An Antic Disposition

  

Romeo & Juliet and Hamlet are probably the best-known of Shakespeare’s plays, and at least the most quoted – if not misquoted, for that matter.  Romeo & Juliet is performed often, by both professional and amateur companies, because it’s pretty straightforward.  Hamlet is trickier, or has the more troublesome reputation.  The prince, too, is one of those parts any name brand Shakespearean actor is pretty much obligated to take on early, like Lear, later in life. 

Olivier’s is the one most people know; his 1948 picture is usually cited as a classic.  I wonder if I’m the only one who thinks he kind of missed the point.  Kenneth Branagh took a stab at it, but you have the unworthy suspicion Branagh is trying to knock Olivier off his perch.  I saw Richard Burton do it on stage, but unfortunately everybody in the cast was acting in a different play from everybody else – and surprisingly, the most effective performance was Alfred Drake, playing Claudius as mildly puzzled.  I don’t have a problem with Zeffirelli’s version, Mel Gibson, but they cut the play even more severely than Olivier does.  For my money, the most engaging production is the 1980 BBC Shakespeare: Derek Jacobi as Hamlet, Patrick Stewart as Claudius.  It’s the full original text, with a runtime of three and a half hours, and it’s unapologetically played as a political thriller.

Hamlet, notoriously, is open to interpretation.  The melancholy Dane, the guy who doubts himself, and hesitates.  Olivier takes for his epigraph a line from early in the play, “Oft it chances in particular men,… carrying, I say, the stamp of one defect,…” and then leaves out the rogue and peasant slave soliloquy entirely.  To my mind, this has it completely backwards.  A recent production I just saw, by the Upstart Crows here in Santa Fe, edits out that same speech Olivier chooses as emblematic, but includes all of the rogue and peasant slave speech, which I think is key to the play.  “What’s Hecuba to him, or he to Hecuba, that he should weep for her?  What would he do, had he the motive and the cue for passion that I have?”  Hamlet, we can agree, is clearly a revenge plot.  Claudius has usurped both his brother’s throne and his marriage bed.  The prince is prompted, his word, by heaven and hell.    

It’s a misreading to suggest Hamlet can’t make up his mind.  He thinks Claudius is a rat from the get-go, and he’s furious with his mother, “to post with such dexterity to incestuous sheets,” but he’s choking on his own resentment.  Even after the Ghost shows up, he second-guesses himself: “the devil hath power to assume a pleasing shape.”  The real sticking point, though, is that Claudius “popp’d in between the election and my hopes.”  Hamlet wants to be king himself, and Claudius cheated him.  In order to swing this - regicide, and a coup – Hamlet needs Claudius seen to be guilty, to be “justly served.”

If you read the whole play, front to back, or if you see a production that’s the whole thing, more or less, you notice the political machinations.  It’s not something read into the text, or grafted onto it.  It’s organic.  Watching the BBC Jacobi, or the Branagh movie (Jacobi as Claudius, all the more sinister for seeming reluctant), or the Upstart Crows, which left very little out, and moved like a rocket, with no wasted motion whatsoever, the political dimension is front and center.  Once the kid realizes he’s got a solid alibi to go after his uncle, he’s only waiting on opportunity.  But he himself understands he can’t be regarded as some cranky-pants teenager with a grudge; he has to be seen as responsible, not as settling a score, but righting a wrong.  He charges Horatio, as he’s dying, to report his cause accurately.  “Absent thee from felicity a while.”  This isn’t chump change.  The obligation is everything left to history.  How the story is told, after Hamlet leaves the stage.  He didn’t kill the guy because he screwed his mom; he killed an illegitimate king. 

There’s a terrific poem by Constantine Cavafy.  The premise is that Horatio has a dog in the fight.  After the events in question, Horatio becomes a court favorite, and if he maintains the narrative, it discredits Claudius, creates a legend around Hamlet, and legitimizes Fortinbras as heir to Denmark.  Cavafy’s an astute critic, if a bit cynical.  

What is the story, exactly?  The son of a dear father, murdered.  “A little more than kin, and less than kind,” the prince says, when Claudius calls him his cousin and his son, in the opening scene at court.  We know something’s amiss.  The question is whether Hamlet’s nuts.  The play is how he justifies crazy. 

Suppose, then, that Hamlet might be a classic example of the unreliable narrator.  He’s completely transparent, his thoughts spilling over, unpacking his heart with words, but is he trustworthy?  The rest is silence.

Miles of Files

I started my writing career long before personal computers were anything more than a plot device in science fiction stories. Despite making the transition from a manual typewriter to an IBM Selectric and from there to a series of ever more powerful PCs and then to a series of ever more powerful Macintoshes, my record-keeping system has remained almost entirely manual.

The file folder and tracking
system I used for “Disposable
Women,” currently
shortlisted for a Shamus.

I’m uncertain if this is ironic or pathetic, given that for most everything else in my life I’m a heavy user of computers and computer programs, but I think it may be the result of long-established habit and the knowledge that if I did convert to a more sophisticated system I wouldn’t be satisfied with a spread sheet or two for new work. I would want to build a sophisticated database that includes everything I’ve ever written and includes every possible bit of information about each story.

I would want to know at the click of a few keys which is my shortest story and which my longest, which had the most submissions before acceptance, which has been reprinted most often, my sales/rejections ratio with Ellery Queen’s Mystery Magazine, how many times I submitted to Alfred Hitchcock’s Mystery Magazine before I received an acceptance, and so much more.

The time it would take to input all of that information, and the time I would later spend using the data to create charts and graphs and all manner of interesting reports, would consume a significant amount of time and eliminate what little writing time I have these days.

These six filing
cabinets may soon be
joined by a seventh.

For now, I remain with the tried-and-true: Every finished story gets a file folder, and into it goes a hardcopy of the story and a cover sheet where I track submissions, rejections, and other important information such as the dates I returned the signed contract, copy edits, and page proofs, and the story’s publication date. Also in the folder goes a copy of the signed contract, copies of important research, and a copy of the published version.

This file folder travels through a series of file drawers: awaiting submission; under submission; accepted, not paid for; paid for, not published; published, not paid for; and so on until the folder moves into its final home after the story has been published.

There are six of these filing cabinets in my second office, containing everything I’ve had published since my first sale back in the mid-1970s. In my first office—the one where I do much of my writing—are three file drawers containing the work under submission or awaiting submission, as well as several bookshelves filled with my novels and short story collections, anthologies I’ve edited, and many books and magazines containing something I’ve written (short stories mostly, but essays and non-fiction as well).

