Every Breath You Take

I got absolutely nothing done, other than some laundry and a load of dishes, yesterday because I was too engrossed in reading Rebecca Chance’s Killer Affair to put it down. So, today, after I make my grocery run, I simply have to buckle down and clean as well as write and line edit. I’ve decided on my next book to read–Lyndsay Faye’s Gods of Gotham, which was nominated for the Edgar for Best Novel–and I am really looking forward to reading it. Lyndsay has written five novels, and been nominated for the Best Edgar novel twice–no small feat, I might add (her other nomination came this year for Jane Steele, which I am also looking forward to reading).

So, I survived the grocery store, made brunch for Paul and have done the dishes. I’m not feeling particularly motivated at the moment; I also had to walk to Office Depot to get ink for the printer and the six block to-and-from walk (twelve blocks in total) in the heat and humidity has sucked the life and energy right out of me. Just sitting at my desk and letting the air conditioning wash over me feels so lovely that I am tempted to simply blow everything off and read Gods of Gotham, which would be a huge mistake. I simply cannot keep blowing everything off; the kitchen floor is disgusting and so is the living room; perhaps a shower will pick my attitude right up out of the gutter where it has fallen. I’m so very close to being finished with the second draft of “For All Tomorrow’s Lies” that it’s really egregious to keep putting off working on it; and it certainly isn’t going to kill me to drag the hard copy of the WIP out and start marking it up again, either.

This laziness is why I am always playing catch-up on everything.

Heavy heaving sigh.

I did manage to also finish my reread of The Secret of Terror Castle last night; the very first Alfred Hitchcock and The Three Investigators mystery, and despite being dated, the story still holds up. The three young detectives (Jupiter, Bob, and Pete) are much better developed that the main characters in so many other children’s mystery series, with very distinct personalities, and the world in which they inhabit (Rocky Beach, California, close to LA–my assumption is it’s based on Long Beach) is interesting and also pretty well fleshed out: the Jones Salvage Yard, which is run by Jupiter’s aunt and uncle, always was interested and many of their cases came from things that Uncle Titus bought at an estate or yard sale; their headquarters, a battered old mobile home hidden from view by artfully arranged piles of junk and had secret entrances; their ability to use a gold-plated Rolls Royce (Jupiter won the use of the car in a contest), complete with British chauffeur, Worthington; and their relationship with Alfred Hitchcock, originally a bit fractious but came to be one of friendship and mutual respect as the boys proved themselves to be excellent detectives in case after case–all of these things made this a favorite series of mine. Not to mention, that in almost every book the boys had to actually solve a mystery, based on clues they found and observations they made–so the books were a bit smarter than the other series.

I’d love to update this series.

And now, here’s a hunk for your Sunday Funday, as I head back into the spice mines.

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Fading Fast

Good morning, Saturday! I have Wacky Russian this morning, and we are meeting friends for dinner later on, so I’ll probably spend the day reading, cleaning and doing laundry before that. I’m probably going to try to finish the revision of “For All Tomorrow’s Lies”, and maybe make some progress on the line edit as well. I am putting off making a grocery run until tomorrow; not sure if that’s wise or if I should just get it over with today, so I don’t have to leave the house tomorrow at all…decisions, decisions.

It seems a bit gray out there this morning; Paul is leaving shortly to go play tennis, which might (and most likely will be) rained out at some point. I don’t think it rained yesterday, which might be the first day since May it hasn’t rained here. I just hope it doesn’t rain on me on the way to the gym; that always sucks.

I could also spend some time organizing computer files, which always seems to get out of hand very quickly. I hate that. It comes from being lazy and stashing things quickly, always thinking I’ll straighten this up later. So, in the meantime, it drives me crazy and it builds up and builds up until it takes hours for me to reorganize everything.

Then again, it also helps me procrastinate and not write, so there’s that explained.

And as I glance around the kitchen this morning, it’s such  a mess. Heavy heaving sigh. Stacks of paper, stacks of books, the floor needs cleaning…ad my knives need sharpening, too. It never ends.

