All's Fair in Death and Cherries

© 2022 Joseph D'Agnese

The cherry trees are blooming in my neighborhood as I write this.* Each year, my wife and I go out of our way to shoot as many photos of this spectacle as we can. We love watching the petals of the blossoms flutter across the yard like pink snow. Truly magical, and bittersweet, because by the time they begin dropping you know the show is nearly over. Indeed, by the time you read this, the bloom may well have ended.

Countless poets, writers, and artists in various cultures have drawn inspiration from those trees, and I’m no different. But because I’ve spent my life consuming crime novels and stories, my cherry-tree thoughts turn each year to the tale of a miserable exploited writer. The story comes not from a mystery or some work of literary fiction, but from one of my favorite cookbooks. Here’s the intro to the recipe on Cherry Pudding:

The cherry season is very short and one is always touched with sadness when it comes to an end. Sad too is the story of the song which is still passed on from one generation to another, ‘Les Temps des Cerises.’ In 1867 a young poet, Jean-Baptiste Clemént, sat in a shabby room watching at the death-bed of a friend. To cheer her a little he composed the first verse of the song, which he recited. The dying girl murmured, “It’s charming. Go on,” and he improvised the whole poem.

The girl died and the poet wept and the song was written. One day the poet suffered from the cold. He went to a publisher and exchanged his poem for an overcoat. Whilst the publisher made two million francs from the song the poet, in a moment of need, pawned the overcoat for fourteen francs, and that is all he got out of his lovely song.

The North Point Press editions.

The author of these words is Edouard de Pomiane (1875-1964), who was a food scientist who lectured at the Pasteur Institute for 50 years. It’s hard to get a solid grasp of his biography. Articles say that his specialty was digestion or digestive juices, but he became a celebrity in France during the 1930s for radio shows in which he expounded clever ways to bring tasty dishes to the table. By the time he died at age 89, he had authored 22 cookbooks. The two that are most easily found in English translation are Cooking With Pomiane (the 245-page volume from which the cherry song story is excerpted) and French Cooking in Ten Minutes.

“Modern life is so hectic that we sometimes feel as if time is going up in smoke,” Docteur Pomiane tells us in the introduction to the latter, which clocks in at a mere 142 pages. “But we don’t want that to happen to our steak or omelet, so let’s hurry. Ten minutes is enough. One minute more and all will be lost.” He was speaking of the hectic life as it was perceived in 1930, when the book was published.

I love dipping into these small paperbacks from time to time, because they make me smile. The prose is refreshing, clear, and charming as heck. Pomiane was a master of the conversational tone. He wrote at a time when many French people were leaving the country for cities and the allure of steady office jobs. The shortages of WW-I were still well remembered. How could these proud people cook wholesome, traditional meals on schedules that were no longer their own to make?

On his radio program, Pomiane made his prejudices abundantly clear: French cooking as we’ve come to know it is unnecessarily complicated. Let’s leave fussy cooking to the professional chefs, if they feel they must cling to it. When you cook at home, keep it simple. That’s sensible advice for home cooks—and writers, to boot. The first chapter of Ten Minutes begins like this:

First of all, let me tell you that this is a beautiful book. I can say that because this is its first page. I just sat down to write it, and I feel happy, the way I feel whenever I start a new project.

My pen is full of ink, and there’s a stack of paper in front of me. I love this book because I’m writing it for you…

His first piece of advice:

The first thing you must do when you get home, before you take off your coat, is go to the kitchen and light the stove. It will have to be a gas stove, because otherwise you’ll never be able to cook in ten minutes.

Next, fill a pot large enough to hold a quart of water. Put it on the fire, cover it, and bring it to a boil. What’s the water for? I don’t know, but it’s bound to be good for something, whether in preparing your meal or just making coffee.

I’ve never been able to figure out if the famous cherry song he references, which is renowned as a song of political rebellion, is describing cherry blossom time, or the season some months later when the fruit is actually harvested. I suspect it is the latter. Pomiane appears to adore the fruit, because he gives us at least a half dozen cherry-based recipes. Clafoutis. Cherry Pudding. Piroshki with Cherries. A homemade cordial called Cherry Ratafia. And on and on. Here he is, describing the extraction of the Cherry Tart from the oven:

Don’t be discouraged. Cut the first slice and the juice will run out. Now try it. What a surprise! The tart is neither crisp nor soggy, and just tinged with cherry juice. The cherries have kept all their flavor and the juice is not sticky—just pure cherry juice. They had some very good ideas in 1865!

© 2002 Joseph D'Agnese

Another food scientist-writer would have lectured us on how butter melts in the pate brisee and creates air bubbles and blah blah blah, snooze snooze snooze. Pomiane knows the science. He also knows we don’t need to know it. He focuses instead on telling details and imagery that you cannot shake from your mind. When the flesh of cherries are broken, he says, “they seem to be splashed with brilliant blood.” And indeed, in the song, the color of the cherries came to symbolize the blood of rebellion.

That should not surprise those of us who have read widely in the mystery genre, where death is often paired with food. But when I read Pomiane, I sometimes wonder if I am reading a cookbook or watching a piece of Grand Guignol theater. In the larger of the two books, he recounts a 1551 legend about a jealous baker who finds his wife in the kitchen with a younger man.

He’s just an assistant I hired while you were out of town! she tells hubs.

“Very well,” the husband says, “I am prepared to believe your story, but if this young pastry cook cannot prepare eighteen cakes immediately I shall stab him with this cutlass and then slit your throat, Madame.”

The young man prays to St. Madeleine for guidance, and lo and behold, miraculously turns out the legendary cakes that bear her name.

I suspect that Docteur Pomiane’s adoring fans would have been far more shocked if they knew a little-advertised truth about the mustachioed, grandfatherly man who crafted these best-selling books on cuisine. You see, Pomiane was born in France, but his birth name was Edouard Pozerski Pomian. His parents were immigrants. Quelle horreur! The man who taught the 20th century French to cook, the man whose ideas many say influence farm-to-table French chefs to this very day, was of Polish descent.

