to?  
• How many women was Edward Ashburnham involved with?  (Six are detailed, but there's also "the poor girl, the daughter of one of his gardeners" who was accused of murdering her baby at the end...) 
• Did Edward commit suicide?  And how?  Two different ways are given...
• What about Edward's alcoholism?  
• What about Dowell's alcoholism?

In other words, what the blazing hell really happened?

And all is told in a magnificent, elegiac, Edwardian style that is rich as plumcake.  Read it, and let me know what you think.

Available at Gutenberg Press for free at:  Gutenberg Press Edition
Available on Kindle for free at Kindle Edition
(Though I still prefer a hard copy, where I can scribble notes - almost as cryptic as the text - all over it...)

Also, the most interesting article of all that I've ever found on "The Good Soldier" compares Ford Madox Ford to H. P. Lovecraft:  "Ford Madox Ford: As Scary as HP Lovecraft?"



Maybe...

The Two and Only

by Robert Lopresti

NOTE: I wrote the first paragraph BEFORE Justice Scalia passed away.

I am sure you have noticed that a lot of celebrities have died so far in 2016.   I mean no disrespect to the rock stars and actors who have passed, but the death that meant the most to me was that of a 92-year-old comedian.

Bob Elliott was one half of Bob and Ray, who made a lot of people laugh for 40 years.  (Ray Goulding died in 1990.)  Dave Letterman once said that if you wanted to know if someone had a good sense of humor, just ask them if they like Bob and Ray.

While they occasionally dabbled in TV, movies, and even Broadway, radio was their natural habitat.  They were sketch artists (like Key and Peele, or Nichols and May) as opposed to persona comics (like Burns and Allen, or the Smothers Brothers, who always played the same characters).

Here are videos of a few of their best bits:
Most Beautiful Face
Slow Talkers of America
The Komodo Dragon Expert (Okay, it's audio only.  But it's my favorite.)

Each of those is in interview format, which is easy to do on TV (or Broadway) but on the radio they used to do dramas as well, including their own versions of some familiar crime shows.

For example, anyone who remembers a certain series that was very popular on radio, then TV - then a decade later again on TV - will recognize the summing up at the end of  "Squad Car 119."
...The suspect apprehended in that case at Rossmore and LaBrea was convicted on three counts of being apprehended and one count of being a suspect.  Apprehended suspects are punishable under state law by a term of not less than five years in the correctional institution at Soledad.

And there was "Blimmix," about a tough private eye who gets beaten up in every episode, by people such as this:
I'm with Rent-a-Thug, Incorporated.  A lot of the syndicate people are letting their regular hoodlums go and utilizing our service for machine-gunnings and roughing up and things like that.  It saves all the bookwork that goes with having full-time employees.

Or "Rorshack," about a hard-as-nails New York police lieutenant.  In this case he has misplaced ten cents:

Steinberg, search every customer in the store.  If you find one concealing a dime, kill him.  Lopez, put out an A.P.B. for anybody trying to pass a coin with Roosevelt's picture on it.  Caruso, you take the bus stations, airports, rail terminals.  Nobody goes in or out of this city until I give the word.

Bob and Ray were invariably described as low-key.  (Bob once said they were both both straight men) but I liked them best when they went, well, surreal, like in this episode of "Fern Ock Veek, Sickly Whale Oil Processor," about an Eskimo co-ed from California hiding out in the Alaskan bush:
FERN: I suppose I could go back to U.C.L.A. and hide out for a while.  So many of the students there are on the lam that they'd never notice one more.
OFFICER WISHMILLER: That's a great idea.  And even if they did find you, you'd be in another state and could fight extradition.
FERN: No.  If I recall, I fought him once and he knocked me cold in the third round.  I certainly don't want any more of that.
OFFICER WISHMILLER: Fern, I think you have extradition confused in your mind with Muhammad Ali.

I could go on, but I'll restrain myself.  Write if you get work, Bob.  And hang by your thumbs.

Creative Drought

I don’t usually talk about writer’s block because I’m more like a machine. Working in the emergency room? I’ll do 500 words before or after my shift. Not working? Bump it up to 1000. More if possible, but set the bar low so you can always hit the target. That was my recipe for years.

Usually, if the creative juices aren’t flowing, I can switch to non-fiction or poetry and get the job done. I can write about a patient I saw or the cuteness of my kids without batting an eye.

But recently, I’m not feeling it.

Only once before did I take a break from writing, after a death in the family. I’d been forcing myself to keep going, keep marching, soldier, at 2000 words/day, until I mentioned it to Kris Rusch/Nelscott, and she said something like, “I’m surprised you’re still writing. You could make yourself hate it that way.” Slowly, I let myself recuperate.

I found myself trying a few creative things like sketching or baking. The funniest example was that I made a zucchini chocolate chip cake with treats baked inside. My friend forgot to tell one of the construction workers who ate it and ended up chewing on a ring. And eventually, I started writing again.