As I said yesterday, one of the things I find myself most interested in exploring in my writing now is damage, how people became damaged and how they cope with it, while contrasting their damage with mundanities of life. We all have our own damage; carry the signs of it with us internally all the time. My story “Housecleaning” was inspired by the smell of bleach, which reminded me one day of my mother–and that became the opening line: The scent of bleach always reminded him of his mother. Part of the genius of shows like Weeds and Ozark was the impact of their parents’ criminal behavior on their children; how do kids have a normal life when their parents are criminals and have thus lost their moral compass, as well as the morality of being a parent? “Housecleaning” was about such a kid, who grew up under the thumb of a con artist mother, who as he got older was required to assist in the cons. And when you’re assisting your mother in conning marks as a child, what kind of adult do you become?

I am also very far behind on my schedule for the summer. I’d hoped to have the noir novel’s first draft finished by the first of September, so I could spend the fall writing the next Scotty book while the noir rested. I’ve not even started the noir yet, still am not sure what the true plot is–it’s amorphous and keeps shifting in my head–but if I can get this line edit finished, and start sending that manuscript out to agents, I can buckle down and get the noir written, and still maybe get the Scotty finished by the end of the year.  Depending on how the scheduling works, I may end up having to put the noir aside until the Scotty is finished. And I am fairly certain of what I want to write after the Scotty and the noir are done. I just need to get them done.

Heavy heaving sigh.

All right, I am going to clean the kitchen before the gym.

Here’s a Saturday stud for you, Constant Reader.

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This Town

It’s Friday morning in New Orleans, and I slept fitfully; but when I did sleep, it was terrific. I only have to work a half-day today, which is lovely, and tonight I am hoping to not only get a chance to read some more of Rebecca Chance’s lovely Killer Affair, but to get further in the line edit as well. This weekend my plan is to work on the line edit and clean, alternating between the two, which hopefully will do the trick. I’ve not gotten as far along this week on anything that I’d hoped; the weekly to-do list is a complete and utter disaster. The good news this week was that our renewed passports arrived (hurray!), I got some great books–everything from the new Michael Connelly to Eric Ambler to Chester Himes–to add to the TBR pile, and the latest short story is really taking a good shape, one with which I am really and truly pleased.

My short stories are much darker than my novels. The WIP, currently being line edited, has little to no humor in it; at least none that I’m aware of–but then again I am not the best judge of that. I love to tell the story of my New Orleans Noir story, “Annunciation Shotgun,” which I thought  was this dark, unsettling tale, and continued thinking so until at a reading for the anthology, Chris Wiltz, one of the other contributors (her story, “Night Taxi,” is quite chilling) said to me, “Oh, I loved your story! It’s so funny!”

I was a little taken aback, as I’d thought it was a dark story…and then when it was my turn to read to the gathered audience, there were times when I got laughs.

Okay, I remember thinking, I guess I can be funny even when I’m not trying to be.

This story I’m working on now is also grim and dark; but I think the primary reason I’m drawn to the genre I work in primarily is my interest in damaged people. The Great Gatsby  was about damaged people, and the damage people can leave in their wake; it didn’t try, however, to explain or get into how the people got damaged and why,  and that was its greatest disappointment to me. This current story was inspired by watching a documentary while Paul was at his mother’s; I always have to find things to watch when he’s gone that we wouldn’t want to watch together (in other words, things want to watch that he doesn’t. He tired of the TV series Scream; so I finished watching it while he was gone. Likewise, you can never go wrong with documentaries). I watched one on either Netflix, Hulu, or Amazon–I don’t remember which–about a young man and his brothers, who’d escaped a religious cult. As I watched these damaged young men trying to make sense of their childhood and fit into a world and society they were woefully underprepared for, while the main point-of-view character was also trying to reestablish a relationship with his mother, still in the cult and distant to him–I couldn’t help but wonder about the young women refugees from the cult he interviewed, and the stories they shared about their sexual abuse and, basically, being brainwashed into thinking that was normal. (The boys were also apparently sexually abused as well as physically abused, but their sexual abuse was skipped over; mentioned but not gotten into in depth.) I had my notebook in my lap, and I scribbled down notes…and eventually started writing the story I thought up while watching the documentary. The story is dark–I am revising it now, making it even darker than the first draft–which also limits its saleability quotient, but hey, I am definitely going to put it out there.