A happy spring to you all!

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The cherries seen most often in one’s neighborhoods are ornamental, not fruit-bearing, trees. On occasion, if weather and pollinators align properly, an ornamental might well bear tiny fruit, which are fit for crows, not humans. Ask me how I know.

See you in three weeks!

Joe

josephdagnese.com

Dark Tales for Children

Thanks to Joseph D'Agnese's Reading in Bars blogpost (HERE), I read Zilpha Keattey Snyder's The Egypt Game, and really enjoyed it. I think Snyder captured childhood obsession and fantasy perfectly. You do the damnedest things in childhood, from time-travel to being horses, from reading every single novel by an author and memorizing every freaking character and plot twist (Tolkein, Laura Ingalls Wilder, Andre Norton, Heinlein, T. H. White, Ray Bradbury, Carolyn Keene, Sherlock Holmes, etc.) to knowing you are going to die if you don't get to watch the latest episode of [fill in the blank here].  

And children know that adults have absolutely no understanding or comprehension of who you are, what you want, or what you're going through, and never will. Deep down, every child completely disbelieves that adults were ever children. They are an alien species, set down among us to tell us what to do and train us for some future role. This is, I think, part of the attraction we had for Stranger in a Strange Land, aside from the sex (which for the 60s was pretty damn racy). The Old Ones raising the Nymphs to become something else made perfect sense. 

But I disagree about the darkness of The Egypt Game. Yes, a child is murdered. And a second one, later on. I know, I know, if that isn't dark, what is? Well, so is child molestation, and in my childhood neighborhood we had a guy across the street who was molesting his foster kids, and our college-age next door neighbor tried to molest me when I was six. That's dark - too dark for most children’s book writers to think about touching, and probably rightly so.  

Anyway, despite the murders, there's a distance kept throughout the novel which makes sense:  children really can ignore almost everything if they're obsessed with something else. And 99% of the adults of The Egypt Game are harmless. Most of the time, the children spook themselves, which is also normal. 

MY NOTE:  In The Headless Horseman, my Laskin character, Linda Thompson, reminisces about how she talked herself into an obsession with a man – who does look pretty odd – that makes her absolutely terrified of him. Meanwhile, in case you haven't guessed, there were worse characters roaming Laskin at the time.  

Anyway, as I thought about it, I realized that children's literature has actually gotten tamer in many ways.  Try Nancy Drew - the books we were reading in the 1960s were still, mostly, the editions of earlier years. And thinking back on those books, what I remember is how in almost every story, Nancy was knocked out, kidnapped, bound, gagged, and taunted at least once, if not more than once. 

Image courtesy of The Paris Review

And sometimes it was Nancy and her chums. Repeatedly. In The Clue of the Velvet Mask, George Fayne, one of Nancy's best friends, was not just chloroformed and kidnapped, but shot up with mind-altering drugs, and - when she's finally rescued - is terrified that they are all going to be killed. Now this is important because George is, throughout the series, just as brave as Nancy, and even more of a daredevil. So for her to be frightened? So frightened that she's screaming at Nancy to give up the investigation? Scary. Also, the villain nearly smothers Nancy to death in that one. In fact, the ruthless, dangerous criminals who Nancy's up against repeatedly drug and physically assault Nancy and her friends. (Wikipedia)  Very dark.  

MY NOTE:  The Clue of the Velvet Mask was the last ghostwritten Nancy Drew by Mildred Benson, who has been credited as Nancy's original creator, and apparently the darkest one she ever wrote. If you want to see how dark it can get, you need to find the original - the 1953 edition - currently out of print.  

SECOND NOTE:  We all knew, BTW, that George was gay, even back in the 1960s, but then we were California girls, and learned stuff early. Didn't bother us a lick. When we role-played Nancy Drew novels, none of us minded being George if we couldn't be Nancy - what we hated was being assigned to play Bess Marvin, George's cousin and Nancy's other best friend, who was always depicted as plump, hungry, and scared of her own shadow.

Yes, children's literature has been tamed. Think about Charles Dickens' Oliver Twist. An orphan is almost starved to death in an orphanage, escapes, and is taken in by a young gang of pickpockets and thieves under the tutelage of a career criminal. Among the companions are a young prostitute who is regularly beaten and eventually bludgeoned to death by her brutal criminal lover. Etc. How the hell did this ever get read aloud as a post-supper treat? And yet it was. 

Going back even further in time, there's Martha Sherwood's The History of the Fairchild Family, published in 1818 and remaining in print for over a hundred years, and part of every good Victorian child's library.  Fiercely Calvinist, it's all about the Fairchild parents trying against all odds to save the souls of their little unregenerate children Emily, Lucy, and Henry.  Horrific things happen - Augusta Noble, saucy, pert, and disobedient, plays with candles and burns herself to death, which immediately leads to everyone declaring the obvious truth that she is now burning in hell as well. And, when Emily, Lucy, and Henry fight amongst themselves one day, their father first whips them, then takes them out to see a gibbet, where a rotting corpse is hanging, its chains rattling in the wind, and makes them kneel in the dust and pray underneath it.  Now that's nightmares.

BTW, if you want to read The Fairchild Family in all its horrors, you can read the 1819 text HERE - especially "The Story on the Sixth Commandment."  It explains the early Victorian mindset better than any modern analysis can ever do.

And, finally, Grimm's Fairy Tales. I remember The Robber Bridegroom very well, because for some reason I was fascinated by the fact that the robbers gave the poor victim three glasses of wine:  one white, one red, and one yellow.  Anyway, the miller's daughter goes to see her betrothed in the forest, not knowing he's a robber. At the house both a bird in a cage and an old woman tells her that the people there will kill her and eat her. The old woman hides her behind a cask, and the robber & his gang arrive with a woman whom they proceed to get drunk, and then kill her and chop her up. Luckily the ring finger flies off and lands in the miller's daughter's lap, and she shows it at the pre-wedding banquet. The bad guys are executed, so all is well. Huzzah!