A 5.25" floppy disk
containing an early
version of the novel published
as All White Girls.

Hard copies of finished manuscripts take up a great deal of space—hence the six filing cabinets—but I can still read every one of them. Many of the earliest stories were written on typewriters, so hard copies are the only versions that exist, and the on-going evolution of computer science has left me with 5.25” floppy disks, 3.5” diskettes, and Zip drives for which I no longer have appropriate drives. Even if I had appropriate drives, many of the files were created with WordStar and I no longer have a program that will allow me to open the WordStar files and save them as Word documents. Luckily, I so rarely need to access the oldest files that it is easier to retype anything I might need.

Temple and I have reached the age where retirement is in her foreseeable future (writers don’t retire, so it isn’t in my future), and we’ve discussed downsizing to a smaller home with less upkeep. The biggest obstacle, though, is my antiquated record-keeping system—a system I started using long before personal computers stopped being a science fiction plot device and became a reality.

My story “Disposable Women,” published in Tough (July 19, 2021), has been shortlisted for a Shamus Award.

“Sit. Stay. Die.” A story I co-authored with Sandra Murphy was published in the July/August Ellery Queen’s Mystery Magazine. This is our fifth collaboration and my second consecutive appearance in EQMM.

---

Xena, The Heroine/Villain

 by Steve Liskow

When Ernie, our 13-year-old Maine Coon, died a year ago after a long battle with kidney disease, Barb and I agreed he would be our last cat. We've been together for almost 38 years and shared space with at least one cat for 36 of them, so we may have been kidding ourselves.

Two months ago, one of our neighbors had far too many cats because her tom has fathered half the cats in our condo complex. She offered us a small tuxedo girl. We agreed to meet her, but that was all. Then we said we'd pet her, but nothing else. Then I held her for a minute. You see where this is going, don't you? She snuggled under my chin and purred.

Well, we decided she could visit our place on Monday for an hour or two and see if she was comfortable. She was. We arranged another visit on Thursday for a longer period of time to check things out more thoroughly. So thoroughly that she hasn't left yet. That was six weeks ago.

I've said before that animals, especially cats, inspire great human characters, and Xena exemplifies that even more than Ernie and Jewel did.

Like most cats, she's probably somewhere on the spectrum. She isn't really a lap cat, but she likes to cuddle. That and her sense of humor make her a great sidekick. But she still refuses to differentiate between our recliner and her scratching post, and she plays rough. She's made friends with the plant mister and fears nothing except the hair dryer. This makes her a great villain, too. She's smarter and faster than we are and can move from room to room--or floor to counter--so quickly we don't have time to say, "Xena, NO! Oh, never mind."

She's very social. She met Barb and me with no hesitation and explored our place with the enthusiasm of a six-year-old in Toys R Us. Unfortunately, her social skills extend to other cats, too. At 18 months, she's already birthed two litters. When she's in heat (which seems to be more frequently than your average porn star), she announces her needs loudly enough so most of the complex can hear her. Two of her former boyfriends have taken to hanging out on our front steps. Every well-developed character needs a weakness, and that's hers. 

Living with several other cats, she had to fight her way to the food. For the first two weeks in our place, she emptied her dish so quckly she spent the next hour crying with a stomach ache. Now, she's figured out that there's no competition and she can slow down. Sometimes. She still sticks her head in the can while I'm trying to spoon food into her dish. 

Today, she will meet her veterinarian for the first time. She's had none of her shots yet and we want to make sure she's as healthy as she seems. She's the smallest cat we've ever had, especially apparent because our last two cats were a Himalayan and a Maine Coon, and we don't expect her to get much bigger at 18 months. 

But she already likes to curl up on my left foot while I type, so she'll probably become another writing partner and character inspiration. The female leads in both my Connecticut and Detroit series have cats already, and maybe there's room for another tuxedo.

The 7 Lives of Léa

7½ months or more ago, Rob and I wrote about an unusual English manor mystery, The 7½ Deaths of Evelyn Hardcastle. Much of the surrealism comes from what we’re not told. We’re given damned little in framing and a backstory.

Compared to the British title, The 7 Deaths… both Rob and I prefer the American variation, The 7½ Deaths. The novel left an impression– Four years after publication, I’m still yakking about it. But this isn’t about that.

The 7 Lives…

When NetFlix presented a French miniseries, The 7 Lives of Léa, based on the novel, Les 7 vies de Léo Belami by Nataël Trapp, I couldn’t help comparing. Like 7½ Deaths, each day the protagonist in 7 Lives finds herself jumping from one body to another, trying to learn what is happening, trying to figure out who killed Ismael, a nearly forgotten boy thirty years earlier.

Think of it as a French episode of The Twilight Zone.

Raïka Hazanavicius as Léa

Conceptual Issues

Hard sci-fi proudly embraces the physics of its world, whether real-life or a well-defined fictional model, the science in science fiction. Time travel novels and films may or may not succeed in the redefined reality of their new world. Laws of physics disallow a traveller meeting a past or future version of himself. A traveller must be careful not to alter his ancestral line that might preclude his own birth… while sometimes trying to disrupt the lineage of an adversary.

The average time travel story earns perhaps a C. I’ll award Léa a B-/C+, reasonable for the tale in question. It doesn’t pretend to be more than it is.

The 7 Lives of Léa follows a recent pattern of recasting male leads as female. Some reimagining works better than others. Without having read the book, I felt comfortable with a heroine instead of a hero. And indeed, the story zeroes in on unsung heroism.

The multi-generation actors of 7 Lives seemed to have been cast while wearing blindfolds. Virtually no teenage character resembles its much older adult version, which made it trickier to track the plot.

Léa manages to squeak past a couple of incestuous make-out close calls. Perhaps the funnest part, so to speak, occurres when she lands in the body of Pye (Pierre-Yves), the town’s rich kid, who’s not only popular but a snobbish bully. Léa alters the timeline to make a clumsy fool of him (with the result of making him somewhat endearing), but hooks him up with Jennifer, the school’s picked-on homely girl. Time travel should be built for anti-bullying alone.

Although a suspected murder is involved, The 7 Lives of Léa isn’t truly crime fiction, but it is an enjoyable journey into an imagination Rod Serling would have been proud of.

Plots and Characters

  

Two often-asked questions, at writers' meetings and writers' conferences, and sometimes even at readings and signings:

(1) When authors think up a story, should they start with a plot or with a character? 

(2) Which of these (plot or character) is more important to the story?

