Summer reads

Out of all the books available to read and limited time, what influences your choices? What books have you read this summer and which would you rate as your top recommendation?

by Dietrich

When I open a new book I want to be engaged by page one. The genre doesn’t matter as much as the quality of the writing. There are so many good books, both written by authors I’m familiar with and those I haven’t read before. So this year I’ve made more time for reading, and although I don’t have an absolute favorite, here are the standouts that I’ve read so far. 

I’ve been catching up on Richard Stark’s Parker novels. Topping the four I’ve read this year is The Sour Lemon Score, one that came out in 1970. It’s number twelve in the series, in Stark’s typical clipped style, about a bank heist that goes right until one of the four partners gets greedy and starts bumping off his partners. The trouble is he doesn’t shoot Parker first.

Then there was Charlie 316 by our very own Frank Zafiro, co-authored by Colin Conway. Without putting some spoilers out there, I’ll just say if you like a convincing cop story that jumps from the opening, with some twists you won’t see coming, then give this one a read.

I’d been anticipating the release of Don Winslow’s The Border, the conclusion of the epic cartel trilogy. I can’t say enough about this series, and this book is awesome, making Winslow one of my favorite authors writing today.

Also high on my list is the new one by James Ellroy. This Storm is part two of the second L.A. Quartet, and it takes readers back to the early forties: a story of crime, debauchery and some fast and loose history, told in Ellroy’s jazzy, excellent style.

Chance by Kem Nunn focuses on Dr. Eldon Chance as he gets more than professionally involved with a corrupt cop’s wife. Chance is no match when confronted by the cop, that is until he befriends D, a street-wise character skilled in the art of the blade. From there it’s a bumpy, often hilarious, ride to the end. Highly recommended.

The Year of the Flood is Margaret Atwood’s view into the near future. A relevant and powerful tale that looks at environmental collapse and a hope for a future. A great imagination and matching writing skills, by one of the greats.

Dirty Who? by Jerry Kennealy is another well-told cop story. Set in 1970 San Francisco, it’s about Inspector Johnny O’Rorke who bends a few rules after he’s assigned to investigate the disappearance of several gay men and to help find locations for an upcoming film that will star Frank Sinatra. It’s a convincing and well-told story by another former cop and private investigator.

The Jealous Kind by James Lee Burke is about a teen coming of age in 1952 Houston and focuses on classes, pride and loyalty. I’ve long been a fan of Burke’s Robichaux and Purcell stories, and in this one, the second in the Holland family saga, Burke’s words are as powerful as ever and conger some great images of a bygone time.

Another great story I read as part of a collection is The Birds by Daphne Du Maurier. Originally published in 1952, it's a classic and hasn't lost any of its edge and certainly stands the test of time. Masterful writing.

The Demon Dog of Father’s Day

Father’s Day is June 16th – so there’s time for you to recommend some crime-themed reading that could be a useful gift idea for dads of different ages, and with different interests…and allow those reading the blog to order it, and get it in time to wrap it!

by Paul D. Marks

I thought this time around I’d stick with one author for this Father’s Day recommendation: James Ellroy. Seems that people either love him or hate him, both as a person and his books. I’m (mostly) in the dig him daddio category.

He’s a trip. His writing is a trip. His books are a trip. They would be good for anyone who’s into new noir with a retro setting, LA history buffs and the usual suspects.

He writes both fiction and non-fiction, short stories and novels, but I’m only going to focus on the novels here. In the fiction category he’s probably best known for his L.A. Quartet (The Black Dahlia, 1987; The Big Nowhere, 1988; L.A. Confidential, 1990; and White Jazz, 1992.) And, while I’m not going to talk about every novel of his here, I do like most of them with the exceptions mentioned here.

I like the way he deals with corruption and the sultry grittiness of his works. They also deal with the other side of the American Dream. And there's an inner core of darkness and corruption in society, a feeling of fear and paranoia. There's a moral ambiguity. They are the equivalent of an Edward Hopper painting with its cold light and shadows, filled with a sense of alienation and angst.

Ellroy is something to behold, both stylistically and if you've ever seen one of his "readings." The Demon Dog of American Crime Fiction started out with a mild roar, crescendoed to a roar on steroids through a Marshall stack with his L.A. Quartet, but seems to have overdosed on Evelyn Wood (remember her?) speed-writing, making some of his works hard to sink your teeth into.

I used to go to all of his readings. At one event he even had a band with him. And one Thanksgiving my sister-in-law's cousin joined us at my parents’. He was working in a bookstore at the time and had been force-fed a reading by Ellroy. Of course, he thought Ellroy an a-hole in so many ways for his "schtick.” And those were the nice things he had to say. So was it the books or his spiel?  Well, he hadn't read the books but he'd heard a little of one in the reading. That was enough for him. But you have to know him and his mindset and the context of the books. That said, if you’re sensitive and need trigger warnings, Ellroy might not be for you or your dad. But the thing with Ellroy is a lot of it is schtick and he’s trying to get your attention…which he does.