Maybe that's the hallmark of true children's literature - in the end all the bad people are caught, executed, die, are destroyed? And then you grow up, and you find out that the bad guys aren't always caught, executed, die, or destroyed. That's when your heart breaks, and the real nightmares begin.

"Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon."~ G.K. Chesterton, writing the original lines, in Tremendous Trifles, Book XVII: The Red Angel (1909)

End of Watch

I watched a picture called Crown Vic, from 2019, because it had Thomas Jane.  I know he’s done a lot of stuff, but I didn’t take much notice until The Expanse – my bad.  Crown Vic is pretty good, a series of incidents, really, not a rising narrative arc, about a pair of L.A. patrol cops on a single night shift, the old salt and the rookie kid, Jane of course the lifer, showing the newbie the ropes.  It’s a well-made movie, handsomely shot, with a handful of good cameos, both funny and disturbing, and I liked it enough to look up the writer/director’s credits, Joel Souza.

Souza wrote four pictures before Crown Vic, and directed three of them, but what made me sit up and take notice is that the picture he started work on next was a Western with Alec Baldwin, titled Rust.

This may or may not ring a bell with the rest of you, but Rust was on location right down the road from here, at Bonanza Creek ranch, a few miles south of Santa Fe.  Souza and his cinematographer, Halyna Hutchins, were rehearsing a set-up with Baldwin.  At some point, Baldwin drew a prop weapon, and cocked it.  The gun went off.  From later investigation, it turns out there was live round in the gun.  The bullet hit Hutchins, went through her, and hit Souza.  She died; he recovered.  Production shut down, and it’s unlikely to resume.  There’s probably no way to get to the bottom of what actually happened. 

The word “complacency” was used by the Santa Fe county sheriff.  One question is how an assistant director could call out “cold gun,” and then hand Baldwin a loaded one.  Another is how dummy rounds, live ammo, and blanks were all present on the set.  This called attention to the armorer, Hannah Gutierrez-Reed, and her level of experience.  Hannah is Thell Reed’s daughter.  Thell Reed is one of the more celebrated gun-handlers in Hollywood, right up there with Arvo Ojala, and it’s hard to imagine Hannah being stupid about guns.  In fact, soon after the shooting, word got out that she’d argued for stricter safety protocols and basic firearms instruction for the cast and crew, and she’d been turned down because it wasn’t in the budget.  The more unsettling thing to me is that neither the AD nor the actor thought to check the weapon for themselves. 

Be this as it may, let’s turn our attention to the gun itself.  Alec Baldwin has recently said that he didn’t pull the trigger.  This may in fact be true.  The gun he was holding was a replica of a Colt single-action Army.  A lot of these are made in Italy by Uberti, and imported by American distributors like Cimarron.  [See below]  This is by no means a primitive gun.  It was state-of-the-art in 1871.  Granted, there have been a few improvements over the last 150 years, but it’s a proven and reliable design.  It does, on other hand, have safety issues.  The cylinder holds six rounds, but you only load five, and leave the hammer down on an empty chamber.  You cock the gun, and the cylinder rotates.  It’s not a good idea to pull the hammer back with just the ball of your thumb, straight back; you want the joint of your thumb across the hammer, or your thumb could slip off.  And the trigger is very light: it’s seated directly against the hammer, and slides out from under it with a breath of air.  If you’re not familiar with the hardware, it’s an accident waiting to happen.

Did it happen this way?  I have no idea.  And while I don’t know guns upside-down and inside-out like Steve Hunter, I think I know this particular gun fairly well.  I’ve been shooting it for sixty years.  It’s not at all inconceivable that the gun went off, in effect, all by itself.

This, of course, addresses only the mechanical question, and absolves nobody of responsibility.  There was a culture of carelessness on the picture.  It was make-believe. 

Where to Start - the Importance of Choosing the Right Story Opening

All writers, but especially newer writers, sometimes start their stories in the wrong place. And by "place," I don't mean the wrong setting, which I've written about before. See here. I mean starting in the wrong moment of the story.

Let's take a story about a bank robbery. There can be many places to open the tale. Do you start with your gunman stepping up to the teller? That opens right in the middle of the action. Excellent! Readers will love that. Or do you start the story when the robber enters the bank and looks around? Showing him checking out where the guard is and if he's distracted, and deciding which teller to approach (which one looks the most compliant?) and other such details could raise the tension even before the robber gets in line. Such an opening could work nicely too. 

But there are other options, aren't there? Do you open the story with the robber and his getaway driver in the car, on the way to the bank, talking about their plans? Or do you start with the robber getting a foreclosure notice on his house a week before the robbery, when he realizes he needs to get his hands on some money and fast? Or do you start when he's twenty years old with his first credit card, frivolously buying things he'll be paying back for years at a high interest rate, thus setting him on the path of getting that foreclosure notice? Or do you start on the day he's born, because everything that happens to him from that moment on ultimately brings him to the second when he shoves an empty bag at the teller and says, "This is a robbery"?

Lots of choices. Hopefully, no matter if you're writing a novel or short story, you won't start with the robber's birth. That could make for a very long tale. (Charles Dickens, I'm looking at you and your David Copperfield, the second sentence of which is, "To begin my life with the beginning of my life, I record that I was born.") 

Every storyteller has to figure out for herself where the best place to start any particular story is, but it's always good to have the beginning centered around something happening or soon to happen. You don't want to start too early in the story (too long before some action occurs) because the reader could get antsy for something to happen to move the plot forward. (And, since we're talking about timing, you also don't want to start too late in the story. Imagine a bank robbery tale that started with the robbers running out out of the bank, into the getaway car, which takes off. The reader would feel confused and cheated because they missed all the excitement. If you're going to write a bank robbery story, you have to show the robbery!)

