Favorite Stories

Favorite short stories

Since my story "Cruelty the Human Heart" (first published in Argosy II magazine, 2004) ) was included in the college composition textbook WORD AND IMAGE (Pearson Learning Solutions, Boston, MA) the occasional college student will contact me about it and other topics. The other day, I was asked to name my favorite classic short story. I said there were too many to have a favorite but I mentioned Edgar Allan Poe's "The Cask of Amontillado" and "The Murders in the Rue Morgue."

"That's old English. What about current English?"

That cracked me up. I gave the student a short list and moved one. The question lingered and I thought about it, went to my bookcase and brought down a few collections and one story hit me (again), and I re-read it as slowly as I could, to experience the well-written tale and feel the same charge with the opening lines and the same emotion at the end.

The story – “The Tonto Woman” by Elmore Leonard, one of his western tales.

Here are others:

“One” by George Alec Effinger

 

“Shambleau” by C. L. Moore (Catherine Moore)

"The Whimper of Whipped Dogs" by Harlan Ellison

“I Have No Mouth And I Must Scream” by Harlan Ellison

 “The Fog Horn” (alternate title: “The Beast from 20,000 Fathoms) by Ray Bradbury

 

“The Fruit at the Bottom of the Bowl” by Ray Bradbury

 

“The Saliva Tree” by Brian W. Aldiss

 

“A Martian Odyssey” by Stanley G. Weinbaum

 

“The Doors of His Face; The Lamps of His Mouth” by Roger Zelazny

 

“Nightfall” by Isaac Asimov

 

“Cat’s Paw” by Bill Pronzini

 

“The Perfect Crime” by Max Allan Collins

 

“An Occurrence at Owl Creek Bridge” by Ambrose Bierce

 

“The Call of Cthulhu” by H. P. Lovecraft

“A Scandal in Bohemia” by Sir Arthur Conan Doyle

“Flowers for Algernon” by Daniel Keyes

 

“The Wall” by Marcia Muller

 

“Crazy Horse” by Cornell Woolrich

“The Dog of Pompeii” by Louis Untermeyer 

I have to stop for the moment. There are too many favorites.

That's all for now.

www.oneildenoux.com 

Rumors of the Lost Ark

History is a mystery, and I think that's why there's a number of us - Rob Lopresti, Doolin' Dalton, myself, and others - who are fascinated with history, archaeology, and all that old, old stuff.

Rob Lopresti wrote a great blog post a couple of weeks ago about hypnogagia, literal patterns that your eyes see just before you sleep (or when you shut your eyes extremely tight:  mine are black patterns on a yellow background), and their relationship to the symbols at Newgrange burial chamber in Ireland. (HERE) I've had hypnogagia all my life - in fact, last night I was awakened by a rattling, like of bones in a cup; twice.  

And Rob's piece yesterday was on archaeologists' interpretations of what they find, which (especially in the olden days) sprang more from their own ideas of what they should find and not what was already there.  And this post is sort of along the same lines - stick with me on it.

A while ago, I wrote a blog post on Paleolithic Languages (Older Than You Think), where paleolinguists have determined that there are 23 ultra-conserved words, "proto-words," that don't just still exist in almost all current language families, including Inuit-Yupik, but still sound remarkably alike. They go back at least 15,000 years, and are a window into a time of hunter-gatherers painting in Lascaux and trying to survive the end of the Younger Dryas (the next-to-the last mini-Ice Age):

thou, I, we, ye, who, what, this, that, not,

man/male, mother, hand, old, black,

give, hear, pull, flow, spit,

bark, fire, ashes, worm

BTW, I've always wondered what worm they meant– a snake (like in the Newgrange / Knowth sculptures)? A garden worm? The dog's worms?  The worm you put in uisce beatha (whiskey) to make it stronger?

So, a very long time ago, almost everyone in Asia, Africa, the Middle East, and Europe spoke the same language.  Or at least the same trading language.  The exceptions might be Australia (which had been cut off from the rest of the world back around 50,000 BCE) and the Americas, about whose isolation from the rest of the world is undergoing more and more under debate.

NOTE: Everyone talks about the Bering Land (really Ice) Bridge being the way that people got from Asia to Alaska to drifting down the Americas to Tierra del Fuego, BUT – there's more and more evidence that people settled across the Americas earlier than is allowed by that theory.  (Latest evidence is 23,000 year old footprints at White Sands, New Mexico.)  Plus they'd have been freezing all the way.  

Much more likely is by boat.  Our modern world is obsessed with land travel because (unless you cruise a lot) that's what we do.  Planes, trains, and automobiles. But before the combustion engine, most major hauling and travel was done by boat, barge, canoe, ship, skiff, etc.  And Thor Heyerdahl, for all his quirks, proved you could sail from South America to the Polynesian islands.  

And I say, why not from / to China?  For one thing, while Africa and Europe see a human in the Moon, Chinese, Aztec, and much Native American lore sees a Rabbit in the Moon.  

But the real mystery isn't how a tiny core of hominids communicated with each other via a common language.  The real mystery is why, once the Last Glacial Period (c 115,000-11,700 years ago) ended, all across the globe - husbandry and agriculture begin? By 9,000 BCE, From the Fertile Crescent to Papua New Guinea to the Yangtze Basin, people we have hard-core evidence of humans growing crops.  Raising domesticated animals for food.  And that's probably not the true date of the beginning the "revolution", because pottery for storage and processing (including the fermenting of certain grains, i.e., alcohol! Something to drink, people!) dating back 20,000 years ago has been found in China and Japan.  We don't know the half of it.  