The first book in the L.A. Quartet is The Black Dahlia and that’s the first book I read by him. I remember it took me a while to get into it, but once I did I was hooked on the book and hooked on Ellroy. He had several books before The Black Dahlia, but that’s the book that put him on the map. After reading that I read all of his earlier books and couldn’t wait for each subsequent book.

The Big Nowhere is my favorite book in the L.A. Quartet: All are good, but if I had to pick one as a fave it would be The Big Nowhere. To try to describe Ellroy’s fever dream style is an exercise in futility. The story is set in LA in the 50s right after WWII. In part, it follows Sheriff’s deputy Danny Upshaw through the investigation of a series of mutilation crimes and exposes corruption and hypocrisy amid the “red scare”.

Towards the end of the L.A. Quartet series his writing style became more choppy and staccato. I liked it at first, but with later books it got to be too much. His next series was the Underworld USA Trilogy. And I liked American Tabloid, but Blood’s a Rover and the Cold Six-Thousand left me cold. And much of the reason for that was the style.

His most recent book, Perfidia (2014) seems more back to form for me and is the start of a Second L.A. Quartet. And I’m looking forward to his new book This Storm , releasing on June 4^th…just in time for Father’s Day.

Some of his books, L.A. Confidential, The Black Dahlia and Brown’s Requiem (filmed under the title Cop), have been made into movies. And he’s worked on screenplays for other films including Rampart, Dark Blue and others.

Here’s a list of his books:

Bibliography:

Brown's Requiem (1981)

Clandestine (1982)

Killer on the Road (originally published as Silent Terror) (1986)

Lloyd Hopkins Trilogy:

Blood on the Moon (1984)

Because the Night (1984)

Suicide Hill (1986)

L.A. Quartet:

The Black Dahlia (1987)

The Big Nowhere (1988)

L.A. Confidential (1990)

White Jazz (1992)

Underworld USA Trilogy:

American Tabloid (1995)

The Cold Six Thousand (2001)

Blood's a Rover (2009)

The Second L.A. Quartet:

Perfidia (2014)

This Storm (2019)

***

I’d also like to say that my books might make good Father’s Day gifts, too. For the most part, they’re gritty L.A.-set stories. Novels: White Heat, Broken Windows, Vortex (stand-alone) and L.A. Late @ Night, a collection of previously published stories. And two collections of short stories that I co-edited with Andy McAleer: Coast to Coast: Private Eyes (14 award nominations, two stories chosen for Best American Mysteries of 2018), Coast to Coast: Murder from Sea to Shining Sea.

~.~.~

And now for the usual BSP:

New May issue of Mystery Weekly is out. And I'm honored to have my new story The Box featured on the cover. Hope you'll check it out. -- This link is to the Kindle version, but there's also a paper version available.

https://www.amazon.com/Mystery-Weekly-Magazine-2019-Issues-ebook/dp/B07RC8XS93

***

My short story House of the Rising Sun and lots of other great stories are in Switchblade - Issue 9, which is available on Amazon (Kindle version): https://www.amazon.com/dp/B07QW5GVZF. The paperback version is also available: https://www.amazon.com/Switchblade-Issue-Nine-Jack-Bates/dp/0578512971.

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

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Can You Judge a Book by its Cover?

What makes a great book cover? Is it the title or the graphics? Do you have favorites that you think work?

by Paul D. Marks

You can’t judge a book by its cover, but its cover might just be what draws you into it in the first place. The thing that makes you pluck it off the shelf and crack that cover to see if it’s something you might want to read. So, covers are definitely important.

As to what makes a good book cover, the title or graphics, I think it’s both. An intriguing title makes me want to read something as do mysterious or evocative pictures and graphics. It’s a symbiotic thing, each element works in conjunction with the others to create a whole that, if it’s done well, will grab my attention.

I think the best way to explain is to show this is by comparing different covers of the same book. As many of you know, I like classic crime fiction from the 20th century (that sounds really weird) so let’s take some of those covers and look at them. I’m using some of the books I mentioned in my December 14, 2018 post of year-end book recommendations:
( https://7criminalminds.blogspot.com/2018/12/classic-year-end-reads.html ) .

And I will tell you up front that the pictures pretty much go in the order that they attract me. So on single rows the ones towards the right end are the ones I like better. On double rows the bottom (and more to the right side) are the ones I like better. What attracts me to them? It’s hard to say. It’s an image that evokes some kind of reaction in me. Sometimes it could simply be that the cover that I first read the book under is if not the one I like best at least towards that end. But, I’m not a purist. I don’t necessarily have to go for the original cover or the first cover I saw on a book and often don’t as you’ll see.

So, after you’ve checked out my choices, let us know what you think.