Christ, I have so many works in progress. Nothing like creative ADD without a deadline to anchor you down.

I’ve also not decided what book to write next once this WIP is finished. I am thinking about getting back to Scotty with Crescent City Charade, but there’s another noir I’d love to tackle, and my “A Holler Full of Kudzu” could easily be explored as a novel.  Heavy heaving sigh.

And on that note, it’s back to the spice mines with me! Here’s a Friday hunk for you, to get your weekend started properly.

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Lust to Love

Thursday! This week has slipped right through my fingers, hasn’t it? I looked at my weekly to-do list and was very disappointed to see many things not crossed off, that will have to carry over until next week. I am going through the WIP painstakingly; I am doing a line edit, which is something I’ve not done in a long time on one of my own manuscripts (which is really shameful to confess; in my own defense the copy editors haven’t had to do too much to my manuscripts to clean them up because I generally write very clean copy to begin with), but I am also trying to make this manuscript leaner than it came in on the last several drafts; it’s still sitting at over a hundred thousand words and at most, it should be ninety. At MOST. But it’s taking me longer to do than an usual edit, and I am having to pay more attention because I don’t have long stretches of time to dedicate to it, grabbing an hour here or there whenever I can. I will probably wind up working on it a lot this weekend because I really want to get it finished, once and for all.

I’ve also been revising a short story at the same time, and that’s coming along really well, too. I am very happy with the writing I’ve been doing, which is a lovely thing.

So, The Great Gatsby. I’ve been thinking about it a lot since I finished reading it the weekend before last, and while I am still not convinced it is either the great American novel or a masterpiece, I did enjoy it much more than I did when I was a teenager and had to read it for American Lit at Bolingbrook High.

TheGreatGatsby_1925jacket

In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.

“Whenever you feel like criticizing anyone,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.

He didn’t say any more but we’ve always been unusually communicative in a reserved way and I understood that he meant a great deal more than that. In consequence I’m inclined to reserve all judgements, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men.

When I read this book in high school, all I could think was how boring. As my teacher went on and on about the symbolism of the green light on the dock, the eyes on the billboard in the valley of ashes on the road from the Long Island twin villages of East and West Egg (where the Wilsons’ garage was), the valley of ashes itself, and on and on, I just rolled my eyes in the back of the room, unable to wait to get back to reading whichever Ellery Queen or Agatha Christie or P. G. Wodehouse or Victoria Holt or Phyllis A. Whitney novel was next up in the stack from the library. My primary takeaway from the book? Every character in it was awful, even Nick Carraway, the narrator who knew everything, said nothing, and allowed the tragedy to unfold.

Several years ago, I was talking about books with a writer friend and I just kind of casually tossed out the notion, without putting a lot of thought into it, that “I mean, The Great Gatsby is a murder mystery told in reverse. A crime writer would have started with the body in the pool, unpeeling the layers that led Wilson to shoot Gatsby, with the big reveal at the end that Daisy was actually driving the car.”

Laura Lippman, one of our most talented voices and one of the smartest people I know, has said that she doesn’t like when people take books that are considered ‘literature’  and use them as examples of crime novels, to give the genre more cred (and is there anything more annoying than the phrase elevates the genre? Whenever I see that it makes me homicidal, because it implies that everything else in the genre is garbage), like those who say, “well, Crime and Punishment is a crime novel.” The definition of mystery that Mystery Writers of America uses, though, (paraphrasing) is “any fiction about a crime; the commission of, the solving of,  the events leading to,and/or the after-effects of,  a crime.” Dostoyevsky’s book certainly fits that description, as does To Kill a Mockingbird, Les Miserables, Sanctuary, and so many other books. Laura’s point, though, is that there are plenty of crime novels that are literature and can be seen as such without having to pull in books that aren’t traditionally seen as crime novels to give the genre credibility.