So:  how did everyone know what to do, in such widely disparate places, once the weather let up?  We don't know.  One Hundred Thousand Years of Ice is going to grind up a lot of evidence that we will simply never find.  But we have the oral traditions...

Well, my old friend and frequent thinking / drinking buddy John Franklin and I have discussed this many a long hour, and we both believe that 

(1) Humans (of any species / subspecies) have been in touch with each other for a very long time.  

(2) Before the Last Glacial Period (c 115,000-11,700 years ago), there were technologically advanced hominid civilizations.  For all I know, advanced enough that they caused a nuclear winter, because that is apparently what civilizations do: we grow and grow and grow and then one day we grow ourselves right out of our habitats.  As Jared Diamond once wondered, what was the man who cut down the last tree on Easter Island thinking?  Probably about the [equivalent of] money he was about to make selling it.  

(3) Anyway, over 100,000 years ago, something happened, and what followed was 100,000 years of Ice.  

But we have the stories of what came before:  stones walking themselves to their sites (Egypt and Easter Island)! People flying through the air on magic carpets! Rings / stones (Solomon's Seal) that allowed people communicate with the animals and around the world!  Stones that talk!  And the myths / fairytales!*  Those are memories, passed down for so long they became myth, of technology that used to exist. Just as in 10,000 or 100,000 years people (should the human race survive) will remember planes, cell phones, Zoom meetings, etc., as stones, rings, rooms, etc. 

John Franklin says the civilization(s) undoubtedly knew what was coming.  So, you're facing extinction by massive climate change, and it's a crapshoot as to how long it will last and who's going to survive it.  What do you do?  Give up? Or try to out ways to condense important information to something that will be understandable for literally millennia, and training people how to pass it along?**  (Of course, there's always denial...  If you don't think about it, Maybe it will go away.)

And we've discussed what powered these ancient civilizations.  Most of technological history has been humans trying to replace muscle power with anything else that will work.  Windmills, waterwheels, levers & fulcrums, railroads, cars, computers, etc.  But to run these things you have to have some kind of fuel.  So what did they use 100 millennia ago?

Franklin says that the best way to figure out what fueled pre-Last Glacial Period technologies is to look at what's considered rare but valuable today. He plumps for gold.  Gold is an excellent conductor and holder of electricity.  I remember reading once that the Ark of the Covenant could well be a description of how to build a battery:

“First let them make a Chest using acacia wood: make it three and three-quarters feet long and two and one-quarter feet wide and deep. Cover it with a veneer of pure gold inside and out and make a molding of gold all around it. Cast four gold rings and attach them to its four feet, two rings on one side and two rings on the other. Make poles from acacia wood and cover them with a veneer of gold and insert them into the rings on the sides of the Chest for carrying the Chest. The poles are to stay in the rings; they must not be removed.  Place The Testimony that I give you in the Chest. Now make a lid of pure gold for the Chest, an Atonement-Cover, three and three-quarters feet long and two and one-quarter feet wide.  Sculpt two winged angels out of hammered gold for either end of the Atonement-Cover, one angel at one end, one angel at the other. Make them of one piece with the Atonement-Cover. Make the angels with their wings spread, hovering over the Atonement-Cover, facing one another but looking down on it... I will meet you there at set times and speak with you from above the Atonement-Cover and from between the angel-figures that are on it, speaking the commands that I have for the Israelites.  (Exodus 25:10-22, The Message Bible)   

I pointed out to Franklin that the Ark is empty, except for "the Testimony," and usually a battery has more technical stuff in it (look it up yourself) than a scroll.  

His reply:  "Who says 'the Testimony' was a scroll? That could be a code word for some practical knowledge. And those aren't angels: they're cherubim.  Fairly frightening creatures - four faces, two wings, definitely nonhuman. Transmitters? Receivers? Perhaps. Consider that no one's supposed to touch the Ark, except the specially trained Levites, and even they're only supposed to carry it using poles overlaid with gold.  No hands on.  Uzzah, the one man we know of who reached out and touched it dropped dead. Sounds like electrocution to me."  

I've heard worse theories.  

So say he's right, and before the Last Glacial Period, their technology was fueled by gold. It would explain why the racial memory of gold as the source of power and wealth.  Granted, it's beautiful, but it's not especially useful... Anymore. And yet, since ancient times, alchemists have tried to transmute lead into gold (Zosiumus of Panopolis, c. 300 CE provides the earliest record to survive) via the philosopher's stone, which is / was ...????  Who knows? 

It would also explain why gold today is generally hard to find, in low concentrations, and expensive to process - the Old Old Ones*** used most of it up.  

Franklin:  "So, imagine a world, ten thousand, fifty thousand years from now, where there are whispers of a powerful energy source, that gave immense wealth and power to those who could control it. A dark energy, a black energy, dark oil, night coal, that harnessed the dark forces of the universe and gave unimaginable power. And there are still remnants of it:  the Tears of Saturn and the Blood of the Moon, the Night Gifts are horded by Kings. The nobility and wealthy wear it, in their hair, on their faces. Priests sacrifice it to the gods, kings are embalmed in it, buried in caskets with it. A vial of it is immensely precious. A necklace of jet or obsidian is like diamonds today. And no one has any idea that these once fueled an entire civilization. They just know it's valuable. Powerful."   