DOUBLE INDEMNITY – JAMES M. CAIN

I don’t really like any of the covers on the top row. The woman in the second from right pic reminds me of Kim Novak in Vertigo, which isn’t a bad thing if it’s a Vertigo cover. On the bottom row I like them better as they go from left to right. Though the last two on the right are pretty much tied for my faves.

 

THE CHILL – ROSS MACDONALD

My favorite Ross Macdonald book is The Chill. Here’s a selection of covers from it. Which one/s do you like? Which one/s suck you in and make you want to at least check the book out without knowing anything else about it.

TAPPING THE SOURCE – KEM NUNN

Another book I like a lot is Tapping the Source by Kem Nunn. Here’s a sampling of covers for that. Again, which ones do you like?

THE RAZOR’S EDGE – SOMERSET MAUGHAM

The Razor’s Edge by Somerset Maugham is my favorite book of all time. I like the last cover because of its ethereal feel.

L.A. CONFIDENTIAL – JAMES ELLROY

L.A. Confidential might be James Ellroy’s best known book, probably because of the movie based on it. I like the original cover and I also like the last shot, which is from the movie.

DOWN THERE / SHOOT THE PIANO PLAYER – DAVID GOODIS

Down There, a.k.a. Shoot the Piano Player, is my favorite David Goodis book. Goodis has been called the “poet of the losers” by Geoffrey O’Brien. And, while I like the original cover (2nd to last), I really like the Black Lizard cover (last). I do, however, like the original title, Down There, better than Shoot the Piano Player, which came about because that’s the name of the Truffaut movie based on the book. And I have to say I absolutely hate the cover on the left and I don’t much like the movie either.

MONTE WALSH – JACK SCHAEFER

I don’t read a lot of westerns. But I really like Monte Walsh, the story of a man who’s basically outlived his time. And I really like the last cover here. It’s so evocative of a man alone in the West. A man riding into the sunset.

THE GRIFTERS – JIM THOMPSON

Except for the last cover, the Black Lizard cover, I don’t like any of these other covers. They’re just so cheesy, but not good cheesy.

DEVIL IN A BLUE DRESS – WALTER MOSLEY

The book that introduced Easy Rawlins and I’ve been hooked from day one. I really don’t like any of the covers on the top row, though I can tolerate the last two. But the first two just don’t do it for me. All four on the bottom row are fine, but I like them from left to right, the last being my fave, which also happens to be the original cover.

WORLD’S FAIR – E.L. DOCTOROW

I really like this book for a lot of different reasons, but that’s for another post as this is about covers. I like all these covers, except the first one. But my two faves would be the last two on the bottom row.

ASK THE DUST – JOHN FANTE

Another favorite book. If you’re into L.A. at all you have to read this – and maybe its sequels. I like all these covers in descending order except for the first, which I don’t like at all. And though the building in the last one is hardly what Bandini would have lived in in Bunker Hill in the 1930s, the whole ambience of it works for me. And I think the palm tree seals the deal.

WHITE HEAT – UNKNOWN AUTHOR 😉

Okay, I couldn’t resist. And I gotta be honest, I like both of these covers. But ultimately it’s what’s in between them that counts for all of these books.

So, what do you think? What are the ones that speak to you from above? And in general. And why?

~.~.~

And now for the usual BSP:

Dave Congalton of KVEC Radio interviewed me. Check out the podcast here. My part comes in at 20 minutes, 30 seconds into the recording.

***

And Broken Windows has been getting some great reviews. Here's a small sampling:

Kristin Centorcelli, Criminal Element: 

"Although it’s set in 1994, it’s eerie how timely this story is. There’s an undeniable feeling of unease that threads through the narrative, which virtually oozes with the grit, glitz, and attitude of L.A. in the ‘90s. I’m an ecstatic new fan of Duke’s."

"Duke and company practically beg for their own TV show."

John Dwaine McKenna, Mysterious Book Report:

"This electrifying novel will jolt your sensibilities, stir your conscience and give every reader plenty of ammunition for the next mixed group where the I [immigration] -word is spoken!"

Betty Webb, Mystery Scene Magazine:

"Broken Windows is extraordinary."

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

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Classic Year-End Reads

Okay, let’s have it, your end-of-year reading recommends. 

by Paul D. Marks

To be honest, I never like answering questions like this. The main reason, as I believe I’ve mentioned before, is because if I recommend a contemporary’s book – or several contemporaries’ books – inevitably other people will be left out. And since I know a lot of contemporary writers I always feel bad recommending someone’s book but not someone else’s. I may even like the left out book but just forgot to include it or I may not have read it – or I may not have liked it. So why go there? I’m not a critic who works critiquing books. So, instead I think I’ll just recommend some classics and older books that I like.

If I mention Raymond Chandler or Alexandre Dumas, who lived a couple hundred or so years ago, I don’t think anyone can feel left out or hurt that I didn’t mention their current book. I’ve probably mentioned all of these before in one form or another but they’re worth another mention, another look and for those who aren’t familiar with them a first-time experience. Most are in the crime field, but several aren’t. And a couple are semi-contemporary, though not in the crime field so I don’t feel bad including them.

