Book Drop, by Susan A. Bresniker

 

"Book Drop," by Susan A. Bresniker, in The Fish That Got Away, edited by Linda M. Rodriquez, Wildside Press, 2021.

I admit to bias on this one.  In fact I am doubly prejudiced.

First, it's about librarians, which is the occupation I pursued for more than forty years.  This is a double-edged sword, of course: If the writer doesn't know the library biz I get turned off immediately.  But Bresniker, being one of the gang herself, doesn't fall into that trap.

The second reason for my prejudice is more complicated.  See if you can figure it out.

The narrator is Arlie, who works at a public library.  Her colleague is Sal.  The director, their boss, is an obese and brilliant woman named Nora.

Many of you have figured it out by now.  Let me add that Nora is somehow wealthy enough to have a chef named Mitzie...

This is a clever homage to one of my favorite mystery writers.  Hence my biased enjoyment.

I will say that my suspension of disbelief had a hard time coping with Nora's wealth.  I have only known two millionaire librarians.  One inherited money.  The other founded a publishing house and sold it to a big company.  Both promptly left the biz.

But that didn't keep me from enjoying the strange of someone "stealing books for a library."

Catch and Release, by Mark Thielman

"Catch and Release," by Mark Thielman, in The Fish That Got Away, edited by Linda M. Rodriquez, Wildside Press, 2021.

This is the seventh appearance in this column by my fellow SleuthSayer.

I let a murderer go today.

That's how the tale begins. You might feel that the prosecutor is being a little hard on himself, because he did try his best to get Thomas Edmonds convicted.  (Didn't he?)

He walks you through the trial, through every maddening moment that caused his case to slip away.  And through it all Edmonds sits there, as unconcerned as a bystander at a church picnic.  No wonder the narrator is so upset.  But then unexpected things happen.

You could argue that this story is a stunt. Ah, but it is a satisfying stunt.

Born a Ramblin' Man, by Michel Lee Garrett

"Born a Ramblin' Man," by Michel Lee Garrett, in Trouble No More: Crime Fiction Inspired by Southern Rock and the Blues, edited by Mark Westmoreland, Down & Out Books 2021.  

This is a pretty silly story.  Not that there is anything wrong with that.

Ray is the ramblin' man.  He decides to leave Nashville with only one possession: a guitar he recently "liberated."  It's not a particularly wonderful guitar; he just wanted one.

His plan for leaving town is to sneak into the back of a truck full of fireworks.  Might work okay, except that there is already some contraband cargo in the vehicle: two women who do not want to be headed wherever the driver is taking them.

Luckily they have a rescuer on board.  Unluckily, the hero is Ray, and Ray, well...

"How goddamn dumb are you?"

"Um... fairly."

The fun part of the story is the conversation between Ray and the two prisoners.  And the fireworks, both literal and figurative.

The Search for Eric Garcia, by E.A. Aymar

 "The Search for Eric Garcia," by E.A. Aymar, in Midnight Hour, a Chilling Anthology of Crime Fiction From 20 Authors of Color, edited by Abby L. Vandiver, Crooked Lane Books, 2021

I  am not a big fan of stories told in the second person, as I have mentioned the, um, four other times one of them has made it onto this page.  But Aymar makes this one work very well.

You're sitting at the bar, thinking about choices.

The protagonist's life is going down the tubes.  His daughter died in an accident that he feels responsible for, although the authorities disagreed.  

His wife is living with Eric Garcia, who owns the store where our hero works.  Eric is everything he is not: a confident, successful man.  And our protagonist feels that the world isn't big enough to hold both of them.

This is a very clever story, one where the telling is as essential as the plot.  I do think it has some rough edges.  If I were the editor I would have asked Aymar to polish a few of them harder.  But this is a terrific piece of work.

Temptation is a Gun, by James D.F. Hannah

 

"Temptation is a Gun," by James D.F. Hannah, in Trouble No More: Crime Fiction Inspired by Southern Rock and the Blues, edited by Mark Westmoreland, Down & Out Books 2021. 

The evening after he gets out of prison after 22 years, Roy returns to the dingy tavern where his life went off the rails.

If you are now thinking: "Hmm.  Sounds like noir," then congratulations.  You have just aced your quiz in Subgenre Recognition 101. 

The story slips between Roy's present visit to Murphy's Tavern and his first fateful encounter there at age 16.  Turns out that back then he met Murphy's much-abused wife.  And you know what happens when a noir protagonist meets an attractive woman.

Classic noir with some clever twists.  