Given all of this, you might expect I'd say the absolute best place to start a robbery story is when the robber is about to shove his bag at the teller, thus starting with the action. But you'd be wrong. (Ha! A good story--including a good blog--can always benefit from a surprise, just like this one.) Anyway, while starting with the robber reaching the teller can be excellent, there is something to be said for a slower--or even slow--opening that showcases the main character and his emotional wound that sets him on the path to robbing the bank. A beginning that sets up the conflict from which the action will later (but not too much later) unfold also can work (such as the receipt of a foreclosure notice). So can an opening that introduces the setting, hiding little details you'll use later when all hell breaks loose. 

I used a slow opening in both my stories currently nominated for the Agatha Award, one a bit slower than the other. "A Family Matter" (from the Jan./Feb. 2021 issue of Alfred Hitchcock's Mystery Magazine) opens with the main character, Doris, watching a moving van outside the vacant house next door. It looks like a nice family is moving in. At least that's what she thinks until she hears their chickens. The reader learns quickly that chickens are unacceptable in this nice neighborhood, and Doris believes she must take action to prevent them from taking roost. The conflict from which the story will unfold is thus quickly born, even if there isn't a lot of action right away.

In my story "A Tale of Two Sisters," (published in the anthology Murder on the Beach), the beginning is slower. We open in the middle of a wedding ceremony, with the maid of honor thinking, "My big sister, Emma, was no bridezilla, but heading into her wedding today, she’d been wound up so tight she was like a jack-in-the-box ready to spring." So, we open with the tone--the reader understands that this day is not just joyous but also tense. As the ceremony proceeds, Robin, the point-of-view character and maid of honor, sets the stage, introducing the reader to the key characters and their emotional needs. She addresses things she feared would go wrong during the ceremony. She mentions details the reader will (I hope) overlook until those details come into play later in the story. Finally the scene ends with the newly married couple's first kiss and Robin thinking: "A sigh of relief escaped my lips. Finally, we could relax. Fingers crossed, it would all be smooth sailing from here." This was a quiet opening. Nothing bad happened at all. But I expect the reader will know that poor Robin is kidding herself. If she thinks it will all be smoothing sailing from here, surely a shipwreck is in the offing. And many of the pieces that will go into creating the upcoming storm were baked into the story right from its slow start.

So, those are two openings that don't start with big action. But notice where I didn't start. I didn't open "A Family Matter" on the day Doris and her husband moved into the neighborhood and learned its social rules. I didn't open the story on the day the prior family moved out of the house next door. I opened with conflict: the new family moving in--with their chickens.  

Similarly, with "A Tale of Two Sisters," I didn't open with the maid of honor awakening the morning of the wedding and thinking about everything to come that day. I didn't open on the day the bride got engaged or met her fiance. I didn't open on a fateful day the prior year when something happened between the bride's mother and aunt that set certain things in motion. I started the story during the ceremony, late enough into the action so that the upcoming storm isn't far off, yet early enough that I could quietly plant a bunch of seeds that soon would bloom. 

Let's bring things back to my bank robbery scenario. Do you have to start such a story when the robber approaches the teller? Nope. You could start when the robber enters the bank. Or you could open with the robber outside the bank, in the car, debating if he should go through with his plan. Maybe you even could open when the would-be robber gets that foreclosure notice, which pushes him to devise his desperate plan. 

How you start your story is up to you. But whatever you choose, make sure there's something going on in that opening scene that's important, be it shoving a gun at a teller (starting with action) or opening a foreclosure notice (starting with the conflict from which the action will unfold). That way, whether you start with a bang or start slow, you'll have something to intrigue and lure in your reader and keep her turning the pages.

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Want to read "A Family Matter" and "A Tale of Two Sisters"? You can find both stories on my website. Click here for "Family" and here for "Sisters." If you'd prefer to read a PDF version of "A Family Matter," you can find it on the AHMM website. Just click here.

And if you're interested in reading the three other short stories currently nominated for the Agatha Award (stories by Richie Narvaez, Gigi Pandian, and Shawn Reilly Simmons), you can find links to them on the Malice Domestic website. Click here and scroll down to the list of the nominated stories. The titles are all links.

Meddlers

The older I get, the more I believe that fashion rules all. Consider even narrative plot lines, surely the result of individual literary inspiration, and yet certain structures come in and out of favor. Where now are the revenge tragedies beloved of the Elizabethans and the Jacobeans? Or the "good" versus "bad" girl plot lines that populated so much fiction in the 'Fifties? Tastes change in plot, in characters, in theme.

I started thinking along these lines during a long car trip to Chicago. On the way out, Tristan and Isolde was playing on Met Opera Radio and on the way back, La Traviata. In both, helpful folk interfered in the action to disastrous effect. They were meddlers, in short, and meddlers were once a staple of drama and narrative.

Consider the most famous of all Greek dramas: Oedipus Rex. Oedipus is a man of misfortune literally from birth, when the oracle predicted that he would kill his father and marry his mother. His distressed parents, being of ruthless disposition, had the child exposed to die on a nearby mountain. Thus would have ended the story of Oedipus, had not a kindly shepard saved the infant, delivering him to the King and Queen of Corinth and so precipitating the tragedy and confirming the inescapable nature of fate.

Disastrous help was not confined to the fatalistic Greeks by any means. The ancient Irish had their own version in a story that Wagner used for Tristan and Isolde. Tristan, a warrior who has killed Isolde's intended, is escorting her to his leige lord King Mark. Isolde and the King are to be married as part of a peace settlement. Furious about the death of her beloved, Isolde tells her friend/servant Brangaene to prepare a poison drink, which she intends to share with Tristan, killing them both.

Brangaene, however, substitutes a love potion intended for Isolde and King Mark's wedding night.

Tristan and Isolde are soon in each other's arms and the tragedy is well underway.