But in all honesty, I would rather read The Great Gatsby written as a crime novel rather than the way it is written and structured. It’s fine–don’t come for me, Gatsby fans, seriously–as it is, but I think the themes could be explored more deeply in a crime novel. On this read, I didn’t find I cared or liked the characters any more than I did the first time; I’m certain that was Fitzgerald’s intent. Nick, our narrator and our introduction to the glittering world of the rich in the 1920’s, may not be the most reliable narrator. Tom and Daisy are, frankly, awful people. Tom is an aggressive bully who thinks nothing of cheating on his wife or hitting a woman; the scene where he breaks Myrtle Wilson’s nose is horrific. Daisy is a self-absorbed narcissist needing constant entertainment; the two of them are a perfect match, and one can only wonder about how awful of a person their daughter will be when she grows up. (Hmmm, now there’s a book idea: Daisy’s Daughter.)

We don’t really learn much about Gatsby at first, other than he seems to have a lot of money, lives in an enormous house in less fashionable West Egg, and throws a lot of parties. There are lots of rumors about him, which Nick dutifully records, but the reader does eventually discover that he grew up very poor, but during World War I he was briefly stationed in Louisville before deploying, where he met and fell in love with Daisy before she married Tom. Whether he actually loved her or simply became obsessed with her we never know, as readers; but not being good enough for Daisy is what drove him to get money–because he believed that his poverty was the thing that kept Daisy from his side, and also convinced himself that she loved him. They do reunite during the course of the book, but again, Daisy isn’t really in love with him. She’s just bored and knows Tom is cheating on her, but in the big confrontation scene in the apartment in New York where Tom usually meets Myrtle, Daisy just sits there and won’t commit to either man. She is the one who accidentally runs Myrtle over in the road–which leads her cuckolded husband to shoot Jay Gatsby while he floats on an inflatable raft in his pool. The funeral of the man who threw such lavish parties, filled with people, is sparsely attended; Tom and Daisy simply go away, wash their hands of the mess, and go on with their lives. Gatsby–and Myrtle–were just blips in their lives; speed bumps they had to slow for and forgot about once they moved past. Nick’s disgust with them–which they would no doubt laugh about as bourgeois middle class moralizing, also leads him to end his budding relationship with the athletic Jordan Baker, who is basically cut from the same cloth. She cares so little for Nick, it turns out–who she has been seeing for the entire summer–that when he didn’t call her for a few days she just shrugged and moved on. An embittered Nick says of them all, They were careless people, unconcerned with the people whose lives they’ve smashed.

The book sadly still holds up in its theme; the rich continue to be careless and unconcerned with other people; almost more so today than in Fitzgerald’s time. Gatsby, so desperate to be one of them, was never accepted and forgotten once he was gone.

I enjoyed the book much more this time out; as an adult, its look at classism in what was supposed to be a classless society made more sense, and resonated more, and the characters seemed more real; the thirteen year old sophomore who originally read the book didn’t know enough of the world for the book to resonate. It would be terrific if someone would do an homage-like update of the story; although the case could be made that this is a storyline that runs through almost every iteration of the Real Housewives shows.

And now, back to the spice mines.

How Much More

Tuesday!

As I mentioned yesterday, on Sunday I reread one of my favorite Agatha Christie novels (although in mentioning favorites, I forgot So Many Steps to Death; her espionage novels were absolutely delightful), Endless Night. 

One of the things I loved the most about Christie is how she wasn’t afraid to try different types of crime fiction; she was probably best known for her two primary private eye series, one with Hercule Poirot and the other with Miss Marple, but she wrote over eighty novels, plays, and collections of short stories. She had a very keen eye for character (she is often criticized for the lack of character development; I never had that sense as a reader–she was able to sum up her characters very quickly and easily, able to use a few brief sentences and paint a vivid picture of who the person was; a skill I wish I had) and psychology; she was also a master of plotting. She knew how to create and manage suspense (the suspense is almost unbearable in And Then There Were None, for example); and she pretty much wrote everything from espionage thrillers to psychological suspense to murder mysteries to serial killers to…you name it; she wrote it.

But Endless Night is one of the most incredibly different things she wrote; and she wrote it very late in her career, publishing it in October of 1967.

endless night

The title comes from William Blake‘s Auguries of Innocence:

Every night and every morn,
Some to misery are born,
Every morn and every night,
Some are born to sweet delight.
Some are born to sweet delight,
Some are born to endless night.

According to some quick Internet research, the book was one of Christie’s own favorites, and received a very warm critical reception.

It’s easy to see why.