And, there’s always an exception to every rule: Broken Windows. I guess that’s contemporary since it came out a few weeks ago. See the review excerpts in the BSP at the end of this post and maybe give it a shot.

My favorites in the crime genre are Raymond Chandler, Ross Macdonald and James Ellroy. Chandler for his elegant descriptions, metaphors, characters, depiction of the mean streets and his ville fatale relationship with Los Angeles, will always be on top, MacDonald with his psychological insights and Ellroy with his corrupt and sultry grittiness.

The Big Sleep (1939), by Raymond Chandler. This is the book/story that really turned me onto crime fiction. Whatever issues it might have, it’s still a wonderful piece of writing. My mom had a two volume Treasury of Great Mysteries with a very sinister cover of a mysterious cloaked man that was half on one volume, half on the other. I saw that book on her shelf for years until one day I finally decided to crack it open, starting with The Big Sleep. I’ve been hooked on crime ever since.

Pretty much all Chandler would be on my list. I don’t think you could go wrong with any of his books – because he’s just such a damn good writer. But if I had to pick a favorite I think I’d choose The Long Goodbye (1953), though I’m not sure it would be the best introduction him. Better to start at the beginning. 

The Chill (1964) – Ross Macdonald. This is the story that turned me onto him. A book club sent me a three-novel anthology of his books (The Chill, The Galton Case and Black Money – all good) by mistake. I wasn’t about to spend money to return it, that was on them. So I read it and was hooked on Ross M. He blows me away with his explorations into the psychological aspects of crime and stories that boomerang back on the characters – the past always comes back to haunt them. I like pretty much everything by both him and Chandler. And, at the moment,  I’m rereading the Zebra Striped Hearse.

Both Chandler and Macdonald would be good for pretty much anyone interested in mysteries and the crime fiction genre, but especially as an intro to a young or new reader of mysteries. And as an introduction to classic mystery and detective fiction.

The L.A. Quartet (The Black Dahlia, 1987; The Big Nowhere, 1988; L.A. Confidential, 1990; White Jazz, 1992) by James Ellroy. All are good, but if I had to pick one as a fave it would be The Big Nowhere. To try to describe Ellroy’s fever dream style is an exercise in futility. The story is set in LA in the 50s right after WWII. In part, it follows Sheriff’s deputy Danny Upshaw through the investigation of a series of mutilation crimes and exposes corruption and hypocrisy amid the “red scare”. I used to go to many Ellroy book events and signings and he truly is the Demon Dog of American Crime Fiction. At one event he even had a band with him. He’s a trip. His writing is a trip. His books are a trip. They would be good for anyone who’s into new noir with a retro setting, LA history buffs and the usual suspects.

Down There (a.k.a. Shoot the Piano Player) (1956) by David Goodis. David Goodis has been called the “poet of the losers” and his stories of people on the skids certainly bear that out. I came to Goodis through the movies, which is how I’ve come to several writers and/or novels. I’m a fan of the Bogie-Bacall movie Dark Passage, so after having seen it a couple of times I decided to check out the David Goodis novel it was based on. I liked it enough that I began to read pretty much anything of Goodis I could get my hands on, but this was before he came into vogue again so mostly I had to pick up very scarred paperbacks (many, though not all of his books were only published in paperback), and I devoured his whole oeuvre. And, though I liked pretty much everything to one degree or another, Down There really stood out for me. It’s the story of a World War II vet, a former member of the elite Merrill’s Marauders who, for a variety of reasons, is down on his luck – way down. Francois Truffaut made the book into a movie called Shoot the Piano Player which, to be honest, I don’t like very much, but that’s why the title of the book was changed from Down There and is probably better known today as Shoot the Piano Player. I think it would be good for fans of classic noir, old movie buffs, and others.

Ask the Dust (1939) – by John Fante. A must read for any writers living in Los Angeles. If for nothing else but to marvel at how someone could still eke out a living writing short stories. It’s also a must read for anyone interested in L.A. The setting is Los Angeles in the 1930s, in the “shabby town,” of Bunker Hill in Chandler’s words. I discovered Fante and this book before the new surge of interest in him and was so impressed that I wrote to him at his home. Unfortunately he was already so sick by then that I didn’t hear back, or maybe I wouldn’t have anyway after some of the things I’ve heard about him.

Monte Walsh (1963) – by Jack Schaefer & The Shootist (1975) by Glendon Swarthout. I put these two westerns together because they’re both about men who’ve outlived their time – and time is passing or has passed them by. This is a theme I enjoy reading about and write about often myself.

The Grifters (1963) by Jim Thompson. A good book and an even better movie. If you like people living on the down low, if you like con artists, and if you like the grift, this is the book for you. It would be good for fans of Jim Thompson (how’s that for stating the obvious?), noir fans, hardboiled mystery readers.