There are, as you probably know, no correct answers to these. Writers' processes are different and their opinions are different, and whatever works, works. But since this is my topic today and I don't want to end it here, please consider a couple of examples.

Plot first

Anytime the subject of plot vs. character comes up, I think of "The Choking Doberman." I don't know who dreamed up the story, or when, but it's been around a long time. Here it is, as close as I can remember it, in a nutshell:

A lady comes home from the supermarket with a sackful of food, opens her front door, and finds her pet Doberman choking in the entranceway. She drops her bag, picks up the gasping dog, and rushes him to the veterinarian's office. The vet tells her, "We'll take care of him--go home and I'll call you later." She drives back home and is picking up her dropped groceries when the phone rings. It's the vet. He says, "Get out of the house! You're in great danger--get out right now!" So she does. Terrified, she runs to the next-door neighbor's house, and watches through the neighbor's window as several patrol cars screech to a stop in front of her house. Half a dozen policemen hop out with guns drawn and run inside. Several minutes later the veterinarian arrives also, and when he gets out of his car the lady hurries up to him and says, "What on earth is happening?" He tells her that when he examined her dog he found a severed human finger lodged in the dog's throat--that's why he was choking. Assuming the dog might've surprised an intruder, the vet called the police and, sure enough, the cops found a man hiding in one of her closets and clutching his bloody hand. 

Question: Is this fine, illuminating, life-changing literature? Of course not. But it damn sure is memorable. I think I first heard the story told in high school, and I remember it to this day.

In the Doberman story, the plot--the story--is everything. It's all that matters. The characters--the woman, the vet, the neighbor, the policemen--aren't all that important. They're there only to make the story happen. I've heard this mentioned as a good example of genre fiction as opposed to "literary."

Character first

On the other side of the aisle is "Big Two-Hearted River," by Ernest Hemingway. I can't remember it in detail, but here's a quick summary:

After the war, a man goes back home and visits his old fishing spot. He hikes to the river, sits around, smokes, makes camp for the night, and goes to bed. The next morning he cooks breakfast, finds grasshoppers to use for bait, and goes fishing. He catches a few trout and loses a few and finally stops. 

And that's it. I don't mean to in any way demean the story; it's well written and certainly well known. But nothing really happens in the story. I suppose there's symbolism here--the river could probably represent life, flowing steadily past him, and the battle between him and the fish he tries to catch is an insignificant struggle when compared to the fighting he did in the war. But there's no plot at all. The character is everything. This story would fall more on the literary-fiction end of the scale, as opposed to genre fiction. 

A clarification (I hope)

Please be aware, I don't think the plot/character issue is the deciding factor in whether a story's categorized as literary or genre. I think it's more a case of whether the viewpoint character undergoes a change in the course of the story. If that happens--if he or she becomes a different person by the time the end rolls around--it's literary fiction. If the character remains pretty much the same at the end (think James Bond or Nancy Drew or Indiana Jones), it's genre fiction. There are other things to consider as well, like entertainment vs. enlightenment, and the sophistication and beauty of the language, etc., but I believe the man thing is the extent to which the POV character experiences a change in the way he or she looks at life. And it's not always the main character--it's the viewpoint character. Atticus Finch and Shane and Jay Gatsby aren't the ones who undergo this kind of emotional change; Scout and Bobby Starrett and Nick Carraway are. They're the people who are in a position to observe what happens and learn the most from it. It is for this reason that I believe some genre stories like Westerns and mysteries and science fiction can also qualify as literary fiction. (My opinion only.)

NOTE: I recall seeing much of this plot vs. character debate years ago in a book called 20 Master Plots by Ronald Tobias. Or at I think that was it. If I'm wrong it wouldn't be the first time. (Maybe the second.)

So, which should come first? Plot or character?

That depends on the author. Almost all my writer friends tell me they come up with the character(s) first and only then do they worry about giving those characters something to do, which is the plot. I do it the other way around. I always come up with the plot first, and only then create the people (and try hard to make them interesting) who will act out the story.

One thing to bear in mind is that your characters don't have to be any less interesting if you come up with the plot first. I even think the characters can turn out better when they're tailored to meet the requirements of the storyline.

Which is more important to the story?

That varies as well, depending on who you ask. Personally, I probably prefer plot-driven stories to character-driven stories because I think entertainment is the one most important thing I can try to deliver to readers. If they somehow happen to be enlightened or educated as a result of the story, that's icing on the cake, but if they're entertained--if it's a good story--I feel I've done what I set out to do. On the other hand, I know many writers, and readers too, who always prefer strong characters over a strong plot.

Stephen King once said, in his essay collection Secret Windows, "All my life as a writer I have been committed to the idea that in fiction the story value holds dominance over every other facet of the writer's craft; characterization, theme, mood, none of those things is anything if the story is dull. And if the story does hold you, all else can be forgiven."

As for literary fiction vs. genre fiction, which always seems to go hand-in-hand with discussions of character vs. plot, the best definition I've heard of those terms comes also from Stephen King, in a taped interview I saw years ago. I'm paraphrasing here, but he said something like "Literary fiction is about extraordinary people doing ordinary things, and genre fiction is about ordinary people doing extraordinary things."

I think we can all agree that the very best stories and novels and movies have great characters AND great plots--they're not mutually exclusive. That's why Lonesome Dove and To Kill a Mockingbird and The Silence of the Lambs and The Godfather will be around forever. The rest of us writers should be so lucky.

Your turn . . .

If you write stories, which do you come up with first? Always the characters? Always the plot? Sometimes a mix of the two? And which do you think is more important to the story? Let me know, in the comments section.

See you again on July 2nd.

Five Things That Convinced Me to Dump Social Media

I recently deleted the last two significant social media accounts I used for years, Twitter and Instagram. I have plenty of reasons for taking that step, but rather than dwell on those, I think it might be more interesting to share with you some of the resources and examples that inspired me to take this step. I’ll devote a future post about reasons, feelings, and choices I’m making going forward.

Ten Arguments for Deleting Your Social Media Accounts Right Now, by Jaron Lanier (Henry Holt and Co., 2018).
Lanier is a virtual reality pioneer and technologist. I met and interviewed him while writing an article for Discover magazine in 1999. He impressed me then as a profound thinker, but not until I read this book did I perceive him to be a decent, compassionate person and father who is concerned about what social media algorithms are doing to our brains. As he explains it, Silicon Valley has a very high opinion of its social media software, but it is still quite crude, designed primarily to hook us and enrich its creators. Apps distort politics, promote bad behavior, cultivate binary thinking, stoke triggering behavior, and make us cranky. Before reading the book I thought I could simply delete the apps from my phone and just take a break from social media. (I did this one year and was impressed.) An optimist, Lanier believes that the software can be written to be more decent, but he argues that the firms involved won’t change their game until a significant number of people delete their accounts. Big difference. 