This is how the book opens:

In my end is my beginning….that’s a quotation I’ve often heard people say. It sounds all right–but what does it really mean?

Is there ever any particular spot where one can put one’s finger and say: “It all began that day, at such a time and such a place, with such an incident?”

Did my story begin, perhaps, when I noticed the Sale Bill hanging on the wall of the George and Dragon, announcing Sale by Auction of that valuable property, “The Towers,” and giving particulars of the acreage, the miles and furlongs, and the highly idealized portrait of “The Towers” as it might have been perhaps in its prime, anything from eighty to a hundred years ago?

I was doing nothing particular, just strolling along the main street of Kingston Bishop, a place of no importance whatever, killing time. I noticed the Sale Bill. Why? Fate up to its dirty work? Or dealing out its golden handshake of good fortune? You can look at it either way.

Isn’t that a terrific beginning?

(And “in my end is my beginning” is also what Mary Queen of Scots took as her motto during her long captivity at the hands of her cousin, Elizabeth I.)

Endless Night is, for wont of a better descriptor, a Daphne du Maurier novel written by Agatha Christie.

The book is told from the first person point of view of Mike Rodgers, a young man about town who is just kind of drifting from job to job. He winds up at The Towers, on a plot of ground known as Gipsy’s Acre, which was apparently cursed by the gipsies forceably evicted from the plot of ground centuries earlier…and the place has known nothing but tragedy since. There’s also a sharp, blind turn in the road just before the place, where plenty of people have been killed in car accidents. But while looking at the place, Mike encounters a young woman named Ellie…and before long, he and Ellie have embarked on a romance, and have decided to buy the land and build a new house there to spend the rest of their lives on. Mike has no real friends, and a bad relationship with his mother. And as it turns out, Ellie is quite wealthy…and once he is introduced to  her affluent world, things start to go very badly. Should they have listened to the old woman who warned them to stay away from Gipsy’s Acre? Is Mike a reliable narrator?

There’s an enormous twist in the book as well, which completely turns the narrative on its head, and makes you question everything you’ve been led to believe; a twist well-worthy of du Maurier. As they were contemporaries, I wonder if the two women ever met?

I love this book, and think it should be paired with du Maurier’s brilliant My Cousin Rachel, which for some reason was recently filmed again (I may watch the remake when it’s available for free streaming; it’s hard to imagine that it’s better than the original, which starred Olivia de Havilland and a very young Richard Burton). Someone should really write a compare/contract essay/piece of literary criticism about the two books; I kept thinking of My Cousin Rachel during this reread; now I really want to reread My Cousin Rachel.

Last night, I also started reading the latest Rebecca Chance, Killer Affair, and was sucked into it almost immediately; it’s Chance at her absolute best, and can’t wait to read more. I also started the final, definitive line edit of the WIP yesterday; since I always feel like the second half of my books don’t get as much attention from me as the first, I am trying something incredibly new for me: I am starting the edit with the second half of the book.

I hate line editing.

And now, back to the spice mines.

 

Beatnik Beach

Monday morning! Another glorious week here in New Orleans, late July, and it didn’t really feel that obnoxious this morning when I went out to feed the herd. We shall see, shan’t we? Last night was lovely; we finished watching Ozark, which is sooooooo good, and so twisted; I do hope it’s going to be picked up for a second season. It doesn’t seem to be generating the same kind of buzz as other Netflix shows, like Stranger Things, and so I am not as confident it will be back. But I cannot urge you enough to watch it; it’s absolutely brilliant as a crime-driven narrative, the acting and writing are topnotch, and the cinematography is breathtaking. There’s also a particularly brilliant and heartbreaking gay subplot you don’t see coming, that is unlike anything I’ve ever seen depicted on television (or on film, for that matter) before. I will blog more about Ozark, once I’ve let it digest a bit. I also reread Agatha Christie’s brilliant Endless Night yesterday; something else I am going to blog more deeply about, after letting it sit in my head for a bit. So, I have at least three blog entries brewing for the future: Ozark, The Great Gatsby, Endless Night.

I also spent time yesterday reading a bunch of my own short stories for editorial purposes (I think I may have solved some of the problems! Huzzah!) and I also read the other stories nominated for the Macavity Award, which was rather humbling.