Devil in a Blue Dress (1990) by Walter Mosley. The book that introduced Easy Rawlins. That’s enough.

Double Indemnity (published in a magazine 1936) / The Postman Always Rings Twice (1934). Classics that made even better movies than the books.

The Razor’s Edge (1944) by W. Somerset Maugham. My favorite book of any genre. A book which is, at the risk of sounding corny, about a man seeking the meaning of life. But a book that I could relate to on many levels and which deeply affected my life in many ways, Larry Darrell’s disillusionment after the war (WWI), and his search for peace and meaning in life.

The Count of Monte Cristo (1844) by Alexandre Dumas (père): The ultimate revenge novel needs no description. But I believe this is what led to the saying “revenge is a dish best served cold”. I love revenge stories and this is the Big Daddy of them all. And the way Edmond Dantes gets revenge on his nemeses is clever, brilliant and very satisfying and revenge is so satisfying, served cold or otherwise.

The Tartar Steppe (1940) by Dino Buzzati. A novel about waiting for something momentous to happen that never happens – waiting and waiting and waiting, like so many of us do. And no, it’s not about waiting for your clams in some snobby restaurant so you can put tartar sauce on them. And no, it’s not about waiting for some guy name Godot. A soldier is posted at the Tartar Steppe, hoping to be called on to show his courage and bravery in the glory of battle. Time slips by – he grows old – and the wished for attack is always just beyond the horizon.

World’s Fair (1985) by E.L. Doctorow (or maybe I should leave the periods out of his initials…). Probably my favorite coming of age story about a boy growing up around the time of the 1939 World’s Fair.

Chronicles Vol. 1 (2004) by Bob Dylan. Dylan talking about, uh, Dylan. Fascinating. Wish he’d come out with Vol. 2 already.

High Noon: The Hollywood Blacklist and the Making of an American Classic (2017) by Glenn Frankel. I’m fascinated by the Blacklist and that era. And this is a good look at it via the making of a one particular movie. But, because of the people involved, it covers much more than just that movie. I knew one of the Hollywood Ten somewhat and found it very interesting talking to him and getting a first-hand account of those years.

The Waste Land (1922) a poem by TS Eliot that shouldn’t be forgotten.

What are your choices?

 ~.~.~

Happy Holidays to everyone!

***

And now for the usual BSP:

Holiday shopping? Consider Broken Windows for the mystery fans on your list. H

Here’s a small sampling of some of the great reviews:

Kristin Centorcelli, Criminal Element: 

"Although it’s set in 1994, it’s eerie how timely this story is. There’s an undeniable feeling of unease that threads through the narrative, which virtually oozes with the grit, glitz, and attitude of L.A. in the ‘90s. I’m an ecstatic new fan of Duke’s."

"Duke and company practically beg for their own TV show."

John Dwaine McKenna, Mysterious Book Report:

"This electrifying novel will jolt your sensibilities, stir your conscience and give every reader plenty of ammunition for the next mixed group where the I [immigration] -word is spoken!"

Betty Webb, Mystery Scene Magazine:

"Broken Windows is extraordinary."

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

Click here to: Subscribe to my Newsletter

***

Rules Are Made to be Broken

Grammar – everyone’s gotta do it. How important is grammar and what resources do you use to make sure you’re on top of it. And when do you break grammar rules?

by Paul D. Marks

Grammar is important, obviously. Look at some books and how poorly they’re written. The whole point of grammar is to be able to write sentences that others will understand. That said, sometimes we can break the rules and people will still get the point we’re trying to make. After all, we’re not writing term papers, we’re writing fiction. And we’re not writing fiction in the 19th century, so we write more casually, break more rules. That said, we still need to be able to communicate.

I have a friend who wants to be a writer more than anything in the world. And she constantly shows me her work. But it’s so hard to get through it, partly because of grammar issues, that I end up giving up and not finishing it. You have to have more than a desire to write. Writing is both a craft and an art and you have to get the craft down. And part of the craft is knowing grammar.

Grammar provides the backbone or the foundation for your writing. You have to know it before you can start breaking the rules. And if you break the rules, you have to know what rules you’re breaking and why, for what effect.

You can, indeed, break the rules to create a certain “voice” or style of writing. Or in dialogue to have people talk like real people. I often break the rules of pacing, style, cadence and repetition for emphasis, to create that voice. To that end, I often write in sentence fragments. But I have to go back over everything to make sure I’m not overdoing it or doing it to the point of distraction. One of my favorite writers is James Ellroy, probably most famous for his LA Quartet which includes the book LA Confidential, that many of us know from the movie if not the book itself. As the LA Quartet series of books progressed, Ellroy’s style become more abbreviated. More staccato. At first I liked it. But by the time of White Jazz, the last book in the series, it had gotten to be a little much. And in some books that came after the series it was unbearable, at least for me. So I skipped a couple of his books. Though with his latest, Perfidia, he seems back on track. My point is, you can have too much of a good thing.