Undeterred by all this bad luck, Shakespeare's Friar in Romeo and Juliet comes up with a strategem to help the lovers. Juliet drinks a powerful sleeping potion, and her family, believing her dead puts her in her tomb, where Romeo, who hasn't gotten word of the plot, kills himself out of grief. Juliet, awakening, follows him into death.

A couple of centuries later, Alexandre Dumas fils wrote La Dame aux Camélias, which Verdi turned into the ever popular opera, La Traviata. Against her better judgement, Violetta, the brilliant young courtesan, falls in love with the poet Alfredo Germont. She gives up her life in Paris and uses her fortune to live quietly in the country with him, hoping for a time of happiness before she succumbs to consumption.

All is well until she is visited by Alfredo's father, who is concerned that his son's scandalous liason will harm his sister's marriage prospects. Good-hearted Violetta at last agrees to leave her love, and, as any attentive reader can easily guess, unexpected consequences ensue. Alfredo, not being privy to his dad's machinations, insults Violetta at a party, bringing down the wrath of his father, public disapproval, and a challenge to a duel from Violetta's protector Baron Douphal that might have had a fatal outcome.

Germont and Brangaene, the friar and the shepherd – where are their like now? We have fewer stories about royals with faithful servants and the last old indulgent children's nurse I came across was Nan in my own Francis Bacon series. Are helpful bystanders rarer now in our divided culture or do our novelists and dramatists no longer feel the need to emphasize the inescapability of fate, which so haunted the ancients? 

Either way, for the moment at least, literary meddlers are out of favor.

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The Falling Men, a novel with strong mystery elements, has been issued as an ebook on Amazon Kindle. Also on kindle: The Complete Madame Selina Stories.

The Man Who Met the Elf Queen, with two other fanciful short stories and 4 illustrations and The Dictator's Double, 3 short mysteries and 4 illustrations are available at Apple Books.

Fun with Fugitives and Pharmaceuticals

I’m keeping it short today because I’m including links you’ll want to follow. They’re too funny for words.

Planes, Trains, and Automobiles

Next year marks the 30^th anniversary of Tommy Lee Jones and Harrison Ford in The Fugitive. (No, I can’t believe 30 years either.)

Much of the story centered around Chicago but North Carolina made out damn well in the filming. The most iconic scenes took place there– the train/bus wreck and the leap from the damn spillway.

The bus and train are still there outside of Sylva / Dillsboro / Bryson City. The director’s mother didn’t tell him to clean up after himself, so they’re rusting in an accidental one-man’s-trash-is-another’s-roadside attraction. And yes, they crashed a real train into a real bus on the Great Smoky Railroad rather than in Illinois.

The scene turned out slightly more spectacular than they’d planned. Tests and calculations showed an ideal speed of 36mph (60kmph), but Tammy the Train, excited by her film debut, dashed off at 45mph (72kmph).

But it was worth it, wasn’t it? Compare the real thing with the improbable train versus helicopter CGI physics of Tom Cruise in the Mission Impossible 3 flick.

The dam scene took place at Cheoah Dam. One of the hospital scenes was shot in Jackson County as well.

Me, I’m not going to visit. Bad things happen every time I step foot in North Carolina. (No, don’t write. You have no idea.)

It’s the Drugs, Man.

I didn’t come there to discuss dams and damages. Remember, the plot set out to learn why a one-armed man murdered Richard Kimble’s wife. Gradually we learn it has something to do with marketing a drug, Provasic, developed and manufactured by Devlin-Macgregor Pharmaceuticals.

As I was researching a project, I stumbled upon Devlin-Macgregor’s web site. To my surprise, they offer a very different conspiracy scenario from the film, possibly on the advice of Elizabeth Holmes. Be sure to check out their other fine products, Narcogesic and Solarresti, the only prescription mRNA inhibitor that provides fortified protection against all single and two-shot COVID-19 “vaccines” (1/3 the way down their home page) and their employment page.

Just don’t die laughing.

News of the World

 

Lately I've tried to limit the number of posts I do on the subject of non-mystery movies, because (1) they're a departure from our SleuthSayers crime/writing theme and (2) I realize too many movie columns can be a little tiresome. BUT . . . I happened to watch a film the other night that, as soon as I saw it, I wanted to mention it at this blog. It does involve a few crimes and a lot of suspense, so maybe it's not such a big departure after all.

It's called News of the World, and believe it or not, it's a Western starring Tom Hanks. There aren't many of those--in fact this is the only one I can remember. But it hit all the buttons you look for in a great movie: the plot, the characters, the cinematography, everything was well done. It was even authentic and educational, and maybe best of all, truly entertaining. It's the kind of film that, like a few other "serious" Westerns--Unforgiven, Lonesome Dove, The Homesman, Dances with Wolves--makes you want to watch it again for things you might've missed. And I plan to. 

Be aware, this was not a star-studded, action-packed blockbuster, but it was an emotional and believable story featuring some of the best acting I've seen in awhile. Hanks's co-star was to me an unknown, a young German girl named Helena Zengel, and I was familiar with only a couple of actors in the supporting cast: Mare Winningham and Ray McKinnon (some of you might remember him as the preacher from the HBO series Deadwood a few years ago). But everyone in NoTW was wonderful, and so was the storyline.

Speaking of story, here's a quick summary:

The fictional Captain Jefferson Kidd, a Civil War veteran, travels the countryside alone with either a wagon or a packhorse bearing a stack of newspapers, and reads the printed news to any gathering of those who'll listen. (I think it was mentioned that he charges a dime a head.) And he's a bit of a showman in that he shares these news pieces in a way that's both informative and fun. He's not getting rich doing this, but he's at least found a way to survive during the hard times of 1870 Texas.