As you, Constant Reader, are probably aware (and tired of hearing about), I was nominated for a Macavity Award for my short story, “Survivor’s Guilt” (from the Blood on the Bayou anthology, which I also edited, and the anthology itself was nominated for an Anthony Award). I am still reeling from the shock and surprise; one of the things I did after the Anthony nominations were announced was buy copies of the other nominated anthologies, and slowly started reading them, story by story. This weekend, I discovered that one of the other Macavity nominees, Paul D. Marks, had posted links to the Macavity nominated stories:

Paul D. Marks, “Ghosts of Bunker Hill” http://pauldmarks.com/stories/

Craig Faustus Buck, “Blank Shot”: http://tinyurl.com/BlankShot-Buck

Joyce Carol Oates, “The Crawl Space”: https://www.amazon.com/gp/product/B01N6INC6I

Lawrence Block, “Autumn at the Automat”: http://amzn.to/2vsnyBP

Art Taylor, “Parallel Play”: http://www.arttaylorwriter.com/books/6715-2/

Greg Herren, “Survivor’s Guilt”: https://gregwritesblog.com/2017/07/21/cant-stop-the-world/

I am not being self-deprecating when I say that I am in awe that I am somehow on the same list as these amazing writers and their amazing work. Not to mention this pedigree: Lawrence Block’s story won the Edgar; Joyce Carol Oates’ story won the Stoker, and Art Taylor’s won the Agatha. So, three of the finalists are already award winners; and both Art and Lawrence are also nominated for Anthonys this year, along with Megan Abbott’s stellar “Oxford Girl” from Mississippi Noir (which I read and loved);  Holly West’s “Queen of the Dogs” from 44 Caliber Funk: Tales of Crime, Soul and Payback; and probably my favorite title of all time, Johnny Shaw’s “Gary’s Got a Boner”, from Waiting to be Forgotten. 

So, it’s not being self-deprecating when I say I don’t think I am going to win. (Obviously, I would love to, but seriously, being in this company is literally a dream come true for me.)

Naturally, I decided to go ahead and read the stories. (The Block/Oates links are to the books that contain their stories; I don’t believe you can read them for free anywhere. However, I already own the book with Block’s story in it, as it is an Anthony nominee for Best Anthology; I went ahead and bought the ebook for the Oates story–from her collection Dis Mem Ber.)

And so, yesterday I read them all. Wow. Seriously. Wow.

I thought Paul’s story, “Ghosts of Bunker Hill,” would be set in Boston and have something to do with Revolutionary War history; I was wrong. The story is about the Bunker Hill neighborhood in Los Angeles, and is about the shooting of the point of view character, with nods to LA’s hardboiled, noir past pretty much everywhere you turn around. The story is well written and very compelling; but the nods to the history of crime fiction and the greats who wrote about LA (there are also several nods to the exquisite film Chinatown as well). Check out this opening paragraph:

I stood at the bottom of the hill, staring up at Angels Flight, the famous little funicular railway in the Bunker Hill section of Los Angeles, that brought people from Hill Street up to Olive. I desperately wanted to ride those rails up to the top. But now the two twin orange and black cars were permanently moored in the middle, suspended in midair, ghosts from another time.

Perfect. Paul is an accomplished author; his novel White Heat won the Shamus Award, and he has been nominated for a slew of others. I’ve ordered a copy of White Heat; can’t wait to read more of his work.

december 2016

Craig Faustus Buck’s story, “Blank Shot”, is set during the Cold War in East Berlin; a haunting, hard-boiled remembrance of a time when the world was gripped in a struggle between ideologies; communism vs. capitalism, and both sides had access to nuclear weapons. It was a time where espionage ruled; which spawned amazing novels and writers like Alistair MacLean, Helen MacInnes, Robert Ludlum, and John LeCarre. Buck’s story reminded me of those legendary giants.

Check out this opening paragraph:

His face hit the pavement hard. He tried to recall what just happened, but his thoughts wouldn’t sync. His head felt like he’d been whacked by the claw end of a hammer. Blood flowed into his field of vision, expanding on the ground before him. Must be his. Bad sign. He closed his eyes against a stab of afternoon sun reflecting off the crimson pool.