Author Allie Larkin talks about balance here.

This time, it’s much more insidious. After burning myself out in December, and now starting a new job as a hospitalist, where I have to work every day, looking after admitted patients, instead of working erratic hours as an emergency doctor, I’ve gotten out of the habit of writing this week. I was working on a back pain book in January, so it’s not like I was overflowing with outlandish ideas before that.

This is not going to be a cheery list of ten ways to break writer’s block. Just a note that I’ve been here before. I had to refill the well, and then I carried on.

I recently picked up a book by David Whyte called The Three Marriages. His theory is that during your lifetime, you will generally marry another person, a career, and yourself.

By marrying yourself, you listen to your heart and what you want, not the external demands of money, prestige, or your partner’s demands. That can be hard to do. When I was sick but still dragged myself to the Cornwall Public Library’s annual party to celebrate volunteers, one of the coordinators asked me how I was doing as a person. Not as a doctor, not as a writer, but as myself. And I was silenced, because it feels like people approve of my accomplishments, but most of them don’t know the human being underneath.

After burning out, I decided not to flagellate myself anymore. I will do my best. But if the words don’t get written every single day or night, I won’t fret. I’ll just write again the next day.

The flip side is that during this week as a hospitalist, I haven’t made the time. But that’s okay. I wanted to spend my energy on medicine this week, and I did. My time is up on Tuesday, and then I have 24 hours before I start up as an emergency doctor again.

Buddhism talks about not getting fixed on ideas and labels about ourselves. “I am a writer.” “I am a doctor.” Labels change. Life is long. Things are fluid.

What about you? Have you ever encountered writer’s block? What did you do?

Confessions of an Addict

I'm an addict. I wasn't exactly born this way, but, to my shame, I was encouraged by my parents, and my peers. It started small: a little Nancy Drew, a couple of Hardy Boys, the elusive Winslow Brothers. It didn't take long before I was mainlining Agatha Christie. For a while I switched drugs, went with Steinbeck and McCullers and a few Russians. But your first hit is always the best: I found John D. MacDonald and I was back on the hard stuff.

It wasn't until my mid-thirties that I became a truly hard-core addict. I'd played around with the real drugs a little as a kid, writing short stories and plays, starting a couple of novels. But in my mid-thirties it hit me: I should try writing mystery! Oh the rush. The tingle of my nerve ends. The fast beating heart. And so it began, this never-ending torture of writing a mystery. How many times have I told myself you can stop this. All you have to do is turn off the computer! And I do! Lord help me, I do! Every night I turn the damn thing off.

But then the morning comes. I try to ignore the siren song, but it just sits there, right in my living room, taunting me. Beckoning me. “Just turn me on,” it says. “You don't have to write. You need to check your email, don't you? You need to see what's on Facebook, right? Maybe play a game or two? It'll be okay. Really.”

But it isn't. Oh, I can do all those things: email, Facebook, a game or two, but in the end I'm right back at it: writing a mystery.

The books do end, which is just a hoax, really. My agent wants me to change this, my editor wants me to change that. Then the copy editor and the galley copies and it's over! But it isn't. Not really. Because the buzz is going on in my head, and my pulse is beginning to race. A new idea is forming. And it wants to come out and play. I've tried to stop. I held off for almost six months once, but this addiction has me by the balls. If I had balls. One day I might be able to pull it off. To stop. To end this torture of endless hours at the computer, of trying to figure out why one character did that when the other character should have seen it coming. Of wondering if there really is a plot, or if I'm just fooling myself. One day. Or I'll die trying.

AUTHOR'S NOTE: Is it too obvious that I've been binge watching “Nurse Jackie” on Netflix? I didn't think so.

Abe Lincoln's Mystery

Abe Lincoln: rail splitter, a riverboat crewman, an inventor, a country lawyer, a congressman, a poet, a president, the great emancipator… and murder mystery author.

Tomorrow is Presidents Day in celebration of our great presidents, Abraham Lincoln (12^th Feb), George Washington (22^nd Feb), and in some states, Thomas Jefferson (13^th Apr). To honor them, SleuthSayers brings you a murder mystery written by our 16^th president. (Bet you didn’t see that coming.)

We normally picture the lawyerish Lincoln involved in contracts and torts, bailments and agreements, the dry essence of civil law. The man also practised criminal law. He’s particularly recognized for winning what became known as the Almanac Case, in which he looked up the position of the moon in lunar tables to discredit a witness.

Earlier, Lincoln wrote “A Remarkable Case of Arrest for Murder” back when he was still a country lawyer. To be candid, it’s not a murder mystery in the expected sense, but based upon an actual 1841 case in which Lincoln defended one of three brothers accused of murder.