"Okay," I said. "So they revere oil and coal. But what are they using for fuel?"

"Something we've never thought of, of course." Franklin said. "Depends on what survives the Pyrocene."

Global map of average annual area burned (percentage of cell burned) 

for 1960 to 2000; data from Mouillot and Field (2005). LINK

^* And all the old myths.  And some new ones.  There's a Great Flood in every oral tradition, along with a blind king, a Cinderella, and the oldest are of a blacksmith cheating the devil.  

^** BTW, Gregory Benford's non-fiction Deep Time:  How Humanity Communicates Across Millennia (1995) is worth a read. I recommend the first part (Ten Thousand Years of Solitude), about a government project he was involved in, trying to figure out how to communicate the danger of buried radioactive material to people far in the future. The last part (Stewards of the Earth) is about what future peoples (say, 100,000 years from now) will think of what we leave behind. 

^*** With apologies to Cthulhu…

Now for some BSP:

Josh Pachter's Paranoia Blues is one of the five finalists for the Anthony award in the Best Anthology category, and Ed Aymar's "Still Crazy After All These Years," from it is a finalist in the Best Short Story category! And I am honored to have "Cool Papa Bell" in it!

Available at https://downandoutbooks.com/bookstore/pachter-paranoia-blues/

And on Amazon HERE

A Thousand Stories Deep

 

Not the author

I mentioned last time that my wife and I are archaeology buffs.  This led to us spending part of April on the island of Crete, our second tour of Greece.  And that trip got me thinking about stories.  No surprise, right?

I wrote one story on the trip (a little piece of flash fiction) and came up with two ideas for other tales which may or may not get finished.  But what I really want to talk about is the relationship between storytelling and archaeology.

Someone in the field once told me "an archaeologist is someone who can dig a square hole and tell a story about it." The second part is important because the contents of the hole do not speak for themselves.  Whatever you find needs to be interpreted, or "read."

An Evans rebuild.

Of course, the relationship is more complex than that.  Many people enter the field because of their fascination with certain stories. Crete provides excellent examples.

No doubt you are familiar with the story of Theseus fighting the Minotaur in a labyrinth.  That story is set in Knossos, the capital of ancient Crete, but  it is not a Cretan story.  Theseus is the hero of Athens and that is where the story comes from.

But it led Sir Arthur Evans, a British archaeologist, to go to the island in hopes of exploring the legendary site of Knossos. He bought the land and spent more than three decades digging up the Minoan palace there.

Evans called them "Horns of Consecration"

I should actually say "Minoan" "palace."  Our guide put air quotes around those words every time he used them.  

You see, Evans called the civilization of which Knossos is an example Minoan because King Minos was supposedly the king who was stepdaddy to the Minotaur.  We have no idea what the people actually called themselves.

And as for palace, well, a palace is a big building where royalty live.  What Evans found at Knossos appears to have been an administrative complex with large meeting rooms and storage chambers (for food supplies?), and no sign of residential space.  As our guide said, "Nobody lives at city hall." The same holds true for the other large Minoan sites on the island.  

Evans recreates a doorway

But Evans had a story to tell and tell it he did.  He decided he knew what the "palace" looked like and he reconstructed parts of it, right there on the ruins.  Today even suggesting doing this would get you kicked out of the archaeology biz.  The pictures you see here are Evans' guesses as to what the place looked like 3500 years ago. 

Now let's move to another Minoan palace (please assume I put in the quote marks) at Phaistos.  The diggers there were careful not to rebuild it according to their dreams.  In fact, where they had to make repairs they put dates on their work to avoid confusion.

Phaistos Disc, Heraklion Museum.

Nevertheless we have a very strange story there.  Italian archaeologist Luigi Pernier was managing the site in 1908.  Here is the story the way my guide (an archaeologist) tells it.  Wikipedia has a different version.

Pernier suffered from an archaeologist's nightmare scenario: He left the site for a few hours.  When he came back his workers showed him a box they found while unsupervised, containing an assortment of objects whose origin covered more than a thousand years, from the Minoan era to the Romans.  One item was like nothing that anyone had seen before: the so-called Phaistos Disc.  It is a piece of fired clay about six inches in diameter, embossed on both sides with symbols.  No one knows what they mean.  

And notice one symbol that appears on the disc exactly once.  Tell me that doesn't look like a flying saucer!

Is the disc real?  Is it a forgery?  (And if so, a modern one or possibly dating all the way back to the Romans?)  Opinions vary. Think of all the stories you can write about that mess...

And here's one more object begging to be explained.  This kouros (boy) statue was found in a site called Palaikastro.  It's another unicorn - meaning nothing else like it has been found, but no one denies that it is authentic.  The context and condition convinces the scientists that someone grabbed it by the legs and smashed it against a stone.  In the name of the gods, why?  You could get a whole book of stories out of that.

One final thought: If this sort of thing interests you I recommend you read Riddle of the Labyrinth by Margalit Fox.  It tells the true story of the three scholars who, over a forty year struggle, deciphered Linear B, a script of the Mycenean age that was first found on Crete.  Imagine translating a text when you have never before seen the symbols it is written in, and have no idea what language is being transcribed.