Two Birds, One Todd, by Karen Harrington

 

"Two Birds, One Todd," by Karen Harrington, in Shotgun Honey.

This is the second appearance by Harrington in my column this year.

I think five or six flash stories have made it to my best-of-the-week list.  This story could probably have been expanded to three or four times its current length, but it wouldn't have made it a better story.  All the details you need are here.

Todd comes to clean the pool just as Ava is backing out of her driveway.  There is a fatal collision.

Such a tragedy.  Imagine how devastated Todd's widow must be.  She's the one at the funeral with big dark glasses to cover the last time he slapped her...

I did not see where this clever tale was headed.

Hit and Run, by Doug Allyn

"Hit and Run," by Doug Allyn, in Ellery Queen Mystery Magazine, November/December 2021.

This is the fifth appearance here by Allyn. It is also the second week in a row that I chose a short story by authors known for much longer tales.

Imagine you are stuck in traffic on your way to an important, even life-and-death meeting.  Not good.

Now imagine you get rear-ended by a woman who is not paying attention.  Even worse.

But the frosting on the cake is that the accident makes your trunk fly open, revealing the bag of cocaine you are bringing to the meeting...

What follows is more twists and turns per page than any story I can remember in years.  Quite a ride. 

Killers, by Brendan DuBois

"Killers, A Story of Love in Four Acts," by Brendan DuBois, in Alfred Hitchcock's Mystery magazine, November/December 2020.

This is the ninth appearance in this space by DuBois, tying him with Michael Bracken.  Other than high quality, it doesn't have much in common with his other stories here, which tended to be long tales of good guys overcoming bad guys. "Killers," on the other hand, is a short and quirky tale about somewhat eccentric baddies.

Palmer and York are ex-cops, turned to a more profitable career as hitmen.  They are sitting in a car one night, waiting for a couple who they have been assigned to attend to.  Alas, the targets are late and the old friends run out of things to talk about.  And so, to keep awake, Palmer says: "Tell me the most romantic thing you've ever done."

Well.  That's a surprising turn.  What follows are a couple of revealing anecdotes from the killers' past.  And in the last scene we see how they are affected by these memories.

I thought I knew where this charming story was headed.  DuBois fooled me completely.

 

The Trouble with Rebecca, by Larry Light

"The Trouble with Rebecca," by Larry Light, in Alfred Htichcock's Mystery Magazine, November/December 2021. 

Generally a piece of fiction has a premise (woman comes to private detectives seeking protection; one of them is promptly killed) and a plot (see, there's this statue of a bird rom Malta, and some very bad guys want it...).

And also generally, a reviewer can discuss the premise but shouldn't give away too much of the plot.  This becomes a problem if the story is halfway over before the premise is clear.  So I will be revealing a lot of the set-up because, what else can I do?  Discuss the punctuation?

Max is a "tech geek," working for a company that does hush-hush security stuff.  Because he hates the social side of work he invents Rebecca, a non-existent wife.  This imaginary person is his excuse to avoid after-work events and the like.

All goes well until he falls in love with a flesh-and-blood co-worker.  His tightly zipped employer does not approve of infidelity.  Leaving Max with a thorny dilemma:

How do you rid yourself of a wife who does not actually exist?

This story is a real treat.  

 

Back Down to Black, by Andrew Welsh-Huggins

"Back Down to Black," by Andrew Welsh-Huggins, in Mystery Magazine, November 2021. 

This is the fourth appearance here by Welsh-Huggins,and I think it is the second appearance by protagonist Mercury Carter.  It's hard to tell because the hero of "The Mailman" is nameless, as far as I can tell.  They certainly seem to be the same guy.

So who is that guy?  He's a delivery man, the person you contact when the package absolutely, positively needs to be there on time - and bad guys are ready to kill to prevent that.  In the first story the package was two people.  Today it is a flash drive full of potentially life-saving data needed by a virologist.

Someone once described Thomas Perry's novels as "competence porn," meaning that his protagonists don't make mistakes and have whatever skills they need.  We are in that territory here.

Here is Carter reacting to someone putting a gun against the back of his head and telling him "Don't do anything stupid."

'Sure,' said Carter, and did something stupid, driving his left elbow back into the man's chest.  Carter was hardly big enough to do any kind of damage with such a move, which almost any schoolboy could manage better, but it startled No. 4 and the gun barrel slipped off Carter's neck momentarily and he turned and broke the man's nose with his left palm, rocketing his hand forward like a power to the people salute gone terribly wrong.

Actually the character reminds me less of Perry's heroes than of Richard Stark's Parker, although Carter appears to be a good guy.  A most enjoyable story.