The Social Dilemma (Netflix, 2020).
The most compelling thing about this documentary is that all the talking heads are people who worked for major firms like Facebook, Google, Twitter, and came to see how destructive their products were. It’s fascinating to hear their arguments for why social media must change—and their fears. The line that gets repeated often: “If you're not paying for a product, you ARE the product.” If you could take back some of your own autonomy, agency, and privacy, wouldn’t you? I also recommend the documentary Fake Famous (HBO, 2021). Journalist Nick Bilton chooses three young people at random and tries to see if he can transform them into Instagram influencers overnight. The secret of his success? Buy them a bunch of bots! It feels like a trivial project and film (lots of fun, lighthearted moments) but it’s scary how many millions of people are playing this pathetic game for real.

Digital Minimalism, by Cal Newport (Portfolio, 2019). Georgetown University computer scientist Newport is probably best known for his book Deep Work, which I’ve discussed before. The newer book helps professionals put technology in its place. He recommends reducing your online and screen time to the bare minimum for, say, a month, then only add back what you really need. If you need Twitter in order to do your job effectively, then you need to carefully set up a system that allows to you get in, get out, without turning your brain to mush. (And yes, there are such people, like the scientist who analyzes language on Twitter to track epidemics.)

Stolen Focus: Why You Can't Pay Attention—and How to Think Deeply Again, by Johann Hari (Crown, 2022).
I wish I had a dime for every time I’ve heard someone say that they just can’t read or finish books anymore. This comment usually comes from longtime readers, who are surprised that they can’t sit still, focus, and blow through a book in a matter of hours, the way they once did. They profess shock and shame, but British-Swiss journalist Hari says none of us are to blame. Our attention spans have been steadily eroded and fractured by 12 forces in modern life, which he carefully distills by interviewing a phalanx of scientists who are studying various aspects of the phenomenon. Yes, he says, social media and smartphones are one reason, but it’s not as simple as deleting your apps or depositing your phone in a time-locked safe. You might enjoy this brief interview with Hari in which he says:

I went away without my smartphone for three months. I spent three months in Provincetown, Mass., completely offline, in a radical act of will. There were many ups and downs, but I was stunned by how much my attention came back. I could read books for eight hours a day. At the end of my time there, I thought, “I’m never going to go back to how I lived before.” The pleasures of focus are so much greater than the rewards of likes and retweets. 

Then I got my phone back, and within a few months, I was 80 percent back to where I had been.

The example set by Wiley Cash.
Wiley is not a resource, he’s a New York Times Bestselling author of dark literary fiction, a two-time Gold Dagger award winner, and an Edgar finalist. He’s also a friend here in North Carolina. (At the 2015 Edgars, Wiley—far right—had the distinction of wearing a tux more handsomely than Stephen King!) A longtime Twitter user, Wiley deleted his account a couple of years ago, even though he previously enjoyed using the platform to comment on books and the politics of our day. He is in the process of de-platforming entirely from social media, seeking ways to engage with readers via a new creative program, This is Working, launched on his website. I’ve always admired his writing, and his principles. For years, he was the guy we knew who dared to give up his iPhone. Sensing that he was becoming distracted by the device’s bells and whistles, he “down-teched” to an older model flip-phone. I don’t think I could do the same, but I understand the logic behind it.

See you in three weeks!


Joe


josephdagnese.com

Fear and Loathing in the Midwest

I spent the first weekend of June doing an Alternatives to Violence (AVP) Workshop at the pen - my 46th workshop, BTW.  (We all have our hobbies.)  

Anyway, we hosted a bunch of brand new inmates, who were still being processed, i.e., watched and classified. That takes about a month, during which they have plenty of time to experience apprehension and remorse. Maybe.  

So we had a boatload of new inmates, and they all really got into it, and it wasn't just that they were bored s***less in their cells. (Being locked down 23/24 is harder than it sounds, especially if you're not allowed books or other entertainment.) They were impressed that we weren't Bible-thumpers, or some kind of recruitment for treatment centers (although we certainly recommend AA/NA/Al-Anon), etc. All of them wanted to go to the next workshop, and all of them said the program is desperately needed outside. (Tell me something I don't know.) 

Meanwhile, during and in between exercises, war stories were told. Most of them were in for addiction - drugs, alcohol, gambling - or addiction related crimes. 

"Meth is everywhere," one guy told me. "You can't go to a party where someone isn't loaded with meth. You can't hang out with your work buds without someone offering it to you."

"And they're all crazy," another guy said. 

"Yeah, this one guy, he was tweaking for 24 straight, and he finally crashed, right. Right on the living room floor. And then when he woke up, he woke up just freaked, totally paranoid, and started shooting everyone in the house."  

"Yeah, these days they'll kill you. They'll shoot you and don't know why they're doing it. They'll shoot you first and then figure it out."

"Somebody's gotta do something about meth, man." 

"Yeah, you're a hell of a lot safer here than out there." 

(Tell me something I don't know.)  

Of course, some kind of drugs have been everywhere for quite a while.  At least in California, where I grew up. In the mid-1960s, the junior high school girl's bathroom reeked of marijuana, but that's another story.  There were reds (downers), whites (speed), acid (blotter, orange barrel, windowpane, Mr. Happy, and other pharmaceutical concoctions), other hallucinogens (mushrooms, mescaline, peyote, etc.), hash (fresh off the boat or from the pressure cooker), heroin, and cocaine (very expensive).

There was also crystal meth which was, I was told, very cheap. But meth-heads then shot it up, which put it in the "Oh, hell no, I'm not doing that!" category for me. (We all have our standards.) Plus crystal meth users were as crazy then as they are today. True, they were less violent back then, but there were also a lot fewer guns around, especially since I avoided biker gangs if at all possible.  Turns out the biker gangs were the ones who controlled most of the production and distribution of crystal meth, which I did not know at the time, and only found out in writing this blog. (HERE)  

Anyway, crystal meth users were nuts. I had a neighbor at the infamous Blackburn Hotel who used crystal meth. He had a theory that, if he could get his body speeded up fast enough on meth, he would be able to run through walls. He tried that theory out, over and over and over again, with all the bumps, bruises, and smashed bits you'd expect. 