Now that's what I call a mystery. 

You Can Be the Judge

At conferences like Malice and Bouchercon, I hear about the techniques authors use to memorialize their thoughts. Story ideas don't come to us only while we're sitting at the laptop. Rather, they pop out of billboards we pass or from snippets of conversation overheard at a restaurant. Most of the panelists reported texting or emailing themselves. Wise ones recommended using a standard naming convention for messages. Some deliberately misspell a word. They type "Knotes," for instance, in the subject so that they can quickly locate the stash of ideas they've compiled. Each time I hear about these techniques, I admire the forward-thinking of my fellow writers. 

I scribble on scraps of paper. 

Sitting in the courthouse basement, when I run across the odd bit that gives me pause, I'll hurriedly jot it down, tear the note from the legal pad or Post-It note and return to work. At the end of the day, I'll empty my pockets--phone, keys, and odd scraps. Post-Its, by the way, offer the added benefit of cleaning pocket lint. 

The following are a few random notes harvested from police reports and fermented in my pocket. 

Typos?

    In law enforcement, minor traffic offenses provide police with the legal opportunity to observe the contents of a vehicle and its occupants in more detail. Higher and better charges may then arise. In the police report following a methamphetamine arrest, the officer noted that the car had a detective brake lamp. Was it a typo or an acknowledgment of the pretext stop? You can be the judge. 

    In another case, the unemployed driver was pulled over operating a vehicle owned by a female passenger. The police report noted that a woman with him was his finance. I think the officer intended to report that the two were engaged to be married and, thus, she was his fiance. But the plain reading may also be correct. You can be the judge. 

    (This one may only be funny locally.)

    The suburban county just north of Dallas is Collin. When the Fort Worth officer arrested the man on the Colon County warrant, was it an inadvertent voice-to-text error, or did the police offer a comment on a Dallas stereotype commonly held by people living on the western side of the Metroplex. You can be the judge. 

Scattershooting:

    Blackie Sherrod, a legendary local sportswriter, published a regular column of random thoughts entitled "Scattershooting." It seemed a good title for the following unrelated notes gleaned from police reports. Each one briefly interrupted the flow of county business. 

• As I approached the vehicle, I observed the pungent odor of marijuana wafting from the open passenger window. 

Pungent? Wafting? This is not the typical prose of a police report. I think that the officer yearns to be a writer. Look for her debut novel soon, available on Amazon. 

• J. and his girlfriend have been dating a little more than a week and they live together at...

But at least they were rushing into things. 

• I encountered S. sitting on his porch with his service dog, Capone. 

The family's cats, Manson, Kaczynski, and Gotti, were undoubtedly inside the house. What service, I wondered, does a dog named Capone perform? 

• I identified the defendant as Chase T. and charged him with evading arrest. 

Chase was charged with running from the police. Does name determine destiny? Just ask Paz charged with disturbing the peace. Or the meth user named Krystal. 

And, because Memorial Day marks, for many, the unofficial start of summer. 

The police were called to the scene of a domestic violence offense. A fight broke out between two brothers during the family barbecue. The officer observed and interviewed both men attempting to determine who was the primary aggressor. The officer reported, 

• I could not tell whether the substance on D's shirt was evidence of a bloody nose or barbecue sauce. 

Two things worth noting in the above sentence. First, dinners at this house get raucous. And a trained observer can't tell if it's blood or the family's barbecue sauce. If they invite you to dinner, I'd recommend politely declining. Secondly, you might have a new way to hide blood evidence in your next story. 

Besides a bit of fun, I think there is a lesson for both writers and criminal justice professionals. The participants in the system--lawyers, officers, defendants, and their families--are all human. Stories tend to focus on the big mistakes. The little errors, like those set out above, might make characters more like real people. 
  

Until next time. 

How much of a misfit can a writer be?

I have never been able to write harmless fiction. My characters, their backgrounds, and their motivations keep drifting outside the lines. And by "harmless," I don't mean just harmless cozies with cupcake-baking divorcees trading quips with hunky police chiefs over the latest corpse. I also mean harmless noir: PIs in Humphrey Bogart hats slouching in out of the mean streets and trading quips with femmes fatales with "legs out to here" and four-inch stiletto heels. ("Out to here," if you want an exact measurement, is twice the length of an average Ashkenazic Jewish woman's legs, ie my kind of legs.)

In today's publishing, there are a lot of rules based not on literary values but on the marketplace, as the industry tries to predict the unpredictable and control the uncontrollable. The underlying rip current is fear, determined by neither art nor business but by the chaotic politics of the moment. How far outside the lines am I allowed to color? As far as I want? Or only up to a limit defined by others?

In recent years I've become interested in writing from a Jewish perspective in my fiction. But anti-Semitism is on the rise globally. Jews are not getting a clear message that we're included under the sheltering umbrella of "diversity." So can I tell as many stories as I want, or just a token number? When will I be told that it's enough?

I've recently become interested in writing about trans people. I'd like to see trans characters integrated into crime fiction the way they are in speculative fiction. I have had one such story published, but I was disappointed when the editor allowed my preferred title to be vetoed by a low-level staff member who was trans. My 62-year-old nonbinary nibling (formerly my niece) commented: "I loved your title. The word police are mostly under forty."

