I learned about drinking whiskey, specifically bourbon whiskey, from Raymond Chandler. Actually, I recently read in his letters that Chandler was more of a gin man. So I really learned about drinking whiskey from Chandler’s alter ego, Philip Marlowe.
Actually, "drinking" is not the best description of how Marlowe imbibed his Four Roses or Old Forester. He was more of a self-medicator, administering a slug of booze from the office bottle before going downtown to talk to the cops, or after a rough night on a case, or just because. No mixing or pouring it over ice. Just powering it down neat and strong as God intended.
Needless to say, this is not a good way to learn how to drink, at least not in a socially acceptable way. When I first read the Philip Marlowe stories, I was enamored of his hard-boiled lifestyle, and I tried having a slug of bourbon a la Marlowe from time to time, but I soon realized that it was better to have bourbon on ice, or in a Manhattan. It is much easier on the liver that way.
But Chandler knew what he was talking about, because he was an alcoholic, and probably no stranger to bottles in the deep drawer of his office desk, and slugs of drink to keep him going when blocked on a writing project, or maybe just down in the dumps.
Here are three indie publishers that perform the valuable public service of resurrecting remarkable out-of-print American fiction for a new generation of readers.
Overlook was launched in 1971 to serve “as a home for distinguished books that had been ‘overlooked’ by larger houses.” The 100-or-so titles Overlook releases each year cover a broad range of styles and disciplines. This year, the publisher revived a trio of darkly brilliant neo-noir novellas by Jim Nisbet, a tragically overlooked master of dark American fiction. Nisbet, whose challenging work anticipated the literary crime revival of the 2000s, has long enjoyed cult-status in Europe. Now, thanks to Overlook, Americans have another chance to get hip to his distinctive blend of lyrical acrobatics and blacker-than-black plots, rendered with a Kafkaesque sense of the absurd. Overlook reprints include The Damned Don’t Die, Lethal Injection and Dark Companion, but they’ve also published the latest of Nisbet’s novels, Windward Passage, a remarkably dense sci-fi/crime epic.
Back when reading was the most popular form of entertainment, scores of pulps competed to feed the demands of a fiction-hungry populace. Outside the literary establishment, the pulps provided a place for up-and-coming writers to hone their skills, eventually giving birth to some of the most enduring offshoots of American lit. Among them, perhaps the most emulated around the world is the great tradition of the American crime novel.
The genre writers like Hammett and Chandler created and defined in the pulps of the 30’s and 40’s has become one of the most universally adored American exports. While the pulps that gave birth to American crime have been extinct for decades, the tradition has been kept alive by hundreds of independent publishers.
Over the next few months, we’ll introduce some of these indie crime presses and highlight some of their most innovative titles. We hope you’ll give them a chance. There’s no better way to keep fiction alive.
An NPR review by Jessa Crispin alerted me that a book I'd been awaiting with some dread is now published.
Janet Malcolm's Iphigenia in Forest Hills: Anatomy of a Murder Trial is about the trial of Mazoltuv Borukhova, a young woman who arranged the murder of her ex-husband Daniel Malakov, a young orthodontist in Queens, New York, in an attempt to gain full custody of their 4-year-old daughter. The reason I've been awaiting this book with some dread is that, a couple of months before this murder, I met the victim.
(Please welcome a debut Litkicks piece by Michelle Glauser, who runs her own blog and describes herself as "a Mormon chocolate-lover who studied English at the University of Utah and American Studies at the University of Leipzig in Germany, where I focused on women's autobiographical writing and wrote a master's thesis on mommy blogging". -- Levi)
Have you ever found something in an old book that took you by surprise? It's not unusual to find a name or maybe even a phone number. Sometimes you'll find evidence that the book once belonged to a library. But extensive notes and criticism of an author as well-known as Edgar Allan Poe and his biographer? Maybe in a textbook. I certainly wasn't expecting what I recently found.