Another feature of modern drugs is, of course, fentanyl. Now there's a conservative talking point (making the rounds for quite a while) that drug addicts die because they're "doing fentanyl", as if they're actually buying fentanyl by name, and so they deserve to die of an overdose. (Sigh; the cruelty really is the point.) But fentanyl (which is apparently ridiculously cheap) is what today's drug dealers cut their expensive drugs with. So heroin - always notorious for being dicey in strength - today is cut with fentanyl. And a lot of junkies die. 

Back in my day, heroin was generally cut with milk powder, which was very cheap, but at least non-lethal. What was lethal was when some really pure heroin went around, and junkies who were used to the cut stuff OD'd left and right. Now it's fentanyl that's killing them, but it's heroin they bought. The same with the fake oxy pills that are out there - cheap fentanyl with some cheap other thing put together in a makeshift lab to look pretty much like oxycontin or oxycodone pills. Only these will kill you, and of course nobody tells you. It's a dangerous world out there. 

Of course, not all the drugs in my day were stepped on with benign substances, either. Orange barrel  acid was cut with strychnine, supposedly because it made for more intense colors in the hallucinations. I don't know anyone who died of it, although I did hear of a few people who had intestinal cramps.  

One thing that strikes me in the difference between then and now is that back then, most drugs were still either a plant (marijuana, peyote, mushrooms), or derived from a plant: hash, opium, mescaline, morphine, heroin, and cocaine. These were all processed in some way, but at least there was some natural substance behind it, and (lacking adulterants) wasn't nearly as toxic as the drugs of today.  

Today, however, most of the drugs are all synthetic - meth, oxycodone, ecstasy (MDMA), synthetic cannabinoids (known on the streets as K-2, spice, synthetic marijuana, bath salts, etc.), and fentanyl, all made in a lab, highly addictive, highly toxic, with a tendency to psychosis.  And it shows.  I see a lot of meth-heads (my generic term for people who've been on synthetic drugs for too damn long), and it doesn't take 30 days for them to detox - it takes 2 years. If then. They just aren't right. Sometimes they never get right again. Not to mention lesser issues like loss of teeth, skin sores, etc. (Warning:  Graphic PHOTOS HERE)

NOTE:  And even these drugs are cut, too - in some cases with brodifacoum, a rat poison that causes bleeding, or fentanyl. 

NOTE: I understand Fox News pundits are worried sick about "pot psychosis-violent behavior link". But pot doesn't do that. "Synthetic marijuana" does, but it's not marijuana. Apparently this is hard to figure out, especially if you're paid just to bulls*** about it.  (Wikipedia, The Wrap)

NOTE: So just get it over with and legalize marijuana nationally, so law enforcement can move on to stopping meth and synthetic cannabinoids, etc. because the boys are right, meth is everywhere, and meth and K-2 can transform people into psychotic monsters.  

God help us all. 

And now, a lighter note:

I don't know if you remember or were there, but if you stood in line at a drugstore in the 1960s and 1970s, you found all sorts of over-the-counter products that were chock full of amphetamines. That's what most prescription diet aids were were made of. Also all the No-Doze type study aids for sale, which now (I am assured) have only caffeine in it. But a lot of prescriptions are still made with amphetamines - like Adderall. 

BTW, am I the only one who remembers Ayds diet candy? There used to be a shelf of them by every drug store register. Yes, sales collapsed as the AIDS epidemic spread in the 1980s, and it folded. (HERE)  Note my favorite of all the ads:  how to control your weight during pregnancy, using Ayds...  

And, of course, back in the late 1800s, early 1900s Coca-Cola's main ingredients were cocaine and caffeine. Since 1929, Coca-Cola has used a cocaine-free coca leaf extract. But my mother, who was born somewhere around 1917 (exact date a little hazy), well remembered her father going up to the drug store on Saturday night for a pail of Coca-Cola, which was Coca-Cola syrup mixed on the premises with soda water. "And that was the best Coca-Cola I ever had. It's never been the same since they put it in bottles." 

Finally, a last word from South Dakota:

From February, 2022:  We had two successive Sioux Falls police officers arrested for possession, manufacturing and distribution of graphic, hard core child porn.  (Argus) 

From June 13, 2022: 2 Sioux Falls men were charged & arrested as part of a white supremacist group planning a riot at an Idaho Pride Parade. One of them, James Michael Johnson, moved from Denver to Cheyenne, WY, where he tried to make the world a safer place for himself, if not democracy by "march[ing] around downtown armed with a gun or a baseball bat, claiming to be keeping us safe." And then moved to Sioux Falls, because Cheyenne didn't appreciate him enough. (Dakota Free Press)

Seems like something rotten is going on in Sioux Falls that we we really need to pay attention to.

Ah, South Dakota, where we talk like Mayberry, and act like Goodfellas...

F. Scott Fitzgerald, Sophocles, and I

 I have a rather unusual book beside me as I write this, courtesy of Flame Tree Publishing.  They are a British firm that publishes beautiful volumes, including their Gothic and Fantasy line.  The latest example of that series is Chilling Crime Short Stories which features nine original stories plus tales by Poe, de Maupassant, Dickens, Sophocles (an excerpt from Oedipus Rex), Sir Thomas More (about the princes in the tower), F. Scott Fitzgerald, and... me.

Rather daunting company, that.

Before I move on some of you may be wondering what Fitzgerald wrote that qualified for this volume.  Well, the new book includes the entirety of The Great Gatsby.  This might shock "mainstream" readers who think of it as one of the great American novels, but the fact is you can't reduce the plot of that book to a single sentence without outlining a classic noir novel.  

But forget about Fitzgerald; let's talk about me.  They reprinted my story "The Present" which appeared originally in The Strand Magazine.  I had read that Flame Tree was looking for stories that would fit the theme of Chilling Crime so I submitted the story and they bought it.  

This was not the first time I have been reprinted.  I also successfully submitted two stories to a now-dead story-publishing site called Great Jones Street. I point this out because submitting  is not the way things always work in the world of reprints.

For example, last year, Barb Goffman reached out to me, wanting to republish my story "Shanks Gets Mugged" in Black Cat Weekly.  I was happy to agree.  As I have said before, being paid for a reprint feels like getting away with something.

The first time a publisher approached me about reprinting my material it was an Italian firm.  I had just won an award and they thought they might be interested in publishing my winning book in Italy.  (I assume my Sicilian surname was a factor.)  I told them that my winning work was a short story but I did have a novel available.  I sent them Such A Killing Crime, about murder in Greenwich Village during the Great Folk Music Scare of the early 1960s,  and they wound up publishing it under a wonderful title that translates Folk Crimes. 