The main thing is that you want to have clarity of thought. You want people to be able to understand what you’re saying. To get it. You also want your story to read smoothly, even if it’s written in a staccato style. It shouldn’t be so overwhelming that people stumble through it.

One place where grammar rules don’t necessarily apply is in dialogue, because people don’t necessarily talk in complete, grammatically correct sentences. But dialogue is one of the places where I think people mess up. I see some very well-known writers whose characters often don’t use contractions. But most people do. And when I come across that kind of dialogue it just sounds so formal and takes me out of the story. It makes the characters sound stiff and as if they’re not native English speakers. And this always throws me out of the moment.

So sometimes it’s better to be more nimble than correct. Better not to miss the forest for the trees. In this case the trees are correct grammar but they block our view of the forest as a whole. And maybe it’s best to remember what Mark Twain said about this: “Great books are weighted and measured by their style and matter, and not the trimmings and shadings of their grammar.”

But then there’s Dan Brown, whose writing is atrocious and whose sales are through the roof. So who knows? Throw caution to the wind and the Chicago Manual in the fire.

So, what do I use to make sure I’m on top of it: These days my go-to source is the internet. Various sources of grammar can be found there in abundance. But I still have hard copies of Strunk and White, the Chicago Manual of Style and others. And I do go to them on occasion. There’s also classics like The Transitive Vampire, Eats, Shoots & Leaves and so many others, too many to name.

What are your thoughts and recommendations on this?

***

And now for the usual BSP:

Please check out the interview Laura Brennan, writer, producer and consultant, did with me for her podcast, where we talk about everything from Raymond Chandler and John Fante to the time I pulled a gun on the LAPD and lived to tell about it. Find it here: http://destinationmystery.com/episode-52-paul-d-marks/

www.PaulDMarks.com

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Murder X 5 – 5+ Crime Novel Gift Ideas

With Thanksgiving coming up in the USA – please take the chance to give us five titles or criminally good books you think would make great gifts…and tell us for whom they’d be suitable.

by Paul D. Marks

Only five? There’s so damn many good mystery-crime books out there cutting a list down to five is, well, criminal. I also run the risk of being repetitive since I’ve probably mentioned some of these books here in the context of other questions. For this week’s question I’ll stick just to crime/mystery novels. And my tastes probably tend to run to darker, harder-edged stories.

The Poet: Michael Connelly is probably best known for the Bosch books. And I’m among Bosch’s fans. But I’d have to say my favorite Connelly book is the stand-alone The Poet (1996), though Jack McEvoy, the main character does appear in other books. The story follows reporter McEvoy as he investigates a string of cop suicides, including his own brother’s and ends up going down a hellish spiral into a world of pedophiles. It also introduces FBI agent Rachel Walling, who shows up in other Connelly novels. The Poet is dark and unsettling, but I think the reason I like it so much is that it is so well plotted, with a lot of twists and turns, and that it really keeps you on edge the whole time. I think this story is for anyone who likes a good crime yarn, but it’s not for the squeamish.

Tapping the Source: These days Kem Nunn is arguably better known as the co-creator of the TV series John from Cincinnati, as well as a writer on Sons of Anarchy and Deadwood. But he’s also the author of, I believe, six novels. Tapping the Source (1984) is his first and is something special. If it’s not the novel that invented the “surf noir” genre it’s certainly an early and foundational entry. This is not the Beach Boys’ version of sun, sand, surf and surfer girls, but a much darker vision of life on SoCal’s storied beaches. Ike Tucker, an aimless young man, treks to Huntington Beach (a.k.a. ‘Surf City’) to find his missing and possibly dead sister. There he gets hooked up with bikers, sex and drugs. No Gidgets or Moondoggie’s here. And Ike will be lucky if he gets out alive. I like this one so much that I looked into acquiring the film rights. Unfortunately they were already taken. Now, if whoever has them these days would just make the damn movie already. Tapping is good for anyone who loves surf, sun and murder.

Down There (a.k.a. Shoot the Piano Player): David Goodis has been called the “poet of the losers” and his stories of people on the skids certainly bear that out. I came to Goodis through the movies, which is how I’ve come to several writers and/or novels. I’m a fan of the Bogie-Bacall movie Dark Passage, so after having seen it a couple of times I decided to check out the David Goodis novel it was based on. I liked it enough that I began to read pretty much anything of Goodis I could get my hands on, but this was before he came into vogue again so mostly I had to pick up very scarred paperbacks (many, though not all of his books were only published in paperback), and I devoured his whole oeuvre. And, though I liked pretty much everything to one degree or another, Down There (1956) really stood out for me. It’s the story of a World War II vet, a former member the elite Merrill’s Marauders who, for a variety of reasons, is down on his luck—way down. Francois Truffaut made the book into a movie called Shoot the Piano Player which, to be honest, I don’t like very much, but that’s why the title of the book was changed from Down There and is probably better known today as Shoot the Piano Player. I think it would be good for fans of classic noir, old movie buffs, and others.

