Gold Shield Blues, by Jeffrey J. Mariotte

"Gold Shield Blues," by Jeffrey J. Mariotte, in San Diego Noir, Akashic Books, 2011.

The noir city books by Akashic Books are always a mixture of true noir stories and stories that have some but not all elements of the genre.  (The best tales can fall into either category, by the way.)

Mr Mariotte has provided a classic noir tale.  The narrator, Mike Rogers, is a security guard in the swanky Soledad Mountain neighborhood of San Diego.  One night he gets called out to a possible intruder incident and meets a wealthy man with a beautiful young wife.  This being noir you can pretty much guess where things will go.  But Mariotte has some nice surprises for us (and some unpleasant ones for Rogers, of course.)  One thing I like is that he follows the trail of conspiracy to its logical conclusion: how can you trust someone with whom you have shared a betrayal?

Pansy Place, by Dan Warthman

"Pansy Place," by Dan Warthman, in Alfred Hitchcock's Mystery Magazine, January-February 2012.

This is just a neat little piece of work. I love how it unfolds one piece at a time, and the gruff writing style that fits nicely with the character.

Jones is fitting into retirement. Bought his condo in Elmwood Village, voted a couple yers ago one of the country's ten best neighborhoods. Second story, corner unit, overlooking Bidwell Parkway... 
 
So it begins. At first we don't learn much about Jones, just about the young cleaning woman he hires and makes friends with. Then we are introduced to her boyfriend.

And then trouble erupts in the life of the young couple and Jones shows his true colors. We meet a few new characters, finely drawn bad guys who cherish the use of the right word and the right action even while they are doing objectively wrong things. As I wrote in this space a few months, it can be good to have a tough guy on your side, even he is allegedly retired.

The Satan League, by James Lincoln Warren

"The Satan League," by James Lincoln Warren, in Alfred Hitchcock's Mystery Magazine, January/February 2011. 

You may well accuse me of piling on the bandwagon, since my friend James yesterday won the Black Orchid Novella Award.  But, as ever, I calls 'em as I reads 'em, and this week, the best of the bunch was a historical novella by Mr. Warren.

He has written a number of stories about Alan Treviscoe, an investigator for Lloyd's in late 18th century London.  In this case Treviscoe is asked by a lady he met in an earlier tale to look into the death of her betrothed.  This is no ordinary death, because the victim was found, burned and crushed, in the middle of Stonehenge, on the same night that mysterious lights were seen in the sky.

Since in addition he was the founder of a scientific group called the Luciferian Society, the suspicious naturally see a demonic element in the death. Treviscoe, as you can imagine finds a natural solution to the crime, but as he notes, "in my experience, murder is always the work of the Devil."

One of the trickiest bits about writing historical fiction is making the language sound right.  The difficulty of this is sort of a bell curve, I think.  It gets harder as you go back into the nineties, the eighties, etc. and probably hits a peek of trouble when you hit Shakespeare's time.  After that I think it is less difficult simply because readers understand that you can't be expected to write Chaucer's English, or for that matter, Caesar's Latin, because we wouldn't be able to understand it.

My point is that Warren has the task of sounding appropriately eighteenth century, while still being comprehensible.  He succeeds well, I think, not drowning us in jargon, but capturing the atmosphere nicely.  And so we have references to Treviscoe "making his leg," the meaning of which the reader can deduce from the context.  Or the nicely antiquated dialog: "What's this, sir?  I to remain in London, whilst you place yorself in danger?  In the company of a stranger, yet?  It will not do."  The letter written by the villain is a particularly choice and delightful example, revealing personality as well as grammar.

In that regard I can't resist noting that Treviscoe observes that the bad guy "lies like a French lover."  What a treat..

Big Band, by Loren D. Estleman

"Big Band," by Loren D. Estleman, in Alfred Hitchcock's Mystery Magazine, January/February 2012.

I have admitted before that I am a sucker for Estleman's stories of the Four Horsemen, the racket squad of the Detroit Police Department.  These not-very-heroic heroes are unloved by their bosses but are determined to keep their jobs, and thereby stay out of the armed services.  The historical detail is perfect and the language is witty and snappy.

This story centers on the leader of the group, Lieutenant Zagreb, who is not in the war because of a heart murmur:  "it kept murmuring Don't go."  He gets a special request from an ex-sweetheart: look after her trumpet-playing lover while she goes off to serve in the WACs.  Turns out the lover is a bad musician and an angry drunk.  Pretty soon there's a murder to solve.

Did I mention the witty language?  Here is a random line, describing a cop named Canal: "He smelled one of his thick black cigars -- no one ever said he wasn't a brave man -- and put a match to it, clouding the air with the stench of boiling bedpans."