How careful am I supposed to be with titles from now on? Will I be free to inform the development of all the characters I write with the full measure of my empathy and imagination? Does the publishing industry realize that the younger generation doesn't know anything? I remember trying to tell a young woman that the derogatory term "boujee" came from the word "bourgeois," for middle class. "No it doesn't," she said. "It's just itself." I didn't argue. People believe what they want to believe.

At this point in my life, I'm happy writing short stories. If I ever wrote another novel, it might be about two lifelong friends, a Jewish girl with Communist parents and a Black girl from Harlem with roots in what she calls a "good family" in the South, who first meet in the early1950s. But I have no incentive to write it. I wonder why not?

Raising Money

A few years ago, my Huey pilot buddy and I sat down to see if we could brainstorm a short story. Something different than we had conjured up in the past. The result was a rough outline for a couple of young conmen who had come up with a new scheme to try out in the criminal world. Their basic premise went something like the following.

If criminals could purchase a "clean" gun for a job, then maybe they would also be interested in renting a "clean" car so as not to be nabbed in a stolen car on their way to the job. The result was "The Clean Car Company" published in the January 2021 issue of Mystery Weekly Magazine (now Mystery Magazine). Of course, the two young conmen, Danny and Jackson, ran into a couple of glitches in their plan. They hadn't expected a dead body in the trunk when the rented car was returned.

Now, it was time for the duo to try out a new scheme which was actually an old con from the streets of Harlem. Raising Money was the pitch. Find a not-too-smart mark with lots of money and convince him that you could raise money by increasing the denominations on U.S. currency through the use of the modern miracles of science and technology.

What's that, you don't believe such a feat is possible? Have you considered all the recent  advances in science and technology which are difficult to explain to the common layman? Well then, let's see if you can explain to both our satisfaction how that same GPS voice in your cell phone can direct thousands of drivers along various different routes at the same time and yet still tell each driver when and where to make the correct turns to get to each one's different destinations. Or is it some sort of magic?

Perhaps you should just read "Raising Money" in the May 2023 issue of Mystery Magazine and see how the con plays out.

For those of you interested in the timeline from submission to reply to publication, here are the entries in my Submission Log:

•   03/17/23  "Raising Money" subbed to Mystery Magazine
•   03/21/23  e-mail acceptance
•   03/22/23  signed & returned e-contract
•   03/23/23  paid via PayPal
•   05/01/23  published

Oh yeah, our very own Rob Lopresti has a short story in this same May 2023 issue and his submission log entries should be about the same as mine.

"Why don't you write about Gina Gallo's Grandmother?" or Where do you get your Ideas?

 Ah, the timeless question.  Where do you get your ideas?

I think it was Stephen King who talked about a little mail-order store in small town America...

I've never been able to find that store myself.  Stephen keeps it a close secret (I hope you're smiling.)

But I had reason to experience that dilemma about two years ago, a year into the pandemic, and a year after my husband David died.

Damn that covid, and what it's done to publishing.  When Orca Books told me that they were capping the line that carried my Goddaughter series (translation: still selling the books in the line, but closing it to future books, at least for now)  I was in a tight spot.

What to write next?  I'd had 10 contracts in a row from Orca!  That series garnered three major awards!  How could I leave it behind?

Put another way:  what the poop was I going to write next?

The Goddaughter series featured a present day mob goddaughter who didn't want to be one.  Gina Gallo had a beloved fiance who thought she had gone straight.  But of course, in each book she would get blackmailed into helping the family pull off heists or capers that would inevitably go wrong.  It allowed for a lot of madcap comedy.

Some would say I was a natural to write a series about a mob goddaughter (we'll just leave it at that.)  And I liked the serious theme behind the comedy:  You're supposed to love and support your family.  But what if your family is this one? 

Issues of grey have always interested me.  We want things to be black and white in life, but quite often, they are more complex than that.  I like exploring justice outside of the law in my novels.  But I digress...

The Goddaughter books brought me to the attention of Don Graves, a well-known newspaper book reviewer up here.  He commiserated with the end of the Goddaughter series, and immediately suggested the following:

"Why don't you write about her grandmother?  Prohibition days, when the mob was becoming big in Hamilton."

The idea burned in me.  Except it wouldn't be her grandmother.  (Don is older than me.)  It would be her great-grandmother!  Coming to age in the time of Rocco Perri and Bessie Starkman...

I settled on 1928, because that was the year women finally got the vote in England.  The status of women features very much in this novel.  The time frame also allowed me to use the aftermath of WW1, including men like my own grandfather, wounded by gas, and shell-shocked.  I would make the protagonist a young widow, because I knew grief - oh man, did I know grief.  My own husband had died way before his time, the year before.  I could write convincingly about that.

But I would also use bathos to lighten the tale. (I seem incapable of writing anything straight.)  The comedy of the Goddaughter books finds its way into The Merry Widow Murders, and so far, has generated smiles for prepub reviewers.

The book took me over a year to write, working full time on it.  It helped me to channel my grief.  It forced me to step out of my comfort zone and write something with considerable depth.  

And it taught me that - even widowed - I wasn't entirely alone.  That ideas are beautiful things that can come from friendship, and the good hearts of readers and reviewers you are fortunate to meet along your publishing journey.

Thank you, Don!

So tell me:  where do you get your ideas?

 "Delightful...Not to be missed"  Maureen Jennings, 

author of  the Murdoch Mysteries on TV

and the Paradise Cafe series

The Merry Widow Murders  

Now available!  