Mallory’s Oracle: NYPD detective Kathy Mallory is a hard-as-nails cop and not just because of her bright red nail polish. Even her creator, Carol O’Connell, describes Mallory as a “sociopath”. Mallory’s Oracle (1994) is the first in the Mallory series and probably the best place to start. I’ve talked with people about Mallory and recommended the Mallory books to several people over the years. And it seems people either love or hate Mallory. I’m in the former category. I love her no-nonsense, doesn’t suffer BS approach to her job. Nothing, including the law, will stand in her way. Not that I’d necessarily like to be friends with her if she suddenly came alive and jumped off the page. I think the Mallory books would be good for someone who likes solid crime stories, strong female characters and doesn’t mind one that’s a sociopath…

Devil in a Blue Dress: Pretty much anyone who knows me knows I have a thing for L.A., past and present. LA history. LA culture. And novels and movies set in the City of the Angels. Walter Mosley’s Devil in a Blue Dress (1990), the first Easy Rawlins novel, hits all those bullet points. And, much as I Iike Easy, I really dig his psychopath friend, Mouse. Not someone you want to get on the wrong side of but certainly someone you’d want to have your back when the you-know-what hits the fan. (I wonder how Mouse and Mallory would hit it off?) Devil in a Blue Dress, and the other Easy novels, would be good for LA history buffs, noir fans, general mystery fans.





The Big Nowhere: James Ellroy’s The Big Nowhere (1988) is the second of his LA Quartet books [the others are The Black Dahlia (1987), L.A. Confidential (1990) and White Jazz (1992) ]. All are good, but if I had to pick one as a fave it would be The Big Nowhere. To try to describe Ellroy’s fever dream style is an exercise in futility. The story is set in LA in the 50s right after WWII. In part, it follows Sheriff’s deputy Danny Upshaw through the investigation of a series of mutilation crimes and exposes corruption and hypocrisy amid the “red scare” . I used to go to many Ellroy book events and signings and he truly is the Demon Dog of American Crime Fiction. At one event he even had a band with him. He’s a trip. His writing is a trip. His books are a trip. They would be good for anyone who’s into new noir with a retro setting, LA history buffs and the usual suspects.

The Grifters: Since math has always been a weak subject for me—you should have seen me trying to do diving physics…—I guess I’m doing more than five books here. Jim Thompson’s The Grifters (1963) is a good book and an even better movie. If you like people living on the down low, if you like con artists, and if you like the grift, this is the book for you. It would be good for fans of Jim Thompson (how’s that for stating the obvious?), noir fans, hardboiled mystery readers.

Bonus Round #1: White Heat / Vortex / LA Late @ Night (uh, all by me): Well, since I’m not

above a little BSP I couldn’t very well leave out this trio. White Heat is a noir detective thriller set during the Rodney King riots. Vortex is about a soldier returning from Afghanistan and finding more trouble in LA than in the war. LA Late @ Night is a collection of five of my previously published stories. And all three would be good for everyone! Well, anyone who likes hardboiled, noir and detective fiction.

Bonus Round #2: As many of you know, I have a thing for both Raymond Chandler and Ross Macdonald. I think they’re in spheres by themselves, especially Chandler, but Macdonald too. I don’t think you could go wrong with any of Chandler’s or books—because he’s just such a damn good writer. And Macdonald blows me away with his explorations into the psychological aspects of crime and stories that boomerang back on the characters—the past always comes back to haunt them. I like pretty much everything by both of them, but if I had to pick I think I’d choose The Long

Goodbye (1953) for Chandler and The Chill (1964—a good year for the Beatles too!) or The Galton Case (1959) for Macdonald. These books would be good for pretty much anyone interested in mysteries and the crime fiction genre, but especially as an intro to a young or new reader of mysteries. And as an introduction to classic mystery and detective fiction.

What about you? What books would you recommend as gifts for the people in your life?

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And now for the usual BSP:

Please check out the interview Laura Brennan, writer, producer and consultant, did with me for her podcast, where we talk about everything from Raymond Chandler and John Fante to the time I pulled a gun on the LAPD and lived to tell about it. Find it here: http://destinationmystery.com/episode-52-paul-d-marks/

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Book 'Em

This is the time of year when thoughts turn to gift-giving. Could you suggest four books that would be ideal for "x" type of person - you get to define "x", or a book for each of four different types of person...again, your choice of types.

by Paul D. Marks


Before I get to this week’s question, I just want to salute all of our veterans today, Veterans Day, and every day. And Happy Birthday to the USMC: Semper fi, even for those who weren’t/aren’t Marines.