Lola, by Jonathan Santlofer

"Lola," by Jonathan Santlofer, in New Jersey Noir, edited by Joyce Carol Oates, Akashic Press, 2011 

I didn't think this story was going to be my favorite of the week.  It felt like a pretty ordinary piece at first.  But stories, like people for that matter, can surprise you.

The narrator is a would-be portrait artist who makes his living preparing stretchers for more successful painters.  One day riding the PATH trains back to Hoboken he becomes attracted to a young woman.  Pretty soon he is obsessed with her, and this is obviously not the first time he has gone down this path.  I was pretty sure I knew where this journey was headed.

Well.  Can't say much more without giving away the store.  Let's just say Santlofer has some surprises in store for his characters, and for us.

A perfect ending is one that leaves the reader saying: "I never saw that coming, but it is the only way the story could have ended."  "Lola" has a perfect ending.

Soul Anatomy, by Lou Manfredo

"Soul Anatomy," by Lou Manfredo, in New Jersey Noir, edited by Joyce Carol Oates, Akashic Press, 2011.

Before we get to the story I have to start out with a grudge and a gripe.  

My grudge is this: as a writer for a previous Akashic anthology, and as a guy who spent his first 30 years in New Jersey, I was hoping for a chance to submit to this book.  Wires got crossed and that never happened.

Not a big deal, and I only mention it because, as I said, I have a gripe, and full disclosure applies.  You have a right to decide whether sour grapes are speaking here.

Now for the gripe: There are 1,300,000 African-Americans  living in New Jersey, making up 14%  of the population.  And not one of them was willing or able to write a story for this book?  Seriously?  Not typical for Akashic anthologies, either.

Joyce Carol Oates, the editor, knows it's a problem.  She mentions it in an interview with Publisher's Weekly.  "We tried , tried, and tried" to get African-American authors, she says.  Okay, but it sure looks like a big part of the state is missing.

All of which is tangentially relevant to this week's story, which is tangentially about race relations.

When a white rookie police officer kills an African-American man in Camden, one of the most Black and deadliest cities in the Garden State, trouble is pretty much guaranteed to follow.  So, even though almost the entire story consists of a lawyer interviewing the cop, there would be plenty of natural suspense here.

But Manfredo manages to ratchet it up a notch: the rookie is the son of an up-and-coming Republican politician and the attorney sent to rescue him is a well-entrenched Democrat.  In other words, the future of the reformer's family depends on the skills and motivation of the party hack.  How is that going to work out?

I wouldn't say there is a surprise ending, exactly, but there are some surprising revelations that will make you see the story from a new point of view.

And consistently good writing, too.  Here are two attorneys discussing  the rookie:

"This young cop has his own political juice, courtesy of his old man.  If becoming a cop was all he really wanted, his father could have gotten him assigned to bikini patrol in some shore town or crabgrass stakeout in our neck of the woods.  Why would he want to go to Camden?"
 
"Maybe," Cash offered with little conviction, "he just wants to be a real cop."

Carrot For A Chestnut, by Dick Francis

"Carrot For A Chestnut," by Dick Francis, in Field of Thirteen, Putnam 1998.

(minor spoiler alert)


Well, it finally happened.  I read a lot of stories this week but didn't come across any I liked enough to write about here, so I went to my list of fifty favorite crime short stories and picked one.

Here is something that bugs me: people who hit a grand slam their first time at bat.   Just doesn't seem fair somehow.  Supposedly Sheebeg Sheemore was the first tune O'Carolan ever wrote.  And then there are the first novels that turned out to be the best things the authors ever did.  (That can be thought of as a curse, can't it?)

I hadn't realized until I prepared to write this piece that "Carrot For A Chestnut" was Dick Francis' short story.  Sure, he had been writing for novels for years, but he hadn't tried the short form until 1970 when Sports Illustrated invited him to try his hand - "length and subject matter to be my own choice."

Francis, rather famously, tended to follow a formula in his novels: they were all written in first person, the hero was often a jockey, and was brave, resourceful, and chockful of integrity.  Perhaps it was no surprise that, when considering a short story, he decided to go in a different direction.

Yes, Chick is a jockey.  But his story is told in third person and he is a "thin, disgruntled nineteen-year-old who always felt the world owed him more than he got."   Now Chick has a chance to get a little more, by giving a carrot to a horse in the stable where he worked.  The carrot is dosed with some chemical that will undoubtedly damage the horse's chance at winning a race.  Is Chick willing to betray the people he works with, the people he feels don't treat him well enough?

This is a tale of suspense with a slamming climax.  But the reason the story makes my top fifty is the twist ending that makes everything worse...