Barnes&Noble, Chapters

Amazon, independents

and all the usual suspects

from Cormorant Books

 

 1928, At Sea  

When an inconvenient body shows up in her stateroom, Lady Revelstoke and her pickpocket-turned-maid Elf know how to make it disappear--and find the killer.

"Miss Fisher meets Hitchcock's The Trouble with Harry. The perfect escapist read!"  Anne R. Allen

 on Amazon

They Don't Write 'Em Like That Anymore

With apologies to Greg Kihn.

I just finished listening to The Iliad on audio. Read by Dominic Keating of Star Trek: Enterprise fame, one got the sense one was listening to Homer riffing in front of a crowd in some Athenian public space. Keating had to read a fairly new English translation, but The Iliad and its companion piece, The Odyssey, are really epic poems. Keating's dramatic read hewed closer to Patrick Stewart or Ian McKellan doing Shakespeare. Homer, especially after listening to some of the translator's background in the intro, probably sounded like Jack Kerouac to those ancient Greeks.

Except I've read Kerouac's On the Road. Incidentally, that, too, is meant to be performed, not read. But I digress. Kerouac's prose is the beat poetry of the fifties laid over the prose of the day, which, like today, has Hemingway in its bones. He's into a scene, and he's out, and the flourishes come from spending short snatches of time in Sal Paradise's bizarre mind.

Homer, on the other hand, does things in The Iliad no editor, even the most forgiving of editors, would let out of the slush pile, let alone into print. The goddess Athena is referred to not merely as the goddess of wisdom or daughter of Zeus, nor does Homer limit himself to the epithets like Pallas Athena. No, she is "Athena, she of the bright, shining eyes." Achilles, who spends most of the story sulking in those final days besieging Troy, is "Achilles of the fleet foot." These are not one offs. Homer uses this or a similar phrase every. Single. Time. 

Mind you, it's an epic poem, and Keating's reading, even after taking out the supplemental material, is almost twenty hours. (Also, Homer likely never ended with "Audible hopes you've enjoyed this program.") And we don't see a lot of epic poems these days. Even its spiritual descendant, rock's concept album, is a bit of a dinosaur. Its last adherent seems to be Roger Waters, and lately, most people wish Rog would just shut the hell up.

These days, if you're going to ramble, as Homer does without anyone really noticing, you have to be Stephen King about it. Going off on a tangent? Tell a story within the story, then circle back to the point. Most editors won't allow that these days. (And I really think current editing dogma is too rigid. Says the editor.)  Otherwise, get to the point (says the guy who likes writing lean prose.) So when a character walks into a scene, the most extreme example of modern description is to find a trait, use that trait as a placeholder, and only change it when their name is revealed. Robert B. Parker did this throughout his career, but it began all the way back in The Godwulf Manuscript. The one I remember best is where Spenser's attempts to rescue Susan Silverman overlap a government black op. Spenser says the agent looks like Buddy Holly, and for a page or two, refers to him as Buddy Holly. I don't remember the guy's name or if he even had one, but I remember him, his job, and most of what he did.

Even Dickens, one of the most verbose writers in modern English, stuck with names or something descriptive, like the Artful Dodger. His name was actually Jack Dawkins, but how many Jacks are their in novels set in 19-century England or America? Hell, Jean-Luc Picard's son is named Jack, named for his half-brother's father. Sometimes, the title or job sticks better. But for all Dickens's wordiness, Artful Dodger is a short, powerful shorthand for a character in Oliver Twist. Contrast that with Dickens's American counterparts, Hawthorne and Melville. One of the reasons I found The Scarlet Letter so unreadable, at least at the age of 15, when I'd discovered King and Tom Clancy, was the constant refrain of "It seemed as though Hester Prynne..."  (And in 2023, my inner editor is going, "HEY! STOP BEATING THAT DEAD HORSE!") On the other hand, Melville scores points for being more episodic in Moby Dick and hanging genius labels on Ishmael's shipmates, such as Starbuck or the cannibal (who ironically doesn't eat anyone in the story.)

Much of this is the function of the culture. Even if we write stories about Greek or Roman or Norse gods, they come off as aliens or superheroes (or supervillains) or both. Marvel built a big chunk of its mythos around Thor and Loki. As far back as Twain's era, we didn't want Athena of the Bright Shining Eyes or Zeus Who Holds the Aegis. Nowadays, we want Wonder Woman's sister or Liam Neeson shouting, "Release the kraken!"* In Homer's day and even into Shakespeare's time, we wanted heroes. Mythical heroes. Of course, until the Enlightenment, we weren't quite as sciencey as we are now. Hence, even Harry Potter has to follow some sort of rules and most conspiracy theories are based on bad science skimmed while scrolling the phone in the bathroom. When we pay closer attention, ignoring Newton and Einstein without an explanation is what writers call "a plot hole."

*Fun fact: He meant the rum, of which I have a bottle, actually. Too bad I don't drink much anymore.

Setting as Character

 This is a piece I wrote shortly after joining the rotation here at Sleuthsayers, just about a decade ago. Reposting at the request of an emerging writer who found helpful and thought others might as well.

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Setting. Everyone knows about it. Few people actively think about it.

And that's a shame, because for writers, your setting is like a pair of shoes: if it's good, it's a sound foundation for your journey. If it's not, it'll give you and your readers pains that no orthotics will remedy.