Saying anything more would be to give away too much; the problem with talking about short stories. Craig has also been honored extensively throughout his career; he has already been nominated for two Anthony Awards, a Derringer, and won the Macavity for Best Short Story. His debut novel, Go Down Hard,  was first runner-up for a Claymore Award–and he has been nominated for an OSCAR. Sheesh.

black coffee

Art Taylor is kind of indirectly responsible for both my nomination for the Macavity and my Anthony nomination for Blood on the Bayou. Art edited the Raleigh Bouchercon anthology, and he was the one who brought it up to me in Raleigh about who was editing the New Orleans one. I asked co-chairs Heather Graham and Connie Perry, who in turn asked me to edit it. So, thanks, Art! Art is an amazing writer, and an incredibly nice guy. He has won more short story awards, and been nominated more times, than just about anyone, really. Case in point: here is his short bio, from his website:

“Art Taylor is the author of On the Road with Del & Louise: A Novel in Stories, winner of the Agatha Award for Best First Novel. He has won three additional Agatha Awards, an Anthony Award, a Macavity Award, and three consecutive Derringer Awards for his short fiction, and his work has appeared in Best American Mystery Stories. He also edited Murder Under the Oaks: Bouchercon Anthology 2015, winner of the Anthony Award for Best Anthology or Collection. He is an associate professor of English at George Mason University, and he contributes frequently to the Washington Post, the Washington Independent Review of Books, and Mystery Scene Magazine.”

And check out the opening to his “Parallel Play,” from the anthology Chesapeake Crimes: Storm Warning (which is also nominated for the Anthony for best anthology):

The Teeter Toddlers class was finally drawing to a close–and none too soon, Maggie thought, keeping an eye on the windows and the dark clouds crowding the sky.

Ms. Amy, the instructor, had spread the parachute across the foam mats and gathered everyone on top of it. The children had jumped to catch and pop the soap bubbles she’d blown into the air. They’d sat cross-legged on the parachute and sung umpteen verses of “Wheels on the Bus” and two rounds of “Itsy Bitsy Spider.” The routine never varied, the children’s delight never waned–at least until the time came to raise the parachute with its spirals of color into the air.

Now, how’s that for an opening? Can’t everyone relate to that scene, those images? Immediately we are taken into a normal, every day, everyone can recognize and relate to it scene at a child care center, with an impatient mom waiting for it to be over so she can race an oncoming storm home. Into that normal, every day scene–things are about to take a turn, obviously, a chilling turn that could have been imagined and written by domestic noir goddesses from Charlotte Armstrong to Margaret Millar to Dorothy L. Hughes. And what can be more frightening, more suspenseful, that a mother and child in danger? Genius, really. Art keeps the reader squirming with suspense and unable to stop reading from first word to last.

chesapeake crimes

I am a bit embarrassed to admit I’ve never read Joyce Carol Oates before. I met her briefly at a BEA sometime between 2001-2005, and thought she was very nice and very charming. She is also incredibly prolific; her output puts me to shame and also puts her up there with Stephen King. I know she’s been nominated for genre awards before, but I’ve never really thought of her as a genre writer. But her Macavity nominated story “The Crawl Space” won the Stoker Award for best short story this year, and the title of the collection it is from (Dis Mem Ber) sounds kind of genre. I bought the book yesterday, and started reading her nominated story.

Please. You make us uncomfortable.

You are always watching us. Like a ghost haunting us…

Though her husband had died seven years before the widow still drove past the house in which they’d lived for more than two decades.

Why?–no reason.

(To lacerate a scar, that it might become a raw-throbbing wound again? To lacerate her conscience? Why?)

The story, about a woman whose husband died and couldn’t then afford to keep their house, is creepy and macabre and incredibly sad all at the same time; it reminded me of some of Daphne du Maurier’s and Patricia Highsmith’s short stories–about a woman trying to deal with a tragedy in her life, unable to let go of her past, and possibly, just possibly, reaching the breaking point. It is exquisitely rendered, beautifully written; I am so going to read more of her work! I can also see why it won the Stoker.

oates eqmm

The last story was Lawrence Block’s “Autumn at the Automat,” which recently won the Edgar as Best Short Story of 2016. It’s from Block’s anthology, In Sunlight or In Shadow: Stories Inspired by the Paintings of Edward Hopper, and the contributors are a who’s who of the best in modern crime fiction, from Megan Abbott to Lee Child to Michael Connelly; Stephen King and Joyce Carol Oates and Robert Olen Butler–I mean, it’s like an anthology editor’s dream of authors to include. The book is also nominated for the Anthony for Best Anthology; I’ve not finished reading all the stories yet, only having read the exquisite Megan Abbott story and now, Block’s.