A few years later I received an email from an author who had been contacted by the same publisher.  Suspicious, she did her research and saw my name among their works.  She asked: Is this a scam?  I replied that if it was it was one of those rare scams where they pay you.

More recently my book Shanks on Crime was translated into Japanese with a title that Google tells me translates roughly as Sunday Afternoon Tea With Mystery Writer.  O-kay.  That one sold so well that the publisher decided to produce an otherwise uncollected set of my stories with the English title The Red Envelope and Other Stories and the Japanese title (according to Google) Solve Mysteries on the Holidays at the Coffeehouse.

Since then several writers have asked me how to get their books published in Japan. I told them the process is simple: Open your email and find a note from Tokyo Sogen asking if you would like to sell them the Japanese rights.

Simple, yes.  I never said it was easy.

But the most delightful experience I have ever had with a reprint had to be the two books below, both of which contain "The Street of the Dead House," originally published in nEvermore!

The only downside is that in order to have a story reprinted you first have to write it, so I better get to work.  Can't let Dickens and Poe get ahead of me.

When Ignorance is Bliss

We've all heard the advice that authors should write what they know. (And before you roll your eyes, it doesn't mean write only about things you already know about. It means do your research before you write about something so you get the details right and your story is believable.) Along the same lines, editing what you know makes sense too. If I were to edit a police procedural novel, it sure would help if I knew about police procedure. Ditto for a legal thriller. Knowing what a summary judgment motion is and how it works would be important if I were to edit a novel with one of them in it.

But sometimes when I'm editing, I find that ignorance can truly be bliss. It can result in my asking questions an expert in a particular subject might not. Take, for instance, the topic of farming. I'm not a farmer. I've never lived on a farm. I don't even like to go outside. Twenty years ago, a woman in my writing group was writing a novel set on a farm. Each week we'd go over another chapter and I would ask questions that made her realize she'd incorrectly assumed certain things were common knowledge. When that book came out, she gave me a copy and inscribed, "Barb, your ignorance of farming was invaluable." It still makes me laugh.

It's not the only time my ignorance came in handy. Several years ago, a client used an acronym that I'd never heard of before, and I noted it when editing her manuscript. She was surprised. It was a common word in the military, she said. After polling a bunch of people she knew, she realized she either needed to explain the acronym or change it because enough non-military people didn't know the term, and its meaning wasn't obvious from her story's context. If I'd had a military background, it might not have occurred to me that many readers might not know that acronym. 

Ignorance can be bliss. So can pizza.

So, where does the line lie between when an author wants an editor who's a subject-matter expert or one who isn't? I'm no expert on answering this question (ha ha), but I think it depends on how much of an expert the author is on the subject at hand--or how much research the author is willing to do. 

If you're a homicide detective writing about a homicide detective, working with an editor who's never been a police officer might be useful. The editor could bring a helpful outsider's perspective, enabling you to see when you're making assumptions about what most readers will know. But if you've never been a police officer and you don't love doing research, then you'd be well served by working with an editor who knows enough about how police investigations work to tell you if you got something wrong or if you might've gotten something wrong so you should check. 

That said, sometimes you won't be able to find the exact expert you need. If I wanted to write a story about a gravedigger, I might be able to find a gravedigger who could answer my questions. It might be more difficult to find a gravedigger or former gravedigger who also edits mysteries.

So, if you can't find an expert to edit your manuscript, look for one who isn't afraid to question things, asking if you checked if certain things are correct. (It also wouldn't be a bad idea to find a subject-matter expert who will read your manuscript, not to edit it, but to tell you if you got the details right.)

Even as I type this, I can imagine someone reading this column and thinking, even a homicide detective could benefit from the expertise of another insider, someone who might have suggestions a lay editor wouldn't think of. And that is true too. It's why it's a good idea to know your strengths and weaknesses and know exactly what you want--and need--from an editor before hiring one. Sometimes someone with certain expertise is exactly what's right for you. But other times, the person who's right for you is an editor who's ignorant about your field--and who isn't afraid to show it.

Crime Scene Comix Case 2022-06-016, Wishing Pond

Once again we highlight our criminally favorite cartoonist, Future Thought channel of YouTube. We love the sausage-shaped Shifty, a Minion gone bad.

Uh-oh. In this episode, Shifty takes a soaking.

 

 

 

 

© www.FutureThought.tv

 

That’s today’s crime cinema. Hope you enjoyed the show. Be sure to visit Future Thought YouTube channel.

From the Memoirs of a Private Detective

This piece appeared in Smart Set Magazine in 1923. -Robert Lopresti

FROM THE MEMOIRS OF A PRIVATE DETECTIVE

by Dashiell Hammett

 1. Wishing to get some information from members of the WCTU in an Oregon city, I introduced myself as the secretary of the Butte City Purity League. One of them read me a long discourse on the erotic effects of cigarettes upon young girls. Subsequent experiments proved this tip worthless.

2. A man whom I was shadowing went out into the country for a walk one Sunday afternoon and lost his bearings completely. I had to direct him back to the city.

3. House burglary is probably the poorest paid trade in the world. I have never known anyone to make a living at it. But for that matter few criminals of any class are self-supporting unless they toil at something legitimate between times. Most of them, however, live on their women.

4. I know an operative who, while looking for pickpockets at the Havre de Grace race track, had his wallet stolen. He later became an official in an Eastern detective agency.

5. Three times I have been mistaken for a prohibition agent, but never had any trouble clearing myself.

6. Taking a prisoner from a ranch near Gilt Edge, Mont., to Lewistown one night, my machine broke down and we had to sit there until daylight. The prisoner, who stoutly affirmed his innocence, was clothed only in overalls and shirt. After shivering all night on the front seat his morale was low, and I had no difficulty in getting a complete confession from him while walking to the nearest ranch early the following morning.

7. Of all the men embezzling from their employers with whom I have had contact, I can't remember a dozen who smoked, drank, or had any of the vices in which bonding companies are so interested.

8. I was once falsely accused of perjury and had to perjure myself to escape arrest.

9. A detective official in San Francisco once substituted "truthful" for "voracious" in one of my reports on the grounds that the client might not understand the latter. A few days later in another report "simulate" became "quicken" for the same reason.