Nowhere is this more true than with crime fiction. In fact strong descriptions of settings is such a deeply embedded trope of the genre that it's frequently overdone, used in parodies both intentional and unintentional as often as fedoras and trenchcoats.

Used correctly a proper setting can transcend even this role–can become a character in its own right, and can help drive your story, making your fiction evocative, engaging, and (most importantly for your readers) compelling. 

Think for a moment about your favorite crime fiction writers. No matter who they are, odds are good that one of the reasons, perhaps one you've not considered before, is their compelling settings.

Just a few contemporary ones that come to mind for me: the Los Angeles of Michael Connelly and Robert Crais. The Chicago of  Sara Paretsky, Sean Chercover and Marcus Sakey. Boston seen through the eyes of Robert B. Parker. Ken Bruen's Ireland. Al Guthrie's Scotland. Carl Hiassen's Miami. Bill Cameron's Portland. Sam Wiebe’s Vancouver.

And of course there are the long gone settings highlighted in the gems of the old masters. These and others read like lexical snapshots from the past.Who can forget passages like:

The city wasn't pretty. Most of its builders had gone in for gaudiness. Maybe they had been successful at first. Since then the smelters whose brick stacks stuck up tall against a gloomy mountain to the south had yellow-smoked everything into uniform dinginess. The result was an ugly city of forty thousand people, set in an ugly notch between two ugly mountains that had been all dirtied up by mining. Spread over this was a grimy sky that looked as if it had come out of the smelters' stacks.

—Dashiell Hammett, Red Harvest

Or this one from Raymond Chandler's Farewell, My Lovely:

1644 West 54th Place was a dried-out brown house with a dried-out brown lawn in front of it. There was a large bare patch around a tough-looking palm tree. On the porch stood one lonely wooden rocker, and the afternoon breeze made the unpruned shoots of last year's poisettias tap-tap against the cracked stucco wall. A line of stiff yellowish half-washed clothes jittered on a rusty wire in the side yard.

And no one did it better than Ross Macdonald: 

The city of Santa Teresa is built on a slope which begins at the edge of the sea and rises more and more steeply toward the coastal mountains in a series of ascending ridges. Padre Ridge is the first and lowest of these, and the only one inside the city limits.

It was fairly expensive territory, an established neighborhood of well-maintained older houses, many of them with brilliant hanging gardens. The grounds of 1427 were the only ones in the block that looked unkempt. The privet hedge needed clipping. Crabgrass was running rampant in the steep lawn.

Even the house, pink stucco under red tile, had a disused air about it. The drapes were drawn across the front windows. The only sign of life was a house wren which contested my approach to the veranda.

— Ross Macdonald, Black Money

In each of the passages excerpted above the author has used a description of the setting as a tip-off to the reader as to what manner of characters would inhabit such places. Even hints at what lies ahead for both protagonist and reader.

With Hammett it's the stink of the corruption that always follows on the heels of a rich mineral strike. With Chandler, it's a life worn-out by too much living. And with Macdonald, it's a world and its inhabitants as out of sorts as those hedges that need clipping.

Brilliant thumbnail sketches each. If you haven't read them, you owe it to yourself to do so. And each of them was giving the reader a glimpse of a world they had experienced first-hand, if not a contemporary view, then at least one they could dredge up and flesh out from memory.

With the stuff I write it's not that simple.

In his kind note introducing me to the readers of this blog, our man Lopresti mentioned that when it comes to fiction, my particular bailiwick is historical mystery. In my time mining this particular vein of fiction I've experienced first-hand the challenge of delivering to readers strong settings for stories set in a past well before my time.

How to accomplish this?

It's tricky. Here's what I do.

I try to combine exhaustive research with my own experiences and leaven it all with a hefty dose of the writer's greatest tool: imagination.

"Counting Coup," the first historical mystery story I ever wrote, is about a group of people trapped in a remote southwest Montana railway station by hostile Cheyenne warriors during the Cheyenne Uprising of 1873. I used the three-part formula laid out above.

While pursuing my Master's in history, I'd done a ton of research on the western railroads, their expansion, and its impact on Native American tribes in the region, including the Cheyenne.

I've visited southwestern Montana many times, and the country is largely unchanged, so I had a good visual image to work from.

Imagination!

An example of the end result:

Wash and Chance made it over the rise and and into the valley of the Gallatin just ahead of that storm. It had taken three days of hard riding to get to the railhead, and the horses were all but played out.

The entire last day finished setting their nerves on edge. What with the smoke signals and the tracks of all the unshod ponies they'd seen, there was enough sign to make a body think he was riding right through the heart of the Cheyenne Nation.

Stretching away to north and south below them lay the broad flood plain of the Gallatin. The river itself meandered along the valley floor, with the more slender, silver ribbon of rail line mirroring it, running off forever in either direction. The reds of the tamarack and the golds of the aspen and the greens of the fir created a burst of color on the hills that flanked the river on either side, their hues all the more vivid when set against the white of the previous evening's uncharacteristically early snowfall.  

"Suicide Blonde," another of my historical mystery stories, is set in 1962 Las Vegas. Again, the formula.

I did plenty of research on Vegas up to and including this time when Sinatra and his buddies strutted around like they owned the place.