His client didn’t pay him, so Honest Abe monetized the experience in a different way… by selling a story about it. Fortunately, he went on to other pursuits and the rest, as they say, is history.

Unlike traditional murder mysteries, the story doesn’t contain the customary dénouement. It’s written as a puzzling happenstance without a true resolution.

Some contend Wilkie Collins’ charming 1873 novella, The Dead Alive (a.k.a John Jago’s Ghost) suggests a solution for Lincoln’s story, but in fact Collins based his tale on another American true crime story known as the Boorn Brothers murder case.

• In April 1846, The Quincy Whig published Lincoln’s story under the title “A Remarkable Case of Arrest for Murder.”
• In March 1952, Ellery Queen's Mystery Magazine retitled and republished the story as “The Trailor Murder Mystery.”

Now, from the Presidential of the United States…

Downton Abbey--Story, Plot, Mystery

I love Downton Abbey. I've watched every episode, and I'll keep watching till the end. I own the DVD sets for two seasons. I also own The Unofficial Downton Abbey Cookbook, and I use it often. I've made one dish so many times, in fact, that I decided to include a version of it in my next story, which will appear in the April Alfred Hitchcock's Mystery Magazine. (The Unofficial Downton Abbey Cookbook calls the dish Noisette Potatoes. My story calls it Spudballs.)

So I think I qualify as a loyal fan. When I criticize the show, I do so in a spirit of love, as a regretful witness to the elegant decline of something that was once more than elegant. I don't think Downton Abbey is very good this season, and I don't think it was very good last season, either. Judging from comments I see on Facebook, a lot of other loyal fans feel the same way. As I was watching the show last Sunday, some comments E.M. Forster makes in Aspects of the Novel came to mind. They helped me focus more sharply on some crucial elements Downton Abbey now lacks--elements that are crucial to mysteries, too.

Forster's distinction between story and plot is justly famous. A story, Forster says, is "a narrative of events in their time sequence. A plot is also a narrative of events, the emphasis falling on causality. `The king died and then the queen died" is a story. `The king died, and then the queen died of grief' is a plot. The time-sequence is preserved, but the sense of causality overshadows it." A story appeals to our curiosity, Forster says. Like cave-dwellers sitting around the fire or the sultan listening to Scheherazade's tales, we want to know what happens next. But curiosity, according to Forster, "is one of the lowest of the human faculties." And ultimately, a story that appeals only to our curiosity doesn't satisfy us.

I think that's the problem with Downton Abbey. During the last two seasons, it's become a story. It no longer has a plot. Things keep happening--there are plenty of incidents, some of them dramatic. A child goes missing. A beloved character has a frightening medical crisis at the dinner table. Romantic attractions flare up, little conflicts erupt, secrets nudge toward the surface. Meanwhile, there are many amusing verbal sparring matches and many tender exchanges, and of course there are always beautiful things to look at--rooms, dresses, pastoral landscapes. And since Downton Abbey has wonderfully rich characters we've come to know well and care about deeply, we want to know what will happen to them next, how things will turn out. So we keep watching.

But it's not enough to keep us satisfied, because there's no real plot. We seldom get a sense that one incident has caused another, or that it's likely to have significant consequences. Daisy says imprudent things, Tom comes back from America, Baxter won't have to testify after all--the incidents may be more or less interesting, but they often don't even seem related to each other. And they don't give us much of a basis for trying to figure out what's likely to happen next.
A plot does give us such a basis. A plot, Forster says, appeals not only to curiosity but also to "intelligence and memory"--and it does this by introducing the element of "mystery." He offers a further extension of his basic example: "The queen died, no one knew why, until it was discovered that it was through grief at the death of the king." This is "a plot with a mystery in it, a form capable of high development." It engages our minds far more fully than a mere story could, because now we're using our memories to keep track of what's happening--we know that's important, because we have to remember incidents in order to understand how one might cause another. We're also using our intelligence to grasp each incident's significance and try to figure out what might happen next. "To appreciate a mystery," Forster maintains, "part of the mind must be left behind, brooding, while the other part goes marching on."

I find that last sentence an important key to understanding what's wrong with the current season of Downton Abbey, and an illuminating description of what a satisfying mystery does.If a mystery has a suspenseful, fast-paced plot, our curiosity keeps us turning pages. At the same time, memory and intelligence linger behind, "brooding" about evidence and making predictions. No wonder we love good mysteries so much. They force us to read actively, and we enjoy the workout. Really good mysteries also reward us for our hard work by giving us endings that bring everything together seamlessly. We can see how all the incidents related to each other, how each built on what had happened before, how one incident caused another until the mystery reached a conclusion that feels inevitable. Even if we fail to predict what that conclusion is, we feel satisfied--we blame our own memory and intelligence for our failure, not the author.