While on his travels, Kidd meets a young girl wandering in the wilderness who's lived with the Kiowa Indians for the past several years, and he takes her under his wing long enough to try to deliver her safely to her only living relatives, an aunt and uncle in south Texas. On the way there, these two homeless travelers face a number of deadly challenges together, and form a strong and lasting bond. If the ending doesn't bring tears to your eyes, you're made of stone.

NOTE: One hint that this was going to be a powerful movie was that it was directed by Paul Greengrass, who made the fine 2013 film Captain Phillips, also starring Tom Hanks. 

As I've said, I thought News of the World was outstanding on many levels, but one of its biggest pluses to me was that it's about the beauty of storytelling. The movie holds its audience in much the same way that Hanks's character does when he stands up and reads the headlines of the day to a rapt and news-hungry group of frontier townsfolk. It's interesting, heartwarming, and different. If you've not seen it already, I hope you will.

Next time, I'll get back to something writing- or mystery-related, or both. I promise.

Have a good two weeks.

Out of The Zone

There's a lesson in here. I think.

In October 2017, I posted an article about a writer writing in The Zone in which a writer's narrow focus on a novel or story is sustained through the interruptions of working a full time job and other distractions. It's like being on another plane.

After retiring, I've been able to work nearly 10 hours a day on writing and remained in The Zone – focused like a laser beam – writing in a near trance – characters interrupting meals with their conversations. Scenes interrupting sleep.

In March 2021, during the pandemic, The Zone became elusive. Fear of family, friends, of my wife and myself going into a hospital and never returning. I narrowed my focus and managed to write but not as much.

Now, in March 2022, I feel out of The Zone and must work hard to focus. The lesson here for writers is to keep pushing, keep writing, even if it is only for a short time each day, even if you only get one sentence down. Stay with it and it will come. Over the last year the short stories and novel I wrote crawled out of my computer, but they came and came better than I thought they would going into each. Maybe I'm on automatic. Maybe a writer who has been writing for nearly forty years has developed an inner focus that gets me through.

Face it, writing is hard. I'm talking about the composition, putting fingers to keys and creating a story. Don't give up on a story and especially a novel. If it seems to die on you, let it sit and go back to it but never give it up.

I have always found the solution and if a little old guy like me can, any of you can.

It's not the inspiration but the work put in to get from the opening line to THE END. Others have said it more eloquently, but that's the way it is.

That's all for now.

www.ONeilDeNoux.com

The Femme Fatale and Her Pimp Uncle: The Murder of Sir Thomas Overbury, Part II

(Here's the second in a three part reposting of my original account of Sir Thomas Overbury's murder-by-enema.)  

A Quick Recap:

Overbury: schemer and murder victim

 

 When last we left off we were talking about the court of English king James I (originally James VI of Scotland), about the allocation of power, his appreciation of pretty young men, and how those who throve at the center of his court and those who lurked on the fringes shared an appetite for advancement and a willingness to trade on James' predilections in pursuit of said advancement. We also discussed the victim of this post's titular crime (Sir Thomas Overbury, a born schemer if ever there was one), as well as the instrument of his proposed advancement (Robert Carr, eventually earl of Rochester–one of the aforementioned "pretty young men"). 

 So what happens when two guys, one smart, the other handsome, have a good thing going, working an influential "relationship" with the king (which in turn allows them to peddle their own influence to others looking for their own positive outcomes, a "royal ripple effect," if you will), and the eye-candy half of this dynamic duo suddenly falls ass-over-tea-kettle in love? 

With a woman, no less? 

 (Note that I said "woman," not "lady".) 

 Let's find out! 

Robert Carr after he began to lose his looks. 

The Conspirators: 

Who would want to kill this guy Overbury? As it turns out, lots of people. In his decades spent enriching himself in royal service he had managed to alienate nearly everyone with whom he came in contact. This included members of the large and powerful Howard family, and most especially one of the great femmes fatale of the 17th century, Frances Howard, daughter of the Earl of Suffolk, and initially wife of Robert Devereux, 3rd Earl of Essex, and son of infamous 2nd earl (executed for treason by Queen Elizabeth in 1601).   

 

The Femme Fatale: Lady Frances Howard 

"Lady" Frances Howard: With a Neckline Like This...

Married to the wealthy earl of Essex at age 12 (he was 13), Frances Howard apparently never consummated her married to the earl, in part because he left not long after the nuptials for a tour of the continent (common for young men at the time), and also in part because the "happy couple" apparently quickly came to the realization that they could not stand the sight of each other. 

As reported in her family's suit to annul the union Frances Howard reportedly "reviled [Essex], and miscalled him, terming him a cow and coward, and beast." On top that, also according the "lady" in question, Essex was impotent. 

Essex disputed this assertion, insisting that he was quite capable of performing in the bedroom with any number of ladies, just not with Frances Howard, whose virginity he very much doubted. 

The Earl of Essex in happier times (Post-annulment)

In a nutshell, Frances claimed Devereux couldn't get it up, and Devereux's defense was that he could, just not with a slut like the one he'd married. 

The annulment was eventually granted in September, 1613. By this time Lady Frances had already taken up with  our old friend Robert Carr, earl of Rochester, and favorite of the king. They were married soon afterward. 

 The Pimp: Henry Howard, Earl of Northampton

As discussed in our previous entry there were any number of hangers-on at court interested in advancing their own fortunes and willing to exploit the king's "interest" in pretty young men to their own advantage. Overbury was one of the most successful of this type, but he was hardly the only one. 

One other such rank opportunist was Henry Howard, earl of Northampton. The scion of a large and powerful family, Howard was wealthy and connected. But he wanted to be better connected, and he wasn't above prostituting his own niece in order to get what he wanted. 

Nice Hat, Redux: the Earl of Northampton

With the Earl of Rochester exercising so much influence over King James and Overbury in turn exercising so much influence over Rochester, it occurred to Howard that Rochester, who was clearly not the sharpest knife in the drawer, might be pried away from Overbury, and, simpleton that he was, would then need a new "good friend" to tell him what exactly to whisper in the king's ear during those long, late-night tuck-in sessions. 