10. Of all the nationalities in hauled into the criminal courts, the Greek is the most difficult to convict. He simply denies everything, no matter how conclusive the proof may be; and nothing impresses a jury as a bare statement of fact, regardless of the fact's inherent improbability or obvious absurdity in the face of overwhelming contrary evidence.

11. I know a man who will forge the impressions of any set of fingers in the world in the world for $50.

12. I have never known a man capable of turning out first-rate work in a trade, a profession or an art, who was a professional criminal.

13. I know a detective who once attempted to disguise himself thoroughly. The first policeman he met took him into custody.

14. I know a deputy sheriff in Montana who, approaching the cabin of a homesteader for whose arrest he had a warrant, was confronted by the homesteader with a rifle in his hands. The deputy sheriff drew his revolver and tried to shoot over the homesteader's head to frighten him. The range was long and a strong wind was blowing. The bullet knocked the rifle from the homesteader's hands. As time went by the deputy sheriff came to accept as the truth the reputation for expertness that this incident gave him, and he not only let his friends enter him in a shooting contest, but wagered everything he owned upon his skill. When the contest was held he missed the target completely with all six shots.

15. Once in Seattle the wife of a fugitive swindler offered to sell me a photograph of her husband for $15. I knew where I could get one free so I didn't buy it.

16. I was once engaged to discharge a woman's housekeeper.

17. The slang in use among criminals is for the most part a conscious, artificial growth, designed more to confuse outsiders than for any other purpose, but sometimes it is singularly expressive; for instance, two-time loser--one who has been convicted twice; and the older gone to read and write--found it advisable to go away for a while.

18. Pocket-picking is the easiest to master of all the criminal trades. Anyone who is not crippled can become adept in a day.

19. In 1917, in Washington DC, I met a young lady who did not remark that my work must be very interesting.

20. Even where the criminal makes no attempt to efface the prints of his fingers, but leaves them all over the scene of the crime, the chances are about one in ten of finding a print that is sufficiently clear to be of any value.

21. The chief of police of a Southern city once gave me a description of a man, complete even to the mole on his neck, but neglected to mention that he had only one arm.

22. I know a forger who left his wife because she learned to smoke cigarettes while he was serving a term in prison.

23. Second only to “Doctor Jekyll and Mr. Hyde” is “Raffles” in the affections of the daily press. The phrase "gentleman crook" is used on the slightest provocation. A composite portrait of the gentry upon whom the newspapers have bestowed this title would show a laudanum-drinker, with a large rhinestone-horseshow aglow in the soiled bosom of his shirt below a bow-tie, leering at his victim, and saying: "Now don't get scared, lady, I ain't gonna crack you on the bean. I ain't a rough-neck!"

24. The cleverest and most uniformly successful detective I have ever known is extremely myopic.

25. Going from the larger cities out into the remote, rural communities one finds a steadily decreasing percentage of crimes that have to do with money and a proportionate increase in the frequency of sex as a criminal motive.

26. While trying to peer into the upper story of a roadhouse in northern California one night--and the man I was looking for was in Seattle at the time--part of the porch crumbled under me and I fell, spraining an ankle. The proprietor of the roadhouse gave me water to bathe it in.

27. The chief difference between the exceptionally knotty problem facing the detective of fiction and that facing the real detective is that in the former there is usually a paucity of clues, and in the latter altogether too many.

28. I know a man who once stole a Ferris wheel.

29. That the law breaker is invariably sooner or later apprehended is probably the least challenged of extant myths. And yet the files of every detective bureau bulge with the records of unsolved mysteries and uncaught criminals.

Don't Pluck a Star From the Sky

A fun thing about writing is we get to re-invent our natural world. Writing isn't just bringing characters to life. There's a whole sandbox of staged reality around those characters. A scene needs their go-to restaurant? Invent one! Then, if you're me, spend an hour sorting around Google for snazzy name ideas. And you can put this restaurant anywhere, even if it’s a terrible corner for business. In this story, somebody bad at the restaurant game opened a spot there. What matters is that the sandbox holds itself and the story together. Authors can be Near-Gods of Verisimilitude, truthful enough in purpose if not fact.

Last month, I sold my 39^th short story. In 38 of them, everything that happens could happen. The happenings are often improbable, but as Sherlock Holmes said many times, the improbable can be reality. There's gold in improbabilities. In those stories, I’ve invented towns, corporations, lost paintings, tennis legends, famous dishes, and yes, restaurants. What a story needs, I'll make.

If I can. The other part of Sherlock Holmes’ famous maxim is about eliminating the impossible. In fiction terms, eliminating what can't or shouldn't happen lets a story glimpse its golden opportunities. My fiction takes place on planet Earth in our dimension of whatever multiverse we’re living in. Physics applies. Gravity, electromagnetics. Human bodies function how they function, physically and physiologically. Our sun rises in the east and sets in the west because our planet rotates on a particular orbit around a particular star in a particular arm of the Milky Way. At any given time, the Moon and stars occupy a particular spot in the only sky we have.

You would think, if my rule was to ensure the stars traverse the sky as they must, I would have any star-reading character find constellations in the right spots. Well, I did. Eventually.

Let's rewind. 

It’s 2017, and I have just invented a fictional boat. An older boat, big enough for bluewater ocean crossing but small enough not to need much crew. And I have just thrown a guy off the boat. That seemed a pretty good way to force a bunch of action. First thing, the guy tries reading the stars to figure out where exactly he wound up adrift.

Full disclosure: The night sky looks like a web of Big Dippers to me. I’m darn good sensing my way around a new city, but if getting somewhere depends on my locating the true Ursa Major, I’m toast. 

I was not deterred. In the early drafts, I let the stranded guy see whatever sky objects made sense to him. He spotted the planet Mars, this and that constellation, and because this was the subequatorial Indian Ocean, the Southern Cross. If it didn’t work, it could get tweaked in editing.

I do edit. And I do my research. As the story formed up, I checked around for correct sky features by time, date, and geographic location. With a proper star chart, adjustments would be easy. Eventually.

What needed to get fixed? Mars: Not visible from that location at that time. Constellation this and that: Not visible. Any of them. The Southern Cross: Not visible. Honestly, it’s hard to get stuff this instinctively wrong, but I pulled it off. I’d invented a magic sky.

I couldn’t move the boat’s location. The plot hinges on a round trip to Perth, Australia, and the characters’ motivations would collide soon on the homeward leg. I was also constrained by date. Seasonal monsoon conditions would deter small boats for months at a time. I couldn’t just press the easy button and switch to daylight. The guy’s ability to sort-of navigate by the stars was core to both back and front story. And eventually, after too many writing sessions and much banging my head on the desk, after teaching myself the Southern sky and playing with geolocations and sunsets, I found an actual starscape the guy would’ve actually seen.