So one way of describing the problems with the final seasons of Downton Abbey might be to say they needed more mystery. Not mystery in any narrow, generic sense--heaven knows, nobody wanted to see Bates or Anna accused of murder again. But these last seasons might have been far more satisfying if they had included fewer entertaining little incidents and instead developed two or three plotlines more fully. I wish those plot lines had engaged our memories and intelligence. I wish they'd challenged us to think about what caused an incident and what its effects might be, to debate ethical dilemmas the characters faced, to analyze relationships and feel we have a rational basis for thinking they will or won't succeed.

But none of that happened--at least, not in my opinion. So I'll watch the final episodes, but I don't expect them to give me the sort of satisfaction the ending of a really good mystery does. I imagine the final episodes will give us at least one incident featuring each of our favorite characters. I imagine some characters' stories will end happily, and some will end less happily. And I'd guess decisions about which characters get happy endings and which don't will be based primarily on the producers' guesses about what viewers want, not by any internal necessities created during these last two seasons. ("Will viewers think it's a bit much if both Mary and Edith find true love at last? If neither does, it might seem too bleak. Shall we have things work out for only one of them? Which one? Who has a sixpence we can toss?") We'll get some final witty exchanges between Violet and Isobel, some stunning final interior and exterior shots, and then Downton Abbey will join the assembly of once-great shows that kept going a season or two too long.

Oh, well. I'll still have those two earlier seasons on DVD. And at least getting frustrated with Downton reminded me of what a fascinating little book Aspects of the Novel is. The passages I quoted are from the fifth chapter, "The Plot." Forster has other interesting things to say about mysteries, too. If you're not already familiar with the book, you might want to check it out.

I can't resist the temptation to end with a personal note. When the Agatha nominations were announced not long ago, I was thrilled to see that both a story and a book of mine had made the list. "A Joy Forever" was nominated for Best Short Story, and Fighting Chance was nominated for Best Children's/Young Adult. Since it's unlikely that anything like this will ever happen again for the rest of my life, I decided to go ahead and brag about it. If you'd like to read "A Joy Forever," you can find it at the Malice Domestic website– http://www.malicedomestic.org/PDF/Stevens_Joy.pdf. You can read the first chapter of Fighting Chance on my web site here. I'm stunned, delighted, and very grateful.

A Second Wind from Television

In The Man in the High Castle, the Axis won WWII,
partitioning the U.S. between Nazi Germany and Imperial Japan.
A certain "banned" media is circulating, however.  This provides a mystery
around which the book is centered. (This pic is used in intro to TV series.)

On a recent trip to my local bookstore, I looked for a copy of Philip K. Dick's alternate history novel The Man in the High Castle, only to discover something that should have been obvious to me.

I couldn't find the book among his others, in the fiction section. Disappointed, I asked if they might be able to order a copy.  The answer surprised me. You see, they had the book in stock, but it wasn't located with the other P.K. Dicks.

It was on the bestsellers shelf!

When the bookstore employee handed me the book, I asked, "Isn't this a pretty old book to be on the bestsellers list?"

"Well, yes," she responded.  "But, then the TV series came out, and now everybody wants to read the book."

I nodded and eked out a chagrined smile.  You see, I like Philip K. Dick and I have for a long time. I've read a lot of his work, both novels and short stories.  While some of it may be a bit too metaphysical for my taste, I really do enjoy his science fiction elements -- particularly those that pose the question: Is this world we perceive around us really the world we inhabit?

Yet, here I was: a man who had schlepped down to my local bookstore to look for a book because I'd seen a television show that told me it existed -- just like the rest of the herd.

And, that herd was sizable.  This book, which won the 1963 Hugo Award for Best Novel, achieved the No. 4 spot among paperback fiction, on the December 13th, 2015 Los Angeles Times Best Sellers List.  And it stayed within the top ten for four weeks.  I'd say that's pretty good for a book more than 50 years old, which most readers probably hadn't heard of before the television show came out.



Which is what set me to thinking about the way TV shows can lend a second wind to author's sales, much in the same way movies do.

A friend of mine recently loaned me Wild Cards 1, a book of linked short stories by several different writers, edited by George R.R. Martin.

For those unaware: Martin is the author of the fantasy book series Game of Thrones, which HBO turned into a hit show.  Some readers may decry the fact that the series doesn't quite mirror the book series, but I don't think that's hurt Martin's bank account.

Though Wild Cards 1 has nothing to do with Game of Thrones, I think it has a lot to do with the manner in which the book came into my friend's (and then my own) hands -- even though Martin didn't write this book.  He edited it, and wrote one of the stories.

Originally released in 1987, however, the book is back on store shelves -- along with other installments in the series.  And, if you think the editors aren't trying to capitalize on Martin's HBO-associated fame, just take a look at the print size and fonts on the book cover in the pic to the right.

Not that I think this is a bad thing.

Which is actually my point.