Now to the question at hand, which I think I misunderstood. So I listed a lot more books than I probably should have. But you know what they say, you can't have too many books, so:

I guess we all have various types of people in our lives. So I’ve picked out four types rather than four specific people. And since it is appropriate to have the right book for the right type of person here goes:

For that friend who likes to lurk in dark corners, wearing a fedora and trenchcoat (watch that trenchcoat…): how ’bout American Noir from Library of America. Two volumes of pretty good noir. Volume 1) Crime Novels: American Noir of the 1930s & 40s: The Postman Always Rings Twice by James M. Cain, They Shoot Horses, Don’t They? by Horace McCoy, Thieves Like Us by Edward Anderson, The Big Clock by Kenneth Fearing, Nightmare Alley by William Lindsay Gresham, I Married a Dead Man by Cornell Woolrich.  Volume 2) Crime Novels: American Noir of the 1950s: The Killer Inside Me by Jim Thompson, The Talented Mr. Ripley by Patricia Highsmith, Pick-Up by Charles Willeford, Down There by David Goodis, The Real Cool Killers by Chester Himes. — I’ve actually given this to a couple of people (hope you liked it if you’re reading this post) and I have it myself. Though the version I have was before this cool version in a slipcover. I bought each volume individually. But I wish I’d waited ‘cause l love the double volume and the artwork on the slipcover.


For the narcissist in your life: Well, let’s see. How ’bout we start with Toxic Parents, co-written by pal Craig Faustus Buck, with Susan Forward. Or The Wizard of Oz and Other Narcissists: Coping with the One-Way Relationship in Work, Love, and Family by Eleanor Payson, or Narcissists

Exposed, 75 Things Narcissists Don't Want You to Know by Drew Keys. Books on narcissism also work for friends who talk too much about themselves, agents and editors who don’t respond (yeah, sure, they’re just busy). And nieces and nephews who never send thank you notes. Hell, they’re good for almost everyone.


For the jerks who give you bad reviews: Miss Manners' Guide to Excruciatingly Correct Behavior by Judith Martin and Gloria Kamen, Etiquette For Dummies by Sue Fox, Emily Post's Etiquette, 18th Edition by Peggy Post, Anna Post, Lizzie Post, Daniel Post Senning, or any one of a million other etiquette books. And don’t forget what your mother said, if you can’t say something nice about someone keep your damn mouth shut. These also work for the jerks who talk on their cells in restaurants, elevators, doctor’s offices. But a .45 works even better.

For the crazy ex: HowDunit – The Book of Poisons, by Serita Stevens and Anne Bannon, Strangling Your Husband Is Not an Option: A Practical Guide to Dramatically Improving Your Marriage, by Merrilee Browne Boyack, How to Tell If Your Cat Is Plotting to Kill You (The Oatmeal) by The Oatmeal and Matthew Inman. This one might work for people too, I’m not sure. I also didn’t know that oatmeal could write, but hey, anything’s possible. So, try it, with your oatmeal. And, of course, there’s this:

VIDEO REMOVED

And for you, my friends: Well, it depends on who you are, of course, but here’s some of my favorite books and authors that I would give to people I actually like: Pretty much anything by Chandler or Ross Macdonald, James Ellroy’s L.A. Quartet (The Black Dahlia, The Big Nowhere, L.A. Confidential, White Jazz). Pretty much anything by Carol O’Connell, though I do love her Mallory character. Down There/Shoot the Piano Player by David Goodis. The double Noir volume mentioned above. The Poet by Michael Connelly, Tapping the Source by Kem Nunn. (I liked this one so much when I first read it I tried to buy the movie rights to it. Unfortunately, they were already taken. Too bad nobody’s done anything with it.) Walter Mosley’s Easy Rawlins books. And getting away from the mystery/thriller genre: Monte Walsh by Jack Schaefer, The Tartar Steppe by Dino Buzzati, Chronicles Vol 1 by Bob Dylan (Hey, Bob, when the hell is Vol 2 coming out?), Tune In: The Beatles: All These Years by Mark Lewisohn, The Count of Monte Cristo by Alexandre Dumas. (The greatest revenge story of all time…and I love revenge.). Paint it Black by Janet Fitch, Ask the Dust by John Fante. A Tree Grows in Brooklyn by Betty Smith. The Book of Laughter and Forgetting by Milan Kundera. Neon Noir by Woody Haut. And The Razor’s Edge, by Somerset Maugham, my favorite book of all time, because I relate to it on so many levels. — I’d give any of these to any of you because I think they’re all good and you might enjoy them.

And oh so many more.

And for anyone with taste, high and especially low: White Heat, Vortex, LA Late @ Night and various magazines and anthologies where my stories reside.

My Amazon Page

*Disclaimer: I haven’t read all the books mentioned here, especially those in the narcissists, crazy ex and jerk graphs. So I don’t vouch for them. But I do vouch for the titles of those books – I like them. That’s why I chose them. Though, on the other hand, I have read some of them…

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Check out Akashic's St. Louis Noir anthology with my short story Deserted Cities of the Heart.

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