Action movies and hyperarticulate idea movies don’t usually go hand in hand. So when Inception blasted onto screens last summer, its unholy marriage of genres at least partly explains why it was accompanied by a white hot publicity streak. Would Chris Nolan forge a bridge between Charlie Kaufman, king of idea-filled films such as Being John Malkovich, and Michael Bay, master of summer popcorn action fare? And could that bastard child possibly be any good as a script? After several reads of Nolan’s screenplay, my unequivocal answer is yes. And the more I dig into this complex script, the more enthusiastic I get. What makes Inception such a daring and well-executed juggling act? And how does Nolan make it all work?
2010 was a banner year for crime fiction. The final installment of Stieg Larsson's seminal Girl trilogy continued raising the genre’s status and the film release of Winter’s Bone opened millions of eyes to crime’s literary underground, where virtuosos like Daniel Woodrell, Jim Nesbit and David Peace — today’s Dostoevsky, Kafka, and Poe – write crime as high art, but whose works are often obscured by the formulaic claptrap of bestsellerdom.
Here, in my lowly opinion, are the top ten crime novels of 2010. Please Note: I don’t claim to have read every novel in which crime plays a central role published last year – daddy needs to keep his day job – but I sure as hell tried. So throw the quick-lime and shovels in the trunk, get your gloves on and masks up, and let’s get gritty ...
The last decade has brought a massive infusion of new talent to crime fiction and its sub-genres. Brilliant young writers all over the world are brushing off stale literary conventions and using their formidable skills to write stories in which things actually happen. And with these guys – they’re usually very bad things.
Carrying the torch are James Ellroy, Dennis Lehane, and Ken Bruen – the unholy trinity of modern crime. But coming up fast from the shadows is a fierce new breed of gifted writers. They’re bringing a new level of violence and linguistic excellence to the craft and giving life to some of the darkest visions put to paper since Poe was found floating in a Baltimore gutter.
These are the 10 to look out for the next time you’re out after dark:
1. Charlie Huston writes ultra-violent pulp so fluid it cuts out the middleman and projects itself straight to your brainpan in digital HD. Huston always delivers, but the 3-part Henry Thompson series is a great place to start. It starts when Henry, a typical NY bartender with a coulda-been-a-contender story stumbles into the crosshairs of the Russian mob. By the end, he’s a rusty, pill-popping hitman submitting to indentured servitude to keep his parents alive. Along the way, he discovers a knack for killing and leaves a trail of bodies leading to a Grand Guignol finale that kicks like a tweaker on Cops. Warning: Don’t start a Huston book unless you’re ready to forego unessential activities (like bathing and sleeping) for days. His work is best described as paper crack.
(Longtime friend of Litkicks Kelly Nagle and her daughter Allyson are so enthusiastic about a new series based on Arthur Conan Doyle's classic detective stories that we're running here, for the first time, an article written by a mother-daughter team. Kelly is a librarian in Tampa, Florida, and Allyson is a college student. -- Levi)
Sherlock, the popular BBC series starting this week on PBS, is brilliant, witty, a must-see. It's set in present day London. Sherlock is a little younger than usual – about twenty-something - totally uncivilized and pure genius. He's also a self-admitted sociopath (not a psychopath, as some would have it). Watson, back from the war in Afghanistan, natch, becomes his flatmate and keeper. The rest of the favorite Holmesian characters are here: Mycroft, Mrs. Hudson (Favorite line: "I'm not your housekeeper, dear"), Inspector Lestrade and possibly even Moriarty.
You may be wondering why someone would write a top ten of 2009 list three months into 2010. Well I have two excuses. One: I didn't want to write a list until I was absolutely certain I had read every book that had a chance of making it on the list. All that reading takes a lot of time. Now, with my eyes blurry and my dreams dark, I can honestly say that I've read every book worth considering (with one exception, which I will admit to later) for the top ten.
Reason two is a tad more subjective: I've noticed with horror that nearly every Top 10 of 2009 list on the internet picks Michael Connelly's mediocre thriller The Scarecrow as one of the best of the year. Come on, folks! We can do better than that! I trust that anyone who included that one (not to mention some of the other stinkers I saw) on their list didn't have a chance to read the following titles. So, I finally decided to break my silence. 2009 was a banner year for crime fiction, and the following books deserve to be talked about. Enjoy.