I wanted to read The Man in the High Castle for several reasons:

1. It's a Philip K. Dick novel, and I've learned that many consider it his best.  I wanted to read it, because I like much of his writing.
2. The plotline intrigued me.
3. In the TV series, the banned media is a collection of 16mm movies, which show the Allies winning WWII.  I had a feeling that this had been changed, because the medium had been changed: from print media (a book) to visual media (TV).  And, sure enough, in the book: the banned media is a book that describes how the Allies won the war.
4. I get the idea that Philip K. Dick would have understood the idea and accompanying actions of paranoia.  And, paranoia is pretty close to what an underground organization has to practice, in order to stay alive.  I get a kick out of the lax security practiced by members of the Underground Unit in the television show, however, and suspected Dick would have handled it a bit better.  I wanted to find out. 

BUT:  If I hadn't seen that TV show, when would I have realized this book existed?  I'm not sure it was even in print, because I tend to haunt several specific parts of the fiction shelves when I visit the bookstore, and the PK Dick section is one of these.  I don't recall having seen the book in the past.  (On the other hand, it wasn't there this time either.)

I really enjoyed the book.  Yes, it was quite different from the television series, but in a good way I felt.  I'm not sure where the TV series is heading, but the book had a definite conclusion -- posing a question I particularly liked.  I've enjoyed mentally strolling among the juxtaposed possibilities suggested by that conclusion, ever since I finished the story.  If you've read The Man in the High Castle, I invite you to contact me (by email or comment) to discuss the ending's potential ramifications: for both/either the characters or for us "real" people.  If you haven't read it, you might think of doing so.

Meanwhile, here's to hoping some TV producer notices your book or short story and turns it into a hit.  Soon, avid fans might descend like locusts, buying up anything and everything you've ever produced.

It would be nice, wouldn't it?

See you in two weeks,

— Dixon

Vera

I have no problem with being “a woman of a certain age.” Well, to be frank, old. So long as you don't refer to me as a “senior” or some other namby-pamby euphemism, I’m OK with old. Youth may be wasted on the young, but they're the only ones with the energy to endure it. No, aside from “the ills that flesh is heir to” as Hamlet puts it, I’m pretty content, except for my quarrel with the almost uniformly young and glamorous heroines of popular novels and TV series.
Oh, it’s fine for a George Gently to show white hair and a bit of a paunch. Kurt Wallander was done in by dementia not low ratings, and Inspector Lewis, with a bit of makeup and hair dye, looks to go on until he's older than his one time mentor Inspector Morse.

Not so the women of mystery, who need youth or glamor and preferably both. Except for Hetty Wainthropp, I don’t think anyone has picked up Miss Marple’s cardigan. So it has been a pleasure to discover Vera Stanhope, the crusty, plain spoken DCI from Newcastle, who is the featured detective in Vera. The series from ITV is now several seasons old but is just now showing up on my set.

This DCI is middle aged and dumpy. Her wardrobe can best be described as functional. She has a peculiar and distinctive voice and calls everyone, even prime suspects, either Love or Pet. If she’s got emotional trauma in her past, secret addictions, or unlikely obsessions, she keeps them private. Brenda Bethyn plays her as a grown up lady and all the better for that.

Based on the novels of Ann Cleeves, who is also responsible for that taciturn depressive, Jimmy Perez of Shetland, Vera uses a nice blend of up to date tech – the cry for CCTV footage goes out several times in every episode – with a good sense of human nature to solve her cases.

Accompanied by her young and handsome DS Joe Ashworth (David Leon), Vera is often abrasive but never heartless, being particularly sympathetic to younger offenders. She’s no softie, but she’s a good listener who, unlike her able young sergeant, can draw on a vast experience of human oddities and frailties. She’s been around long enough so that nothing too much surprises DCI Stanhope. Nice to see age is worth something!

The TV show encouraged me to sample Cleeves’ Silent Voices, part of a Vera Stanhope series. I was not disappointed. Like the Shetland novels, Silent Voices is well written with an intricate plot, an abundance of red herrings and misdirection, and a fine sense of landscape and atmosphere – like me, the author is clearly a countrywoman.

But Vera is a much more interesting, rough-edged, and generally sparky character than the hero of the Shetland series, and these traits are emphasized in the novel more than on the screen. Vera occasionally succumbs to envy and she has a nice line in snarky thoughts. She gets cranky with her staff and over works Joe, her conscientious sergeant, who is her closest companion as well as assistant.

At the same time, the DCI never falls into self pity, although she is a lonely person. She is quick to apologize and also to praise. This is a well rounded character, with a good deal of sympathy for the people who get entangled in crime and violence, as well as a tremendous excitement about her job. Like Sherlock Holmes, she can’t wait for the game to be afoot.