Whether the earl decided to use his niece Frances because of her damaged reputation (you know, her first husband calling her a whore, and all), or because that reputation might be closer to the mark than the family was comfortable with, nevertheless placed her in Rochester's path with the aim of seducing him. 

Rochester never stood a chance. He fell. Hard. 

The Conflict

Overbury was  understandably livid. He did everything in his power to block his protege/stooge's budding romance, telling his erstwhile only friend that his new love was "noted for her injury and immodesty." Rochester would not be swayed. The only thing keeping him from making Frances Howard the new Countess of Rochester was the formalization of her impending annulment. 

But Overbury wasn't finished. While the young lovers awaited the moment when they might marry, Overbury wrote and published a poem entitled A Wife. In this poem Overbury (a bachelor) laid out the characteristics a young man ought to look for in a spouse. It quickly became clear to Lady Frances Howard that in Overbury's opinion she possessed none of these qualities.

Thus was born a rivalry that would culminate in murder... 

By enema! 

In our next and final installment, palace intrigue, imprisonment in the Bloody Tower, the use of an  astrologer to further a murder plot, emetics, and poison! See you in two weeks with the conclusion of our sordid little tale! 

Who is THIS mysterious figure? Find out in two weeks!

Insert Block Pun Here

  I am delighted to have a story in Issue #11 of Black Cat Mystery Magazine and I would like to say a few words about the author who inspired it.  You might even say my tale is a homage to him.  "Rip-off" is such a judgmental word.

Lawrence Block is one of our most versatile crime writers.  He has won an obscene number of Edgar Awards for both novels and short stories (plus the Grand Master Award).  He produces gritty P.I novels about recovering alcoholic Matt Scudder, and frothy comic capers about burglar-bookseller Bernie Rhodenbarr, not to mention gonzo tales of foreign intrigue starring Evan Tanner, who literally can't sleep and fills the endless hours working for lost causes.

And then there's Keller.

John Paul Keller is an assassin with, well, definitely not a heart of gold, but let's call it a rich inner life.  In his first appearance, the Edgar-winning short story "Answers to Soldier," the native New Yorker visits a small town in pursuit of a target and falls in love with the place.  In other tales he adopts a dog, hires a therapist, and pursues multiple other hobbies.  And there is always stamp collecting, the expense of which keeps him hard at the deadly grindstone.

I think of him as the antithesis of Parker, the burglar invented by Richard Stark (actually Block's friend Donald Westlake), who seems to have no life outside of his profession at all, not even a first name. Yes, he has a girlfriend, but other than that he seems to spend all his time smoking and gazing out into the dark night.  Even Westlake admitted to wondering what he did with all the money he stole.  Oh, and he probably kills more people in the average book than Keller.

But let's get back to our hit man.  In the novel Hit and Run Keller finds himself living incognito in New Orleans, claiming to be from Wichita.  "Sooner or later, he thought, someone familiar with the place would ask him a question about life in Wichita, and by then he hoped he'd know something about the city beyond the fact that it was someplace in Kansas."

When I read that my writerly instincts lit up.  What would happen if someone responded to that introduction by saying: "I grew up in Wichita!  Which neighborhood are you from?"

Well, Keller being Keller we know what would happen.  The happy Kansan would suffer an immediate and tragic accident.

But not every shady character is as fatal as this guy.  

In my story Larry (not Block) goes to a dinner party  and meets Matt, new to the neighborhood.  Matt explains that he is from Topeka.

“I love Topeka," Larry replies.  "Spent most of a year there a while back. Met my wife there.”

Matt immediately changes the subject.  Hmm...  Later Larry tells his wife: "I don’t think he knew Topeka from Tacoma.”

And Larry becomes obsessed with learning Matt's secret, if indeed he has one.  But secrets, of course, can be dangerous...  

You may wonder: why Topeka instead of Wichita?  Because "The Man From Topeka" scans better as a title, of course.

I like to think my story has a Block-ian feel to it.  But that's for you to decide.

And finally in honor of Gary Brooker, the voice and composer of Procol Harum, who died last month:

            

Courting Words

    "America and England are one people separated by a common language." Winston Churchill said it Or perhaps George Bernard Shaw, Oscar Wilde, or William Shakespeare
depending upon the website you go to. I thought of the quote the other day while reflecting upon my time as a prosecutor. I spent about nine years working in Dallas County before moving to become a prosecutor in Fort Worth. Thirty miles, give or take, separate the two courthouses. They both operate out of the same penal code, rules of criminal procedure, and evidentiary requirements, yet the local language of both jurisdictions differ. As folks who think about language, I'd like to take a few minutes and consider some examples. 

    When I started in Dallas, the chief prosecutor of the court to which I had been assigned would often talk about the "hook." He used "hook" as a synonym for criminal, but not just any defendant. The word "old" preceded "hook" either implicitly or explicitly. A hook had to have been through the system a few times. They were usually charged with property crimes. They were always male. (I've dealt with a few female "hookers" but that's something different.) A hook by occupation or misfortune was one of those frequent fliers we see in the criminal justice system. We used the term in Dallas. I've not heard it in Fort Worth. 

    The term can be misused. Early on in my career, I wanted to sound like a real prosecutor. I recall asking a long-time defense attorney, "what did your hook do?" His "hook" was an 18-year old first-time offender. The lawyer gave me a look that said I wasn't coming across as a grizzled prosecutor, but rather a kid wearing dad's clothes. (It wasn't the last time as an assistant district attorney that I ran roughshod over the language. Perhaps we'll discuss that in another post.)

Joe Gratz, CC0, via Wikimedia Commons

When I moved to the district attorney's office in Fort Worth, I heard talk during docket planning about "True-but." It sounded like a name you might find in the filing cabinet right before "Truman." We didn't use the term in Dallas, and you won't find it in any legal code. 