I lived and worked in Vegas for a couple of years and have been back a few times since. I am here to tell you, Vegas is one of those places that, as much as it changes, doesn't really change.

Imagination!

Which gets you:

Because the Hoover boys had started tapping phones left and right since the big fuss at Apalachin a few years back, Howard and I had a system we used when we needed to see each other outside of the normal routine. If one of us suggested we meet at the Four Queens, we met at Caesar's. If the California, then we'd go to the Aladdin, and so on. We also agreed to double our elapsed time till we met, so when I said twenty minutes, that meant I'd be there in ten. We figured he had a permanent tail anyway, but it was fun messing with the feds, regardless.

The Strip flashed and winked and beckoned to me off in the distance down Desert Inn as I drove to Caesar's. It never ceases to amaze me what a difference the combination of black desert night, millions of lights, and all that wattage from Hoover Dam made, because Las Vegas looked so small and ugly and shabby in the day time. She used the night and all those bright lights like an over-age working girl uses a dimply lit cocktail lounge and a heavy coat of makeup to ply her trade.

Howard liked Caesar's. We didn't do any of the regular business there, and Howard liked that, too. Most of all, Howard liked the way the place was always hopping in the months since Sinatra took that angry walk across the street from the Sands and offered to move his act to Caesar's. Howard didn't really care to run elbows with the Chairman and his pack, he just liked talking in places where the type of noise generated by their mere presence could cover our conversations.

You may have noticed that in both examples used above I've interspersed description of the setting with action, historical references and plot points. That's partly stylistic and partly a necessity. I rarely find straight description engaging when I'm reading fiction (in the hands of a master such as Hemingway, Chandler or Macdonald that's another story, but they tend to be the exception), so I try to seamlessly integrate it into the narrative. Also, since I'm attempting to evoke a setting that is lost to the modern reader in anything but received images, I try to get into a few well-placed historical references that help establish the setting as, say, not just Las Vegas, but early 1960s Las Vegas. Doing so in this manner can save a writer of historical mysteries a whole lot of trying to tease out these sorts of details in dialogue (and boy, can that sort of exposition come across as clunky if not handled exactly right!).

So there you have it: an extended rumination on the importance of one of the most overlooked and powerful tools in your writer's toolbox: setting. The stronger you build it, the more your readers will thank you for it, regardless of genre, regardless of time period.

Because setting is both ubiquitous and timeless. Easy to overdo and certainly easy to get wrong. But when you get it right, your story is all the stronger for it!

Moms Get Mad (and Get Lawyers)

Back in February, I wrote a piece about publishers cleaning up writers who’d fallen out of fashion, or more to the point, whose work would sound offensive to the contemporary ear – specific examples being Roald Dahl, Ian Fleming, and Agatha Christie.  This is a practice commonly known as bowdlerization, after Dr. Thomas Bowdler, who published a 19^th-century edition of Shakespeare with the naughty bits eliminated.  Aside from the insult to the authors, my chief complaint is that it irons out context.

Mencken once remarked that a Puritan is someone who’s afraid that somebody, somewhere, is having fun.

The latest iteration of book-banning has dragged in Satan worship and the predatory sexual grooming of children, so plainly, calmer heads haven’t prevailed.  It’s belaboring the obvious to say that the fight against Woke is consciously a fight to marginalize the ‘other,’ and personally, I think the rest of us would be better off if these mouth-breathers were out of the gene pool, but far be it from me.

Which brings us to Ron DeSantis.

  DeSantis is fighting above his weight class, going after the Mouse.  Disney is going to wipe the canvas with him.  And instead of being a savvy, calculating political animal, triangulating his every advantage, he’s advertising himself as a vindictive little shit, who simply isn’t ready for prime time.  Are we meant to take any of it seriously?

Here’s the next wrinkle.

  A group of Florida moms have taken aim at book-banning by filing a lawsuit in federal court.  This is a direct response to a national right-wing organization known as Moms for Liberty, which spearheads the effort to remove titles from school curricula and public libraries.  (565 books were targeted in Florida, during the 2021-2022 school year.)  This lawsuit has been joined by PEN America, by some of the writers whose work has been censored, and by Penguin Random House – Penguin of course a division of Bertelsmann, the biggest publisher in the world.  Stop and think about that for a minute.  Does the state of Florida really want to take on Bertelsmann, in the wake of the Disney mess?

Bertelsmann has a dog in this fight.  The way to wrap your head around it is to realize the big money isn’t in James Paterson or Diana Gabaldon, no disrespect.  The big money’s in textbooks.  And a state like Texas, or Florida, has an oversize influence, because they buy a lot of schoolbooks.  In practice, this means that what passes muster in Texas or Florida, then winds up in Massachusetts and California.  The tail wags the dog.  You can’t produce different editions of a schoolbook for different states and political persuasions.  It defeats any economy of scale.  What just might be happening in this case, though, is that a major publisher is putting Florida on notice.  You may recall the DeSantis administration, or more specifically, the Florida department of education, recently rejected a very large percentage of textbooks, complaining they were tainted with Critical Race Theory, among other transgressions.

The most interesting thing about this new lawsuit is that it doesn’t challenge Florida statute, head-on. We might acknowledge that school boards or library trustees have the authority to pull books, under established process.  But the suit considers First Amendment issues.  The official – governmental – suppression of disfavored ideas is clearly a violation.  This could have legs.

See you in court.