There are differences between screen and print versions of the character. Clearly a novel is much better at presenting the inner thoughts of the characters and the intellectual process of detection. But it is also interesting that, as with Elizabeth George’s Barbara Havers, Vera has been tidied up a bit for TV. She is chunky but not really fat, and Brenda Bethyn is only a decent haircut and a nicer wardrobe away from being totally presentable.

Not so Vera of the novel, who is depicted not only as homely but as terminally undesirable, a convention I find unfortunate. If only the svelte and pretty were attractive, there would be no population problem anywhere, and it strikes me that Vera’s blank romantic life is simply the female variant of the suffering detectives are supposed to endure.

But maybe not forever. In the last TV episode, a would-be admirer appeared. Vera turned him down – but left the door open. Now a plain faced, overweight female detective of a certain age with a bona fide admirer would really break a number of stereotypes.

I hope the script writers will go for it!

Ardennes 1944

It can't be late-breaking news that I read a lot of history, anything from the Peloponnesian War to building the Brooklyn Bridge, and I read out of curiosity, for background, and more or less to please myself. It doesn't always have a specific aim or application, but lately it's been WWII.

I'd read Antony Beevor's FALL OF BERLIN, and Max Hastings' ARMAGEDDON, about the last year of the European war, and it
was natural to pick up ARDENNES 1944, Beevor's new book about the Bulge, and then Hastings' INFERNO. I topped it off with Paul Carell's SCORCHED EARTH, which covers the German-Russian campaigns, 1943-44. You could pretty well say I was played out by this time, enough already. Fatigue sets in. You hit a wall. Your sympathies flag.

Then an odd thing happened. I began to see a storyline. Not just a theme, or a situation to hang a plot on, but the whole thing, soup to nuts. This is unusual, and I figure other people have much the same experience. Something catches your attention, maybe in your peripheral vision, and you tell yourself, Oh, that's a hook, or an interesting set-up, a landscape, or a springboard. Very rarely do you get handed the spine of a complete narrative: three full acts, ready to go. What caught my eye was what came to be known as the Malmedy massacre, a group of American POW's murdered in cold blood by an SS unit, Kampfgruppe Peiper, a spearhead of the Adolf Hitler division.

If you look at the Order of Battle in the Ardennes, and the German dispositions, although von Rundstedt was nominally in command, the main assault components weren't regular Army, the Wehrmacht, but SS armor. (There was also a black op led by commando legend Otto Skorzeny, with Germans masquerading as American GI's - more bark than bite, even if it created suspicion behind American lines.) The point here is both in France, in 1942, and on the Eastern Front, in '43 and '44, SS were shadowed by Einsatzgruppen, the death squads assigned to kill Jews and Gypsies, and Soviet political officers. This was no accident. SS officers and men later tried to establish the fiction that they were Soldaten wie andere auch, or soldiers like any other, but their actions in every theater of war were criminal. 1st SS Panzer in western Ukraine, over two days in December 1943, killed two thousand Russians, and in that time, took all of three prisoners.

We notice a pattern. Yes, the Red Army killed German soldiers after they'd surrendered (so did the Americans and the British and the French, for that matter), but the Germans made it one with their policy of reprisals, the execution of civilians as well as combatants. This is different - I think in a qualitative way - from the industrialized Nazi effort to eradicate the Jews, which actually hemorrhaged men and materiel that could have gone to the war effort. It's something else, even though take no prisoners is counterproductive. Men on the losing side fight harder. Surrender isn't going to save them. There's a bitter dynamic at work here.

So where, you're asking, is the story I was talking about? I'm not ready to put out on the first date. Still, the bare bones are there without my giving it away, you take care to read between the lines, The story's about payback. And it's not morally ambiguous, either. It has a simple satisfaction, the elemental working of Fate, weighed in the scales.

The curious part, as I said, is that it just presented itself, in one piece. I even wonder if it's too obvious, too shapely, too finished, but there could be surprises in store. We'll have to see what happens in the telling. I've got a title for it, too, which is usually a good thing. We writers can be a superstitious lot.

One other thing. If you choose to base a story on actual events, you have to be careful not to play them false. There were real consequences. Real people died. Other bore witness. A war was won, or lost. History was in the balance. 'You don't spoil a good story for lack of the facts' - an expression I've used before, but in this instance, the story's not invented. Where invention comes in, is in reinhabiting something that really happened. You owe history, and the dead, that much responsibility.

No, Please Don't Go ... When Series End

While I love a good stand-alone novel, like many people, I adore a good series. I love finding characters who come to feel like family, a town that feels like home. I love the comfort of returning year after year to a new book in the series (though sometimes the books come more or less frequently--Julia Spencer Fleming, write faster!).
Alas, with every good series, readers are forced to face The End. Sometimes authors die. Sometimes series end because the author has decided she's written those characters' final tale. Sometimes an author is willing to write more books in the series, but her publisher has pulled the plug.