The immutable laws of our universe are not the fun part of writing. They’re essential, though, if we want an improbably real-world story told well. In this case, a story also sold well--"Crossing the Line, Twice," my tenth story for AHMM. I wasn't about to submit AHMM a real-world story with a magic sky.

Lesson learned? Don't pluck stars from the sky and move them around. Writers don't have that power. A wrong lesson might’ve been to skip a try at star navigation. Where is the sport and reward of writing if we don’t expand our personal horizons?

And anyway, maybe next time I’ll plop a floating restaurant out near Sumatra. I’m not saying it’s a probable location, but it’s not impossible.

Historical Mystery Revisited

With the release of my latest book, I thought it might be time to revisit my first SleuthSayers article – Writing the Historical Mystery. Since the article aired in September 2016, I have had five historical mystery novels and fifteen historical mystery short stories published.

Accuracy vs. Fiction

Joseph Pulitzer wrote on his newsroom wall – “Accuracy, Accuracy, Accuracy.” Excellent advise for journalists but fiction writers are not journalists and we do not write history books. Historical accuracy is important in the historical mystery but is it more important than your story? I say no.

When we write historical fiction we are writing FICTION. I have a degree in European and Asian History and have had historical articles published in academic journals.

In writing academic historical articles, I strive to be as accurate as humanly possible. Nearly all history graduate students take a class in HISTORIOGRAPHY, the study of historical writing. They know unless you are an eye-witness to an historical event – and that’s one person’s subjective observation – then you must rely on first hand accounts of other contemporary witnesses or second hand accounts complied by other historians. So why worry if you get a minor detail wrong in your historical fiction as I did when I had a character wearing a Banlon shirt several years before Banlon was introduced? Oh, yes. Someone caught me and I had to miss recess that day. Same thing happened when I put a Parker T-ball jotter in a private eye's hand a few years before Parker distributed the pen. Wrong. An easy fix.

Historians in critically-acclaimed history books also get things wrong. Ever read history books of the Napoleonic Wars? British Historians and French Historians paint nearly opposite histories of the same period. It’s almost funny.

Back to my first statement - when we write historical fiction we are writing FICTION – I have fudged on historical accuracy to write a better story because, in my opinion, historical fiction is like someone’s name. John Smith is a SMITH, part of the SMITH family, not the JOHN family. Historical Fiction is FICTION and fiction outranks history, otherwise you’re writing a history book.

“ … fairness is not the historical novelist’s first duty,” the great historical fiction writer Bernard Cornwell pens in his notes at the end of Sword Song (2008). He is correct, of course. The duty of an historical novelist is to entertain, to elicit emotion in the reader and if mistakes of fact are made (from errors in research, by omission or by design), well, it happens.

Fiction writers make up stuff. We make up characters and events, sometimes with an historical backdrop.

Artistic license was taken when I wrote my latest, Hardscrabble Private Eye. I'm not a reporter, I'm a fiction writer.

A novel set in 1935 New Orleans. A tale of buried treasures. Diamonds. Rubies. Emeralds. A priceless stolen book. A tale of treachery with alluring femme fatales, gangsters, Mafiosi, gunfights, tommy guns peppering the night and a private eye harscrabbled in the middle.

That's all for now.

A Classic Misdirection

I was still with Jordan Baker. We were sitting at a table with a man of about my age and a rowdy little girl who gave way upon the slightest provocation to uncontrollable laughter. I was enjoying myself now. I had taken two finger bowls of champagne and the scene had changed before my eyes into something significant, elemental and profound.

At a lull in the entertainment the man looked at me and smiled.

"Your face is familiar," he said, politely. "Weren't you in the Third Division during the war?"

"Why, yes. I was in the Ninth Machine-Gun Battalion."

"I was in the Seventh Infantry until June nineteen-eighteen. I knew I'd seen you somewhere before."

We talked for a moment about some wet, grey little villages in France. Evidently he lived in this vicinity for he told me that he had just bought a hydroplane and was going to try it out in the morning.

"Want to go with me, old sport? Just near the shore along the Sound."

"What time?"

"Any time that suits you best."

It was on the tip of my tongue to ask his name when Jordan looked around and smiled.

"Having a gay time now?" she inquired.

"Much better." I turned again to my new acquaintance. "This is an unusual party for me. I haven't even seen the host. I live over there—" I waved my hand at the invisible hedge in the distance, "and this man Gatsby sent over his chauffeur with an invitation."

For a moment he looked at me as if he failed to understand.

"I'm Gatsby," he said suddenly.

— The Great Gatsby by F. Scott Fitzgerald

"Subverting expectations."

That's the flashy new phrase all the cool kids are using these days, when in truth what they're referring to is your basic old-fashioned misdirection. And it's been with us at least since the Greeks invented drama.

So. You know. Thousands of years.

The excerpt above highlights one of the best examples in modern literature of this sort of thing. And linked here is a mashup of this very scene from the novel portrayed in five different film adaptations done between 1926 and 2013. And each of them plays the scene a bit differently. The best of them build up the anticipation of the first appearance of the novel's mysterious titular character.

And when Gatsby does make his first appearance, it's practically anti-climactic. In person Gatsby is so unassuming as to be nearly forgettable, at least at first blush. The mundane reality crashes hard into the soaring fantasy of the Gatsby of rumor, of myth, of legend.

With the advent of Summer, Gatsby has been very much on my mind. This happens with me every late Spring. Maybe it's because Gatsby is in so many ways the ultimate "Summer Novel."

As such, I'll be reading it again, as I have done every Summer for the past twenty-five years. Every reading brings me delight.

A large part of the enjoyment I get out of Gatsby is from the way the reader's expectations are continuously "subverted."

Gatsby, while nothing like the legend which had grown up around him, is ironically the most honest person in the novel. Furthermore, every other character takes a cue from Gatsby in one regard: none of them is as they initially seem.

Not Gatsby's lost love, Daisy. Not her husband, Tom. Not her cousin, Nick. Not her friend Jordan Baker.

So here's my question for you, the reader: which novel have you found to most consistently subvert expectations? Give your response in the comments. and let's get to talking about it.

Next time around I talk about real life subverted initial impressions of real life individuals, how those worked out, and how these real world experiences informed my fiction in the best possible ways.

See you in the comments, and in two weeks!