    Here is where it occurs. Let's assume that Defendant Dewayne has been sentenced to community supervision (probation). Defendant Dewayne has failed to report to his probation officer as required. The district attorney seeks to revoke Dewayne's probation. Defendant Dewayne may contest the revocation and force the government to prove the violation. (That's pretty easy to do in the case of reporting. The probation department keeps records of that sort of thing.) Instead, Defendant Dewayne might admit to the violation. In the legal parlance, he pleads "true" to the allegations. Dewayne may admit to the violation but feel that he can explain this big misunderstanding that landed him in jail. He wants to present his justification as part of the plea. It is true...but here is why. 

    We had the concept in Dallas, I imagine all jurisdictions do. We didn't have the term. We fumbled for a description. True-but is precisely what occurs. 

    Under Texas sentencing, by statute, felony crimes may be punished more severely if the prosecutor alleges and proves that the defendant had on one or two prior occasions been sent to the penitentiary. In the Fort Worth courthouse, the defendant is "repped." He or she has been pled as a repeat offender. In Dallas, they're "bitched." A defendant is either "low-bitched" or "high-bitched," depending on whether he or she faces one or two enhancement allegations. 

    The etymology of "bitched" in this context is, I believe, straightforward. A defendant with two prior enhancements is susceptible to being labeled a "habitual offender." Here in Texas, vowels have never been our strong suit. It is a short step from "habitual" to "high-bitch." And if "high-bitch" is two enhancements, then a single enhancement is just lower than that. Logical, ain't it? 

    Of course it also let us throw profanity around in public. It makes us sound tough and gritty. That's always appealing to people who wear suits for a living. 

Until next time. 

Guys Writing Girls

Last week, my short story "The Bridesmaid's Tale" appeared in Black Cat Weekly, and I shared the news with all three of my friends. Later that same day, one of them congratulated me on how well I captured the thought process of the female lead/narrator. I thanked him, but I'm not sure I really did it that well.

His comment made me curious enough to go back and look at all my published work, though, which took about five minutes. Most of my novels use multiple-third point of view, and the majority of those characters are male. There are exceptions, of course: both Roller Derby novels have several scenes in the POV of various skaters, and Megan Traine and Beth Shepard get screen time in the novels with their partners. Words of Love has three female POV characters, more than any other book, but if you read it, you'll see why.

Strong female characters abound in my short stories, whether they're the POV character or not. I grew up in a family of strong intelligent women, and during my theater years, I usually worked with a female stage manager and often a female producer. My favorite lights designer was a woman who began as a stage manager and became a good director, too. She also wrote at least one good play that I remember.

Women are more interesting because the still prevalent glass ceiling forces them to be more resourceful and flexible to succeed in various professions. They also need more sense of humor to cope with the crap. Many of my characters take a hard look at themselves and understand how they have to change to solve the current problem. Medically, we know women have a higher threshold of pain and a higher resistance to disease (Otherwise, the race would have died out long ago), and they may have a higher IQ.

I've sold sixteen short stories with a female narrator (four not yet published), and many others have a woman who drives the action even if she doesn't tell the story. Women narrate five of the ten stories currently floating in Submission Limbo, too. 

It's easier to masquerade as a woman in a short story because the length gives you less room to make a mistake. I try to convey an attitude through dialogue and thought process, and sometimes using kinesthetic perceptions makes that easier. That's psych and teacher jargon, so let me mansplain here.

We process information through one of three primary modes. About 80% of the population is visual, so they watch and look and read to gain their information. Another 10-12% are auditory and listen well. These people remember a lecture or can follow instructions easily (Many of them become teachers). The remaining few are kinesthetic, who learn from doing, a combination of muscle memory and experience. These are the kids who take the game or toy apart on Christmas morning without reading the instructions and figure out how it works by trial and error. Many of them can call up the emotions they felt during an experience long after it happened. These people are often dancers, athletes, or actors. 

Most of my women characters are empaths and have a kinesthetic streak. They're aware of their bodies and feel emotions and slights deeply.

Angie, narrator of "The Bridesmaid's Tale," knows that her older sister Bethesda (the Bride) is taller and curvier than she is, AND is Daddy's favorite. Angie accepts that she'll look terrible in the bridesmaids' gowns Bethesda selected for her taller, bustier friends, and takes the hit for the team. Unlike Bethesda, though, Angie doesn't live off the family fortune. She's in med school at Tufts, studying to become a veterinarian, and her academic strengths help drive the plot.

So does her attitude. She and Bethesda have been at each other's throats since they were old enough to walk, but blood still trumps everything else. Angie won't let her sister be put in danger. She's resourceful, devious, and funny. She tells us she was in her teens before she learned her sister (Whom she refers to as "Bitch-G," for "Bitch-Goddess") was named after their mother's city of birth. Before that, she checked the family medicine cabinet to see if she was named after a pill. She learned that "Bitch" was a handy word in a girl's vocabulary when she saw Mom's reaction to it the first time she said it.

My list says nine stories have been sold that will probably appear by the end of 2023, three of them by June of this year. A woman drives the plot in five of them, solving the mystery,  doing bad stuff, or sometimes narrating.

Using a person like yourself as the protagonist (or narrator) runs the risk of taking values and ideas for granted and omitting them from the story. Barnes and Guthrie have elements of me, but not many. Featuring women forces me to pay attention. For what it's worth, readers know more about the families (we've met both of them) and backstory of Beth Sehpard, Tori MacDonald and Megan Traine than they do about Zach Barnes, Trash Hendrix, or Woody Guthrie.

---

P.S. My wife (wearing the green jacket in the photo) closed Saturday night in The Trouble with Space Cannibals, a weird and wacky play, sort of Star Trek meets The Office. The male playwrights made all the officer on the starship LeVAR BurTONNE female and mentioned the glass ceiling that holds men down. My wife played Science Officer Wendy Mansplain…