I am not good with facing The End. And that is why, if you look at  my bookcases filled with yet-to-be-read novels, you will find the final book or final series book by several authors. I love each series, and I long to read these books, but I can't bear to read them knowing that would be it. The End. There would be no more. I would rather have the books sit unread, a promise of delight waiting for me, even though I may not ever crack open the spines. It's like knowing old friends are still out there.

Just some of my unread books

But now, thanks to the rise of self-publishing, my dilemma may partly be solved. Once upon a time, if a publisher dropped an author or series, that was it. It was rare another publisher would pick up the series. But now, those authors can write new books, hire an independent editor, a graphic artist, a proofreader, and get those new books out to their adoring fans. Like Sleeping Beauty once kissed, those series rise from dormancy, alive once more!

You might think the same possibility wouldn't exist for authors who have actually died, but you'd be wrong. Today several series originally written by authors who have passed on are continuing, written by a family member or authors chosen by the deceased's family to continue the legacy. John Clement is continuing the pet-sitter series that his mother, Blaize, began. Felix Francis is continuing the horse-racing series that his father, Dick, created. Reed Farrel Coleman is continuing the Jesse Stone series begun by the late Robert Parker. And there are lots more examples. Do the new books capture the same feeling, the same essence, as the ones written by the original author? Is reading these new books still like going home? Each reader has to decide for himself. But it's a chance for each series to continue, and that's wonderful.

So maybe one day I will crack the spine of Blood Knot, the third novel in S.W. Hubbard's Adirondack-based mystery series. The author has self-published a fourth book comprised of three short stories in the series. Is there another novel on the horizon, too? I hope so.

And maybe one day I'll read the final few books by author Barbara Parker. But maybe not. The author died in 2009, and it doesn't appear her family will have her series continued. So I will let those books sit on my shelf, particularly Suspicion of Rage, the final book in Parker's Suspicion series featuring attorney Gail Connor. I like knowing the character still has a chance to live on in another tale I haven't read, that a promise of delight still awaits me.

Do you have favorite series that have ended? I'd love to hear about them. If the authors are living, maybe we can persuade them to bring those characters back to life.

You're Reading What?

As I've spent time watching the Super Bowl I've tried to come up with a worthy subject to write about. Nothing has bubbled up from the sub-conscious and my time is getting shorter. The muse finally stirred and asked "What are you reading?" At that moment I realized what I could write about. Then turn around to ask my readers what they are reading?

A couple of months ago I noticed the title of a book by James Lee Burke, called House of the Rising Sun. I loved the song with that title for many years and books by Mr. Burke almost as long. This story has a little known character named, Hackberry Holland. A retired Texas Ranger. Yes, I know this is the fifth book, James Lee has written with Hackberry. It's just that the Texas Ranger isn't a well-known as Dave Robicheaux novels or even the Billy Bob Holland books.

True to all of Mr. Burke's books, Hackberry is a realistically drawn character. Full of Piss and Vinegar as my pappy used to say. The book ranges from Mexico to south Texas as the ranger tries to reconnect with his estranged son, Ishmael, a captain in the United States Army.

Hackberry comes into possession of a stolen artifact, believed to be the Chalice of Christ. Along the way the Ranger is in trouble from a cruel Austrian arms dealer who grabs the young Army Captain in order to claim the precious Chalice. Three extraordinary women, Ruby Dansen, Ishmael's mother, Beatrice DeMolay, the madam of a house of ill repute and Maggie Bassett, the sometimes lover of the Sundance Kid all trying to help Hackberry.

The next book I've been reading is The Ex by Alafair Burke, who is the daughter of James Lee Burke, in case you are unaware of that fact. Alafair is a former prosecutor and now law professor in Manhattan where she lives with her husband and two dogs. Ms Burke doesn't lean on her dad's name she has written eleven novels on her own and has reached Best Selling status. She recently was asked to join in a collaboration with Mary Higgins Clark and the co-authorship has produced two titles.

In The Ex, Olivia Randall is one of the top criminal defense attorneys in NYC. Her ex finance, Jack Harris, whose wife was killed three years ago, is arrested for a triple homicide. Jack's daughter, sixteen year old, Buckley Harris calls Olivia for help. The problem, one of the people killed is the brother of the young man who killed Jack's wife. The police don't seem to believe Jack's wild story alibi but Olivia agrees to help the man who she had callously hurt twenty years ago. How could the man she cared about ever commit murder?

My third offering is by Halan Coben and titled Fool Me Once. Coben has penned eight consecutive Number 1 New York best-selling thrillers and this one doesn't detract from his legacy. If you like strong female characters you will appreciate former special-ops pilot, Maya Burkett.

Maya's husband Joe was brutally murdered two week earlier and her best friend convinces her to set up a nanny cam in her living room to watch after Maya's two year old daughter and nanny. After watching the replay from the nanny cam one evening Maya is shocked to see her husband Joe, playing with their little daughter, Lily. Maya now has to discover if she can believe her own eyes? One thing she knows for sure is that if Joe is still alive. How can she not hope that somehow her husband really is still alive? How do you deal with thinking you know the truth? And finding out the hard truth is you know nothing.

House of the Rising Sun, by James Lee Burke, came out December 1, 2015 from Simon and Schuster.
The Ex by Alafair Burke was just released January 27, 2016 from Harper Collins.
Fool Me Once by Harlan Coben is due for release from Dutton on March 22nd.

Now why don't you readers write and tell me what you're reading?

Florida News

by Leigh Lundin

Tis Febrrruary, the season of hearts and flowers, of birds and bullets and funeral bowers.

Wait! What? Ah, it’s Florida and long past time we caught up with the happenings in the nation’s maddest state.

Till Death Do Us Part

Milton, FL.  You’ve turned thirty and finally found that special someone. What can be more romantic than a marriage and honeymoon in Florida? That’s what a couple planned, a pair who made their living invading homes, kidnapping, robbing, and stealing cars. This darling duo made their way to the Sunshine State where they parted in a blaze of hyperbole… or perhaps a little less. Self-styled Bonnie and Clyde, Brittany Harper and Blake Fitzgerald, eloped on a crime spree from Joplin, Missouri through Tuscaloosa, Alabama, then Perry, Georgia before they ended up in a shootout in the northwest corner of the Florida panhandle. Bonnie survived, Clyde did not.

Don’t Mess With Mom

Hialeah, FL.  Armed carjackers, frustrated when one woman simply drove away, tried to steal another woman’s car with her two children in back. Mom tore one guy out of the driver’s seat, ripped off his face mask, and was about to kick his ass when they sensibly, if belatedly ran off. Notice the lady’s mother-hen strut as if defying them to return.

Everyone Knows It Takes a DeLorean

Pensacola, FL.  Dude in his muscle car hit subsonic speeds and crashed through walls of a tax business and a casket company, the latter a thoughtful touch in case something went dreadfully wrong. The driver told police he was trying to accelerate fast enough to time travel. Methinks he’ll get plenty of time.

Judge Not Lest…

Fort Lauderdale, FL.  Lest ye be judged, according to Matthew, Matthew Destry, circuit judge in Broward County. A character in my story ‘Swamped’ was based on a real judge, albeit an unstable one, not unlike this man of the bench. In Lauderdale, Judge Destry is known for his wild and unusually harsh sentences.

• A defendant was hospitalized at the time because of a suicide attempt. The judge tore up the woman’s plea agreement of one year, and sentenced her to ten years for missing a court date.
• Destry has a reputation for severely punishing defendants who ask for trials rather than seek plea deals. The judge gave a sixty-year sentence to a non-violent felon on parole stopped for a suspended driver’s license, having tinted windows and a loaded magazine (but no gun) found in a car. Sixty years.
• The judge also has a reputation for arbitrary pettiness. Known for starting his day late, he kept staff, witnesses, and lawyers in court until nearly midnight on Halloween, denying families the right to spend the evening with their kids.
• Strangest of all, he allowed one prosecutor to sit on a jury in the same trial his fellow prosecutor was litigating. In most places that’s called a conflict of interest.

Eat Smart at WalMart

Lecanto, FL.  Poor WalMart is unfairly targeted for the weird people who hang out there. Too few stories reach the liberal press about its fine dining opportunities– wine, sushi, rotisserie chicken, and delicious hot cinnamon rolls, all with comfortable seating plus a uniformed chauffeur, courtesy of the Citrus County Sheriff’s Department. That’s what happened when a woman, high on meth and mad with munchies, appropriated a motorized cart and raided the food aisles, scarfing down the good stuff. I trust she chose a lively sauvignon blanc for the sushi.

Tastes Like Chicken

Melbourne, FL.  A burglar managed to elude police, but he couldn’t escape destiny. He stumbled into the quiet cove of an annoyed alligator in the unfortunately named Barefoot Bay Lake. Said burglar is no more.

Dr. No, No, No

Boca Raton, FL.  Professor James Tracy is a Sandy Hook shooting denier, as well as a 9/11 denier and even a JFK assassination skeptic. According to him, it’s all part of an Obama conspiracy, but the sad part has been his harassment of the little victims’ “alleged parents” (in his vernacular). Florida Atlantic University finally had enough and fired him. The conspiracy reached far vaster proportions than the professor imagined– everybody detests him.

Electric Hybrid Vehicle

Crystal River, FL.  Dude got pulled over although he was far below the speed limit… and below the door sill of an SUV and below the “You have to be this tall” signs in theme parks. The little feller was only three, but he handled his big rig better than motorists from Boston, New York, Canfield, Ohio and that Back-to-the-Future musclehead above.

That’s the news from the Sunstroke State.