The hat made a difference.

If you chose your clothes carefully, if you dressed a little more stylishly than the venue demanded, you could feel good about yourself. When you walked into the Forty-second Street cafeteria, the hat and coat announced you were a lady. Perhaps you preferred their coffee to what they served at Longchamps. Or maybe it was the bean soup, as good as you could get at Delmonico’s.

And with that, you are sucked into Block’s story, about a woman fallen on hard times eating at the Automat in New York City; a story that reminded me very much of one of my favorite short stories of all time, Katherine Mansfield’s “Miss Brill,” and like it, this one is more of a character study than a crime story–although there is a quite brilliant crime in the story; one you don’t see coming that suddenly slaps you across the face–and has a neat little resolution that is eminently satisfying to the reader. Block is a master; I’m not as familiar with his work as I should be–that backlist! Just thinking about trying to get caught up on his work makes my head swim–but this story is an absolute gem.

hopper

So, there you have it. Five exceptional, exquisitely honed short stories, all nominated for the Macavity; all of them already recognized as exceptional; all of them written by masters of the art form.

And me. Somehow I managed to slip in there, too.

Thereby proving the adage that anything is possible.

 

Cool Jerk

Our twenty-second anniversary was Thursday this week–where DID the time go? It was a lovely evening, spent getting caught up on Animal Kingdom and Orphan Black. We’ll probably get a pizza from That’s Amore tonight, and there you have it; living large in the lower Garden District. Woo-hoo!

I came to the painful decision to set aside “A Holler Full of Kudzu” last night while streaming Ozark (which is truly amazing; can’t wait to watch more) because there’s too much story there for it to be a short story; it might be a novella or a even a novel. I worried about that when I started writing it; and part of the reason I am having so much trouble with it is because I can’t figure out how to condense all the story there into a short story. If there’s a way to do it, putting the story aside and letting it percolate in the back of my mind is the right answer; today I am going to try to finish reading A Feast of Snakes before rereading the WIP and making the final polish before being officially finished with it and (gulp) starting to target agents for it. This is rather worrying for me, obviously; it’s not like I am obsessive or something. Ah, well.

Paul is heading into the office today, so after I get home from Wacky Russian I should have the house to myself to read and clean. I may work on revising one of the stories I’ve written recently; I reread one of them the other day and made voluminous notes on how to fix the story; still not sure I’d be able to sell it anywhere, but those are the risks when you write short stories. I think I have a handle on the story I want to submit to the MWA anthology this year, and I think I have figured out how to fix an old story that’s been collecting dust in the archives as well. So, my ambitious plan for this weekend is to finish reading a book; start revising the WIP, and rewrite two short stories. It’s very ambitious, I know, and I probably won’t even come remotely close to getting all of that done, but you know there’s always hope. And I let setting a high bar for myself, you know?

Christ, the house is a mess.

And on that note, it’s back to the spice mines.

Here’s a hunk to get your Saturday off to a nice start.

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Can’t Stop the World

So, here is my Macavity nominated short story, if anyone would like to read it.

Survivor’s Guilt

By Greg Herren           

I’m going to die on this stupid roof.

It wasn’t the first time the thought had run through his mind in the –how long had it been, anyway? Days? Weeks?—however long it had been since he’d climbed up there. It didn’t matter how long it really had been, all that mattered was it felt like it had been an eternity. He’d run out of bottled water—when? Yesterday? Two days ago?  It didn’t matter. All that mattered was he was thirsty and hot and he now knew how a lobster felt when dropped in boiling water, how it felt to be boiled or scalded or burned to death.

He was out of water.

Not that the last bottles of water had been much help anyway.

In the hot oven that used to be the attic of the single shotgun house he’d called home for almost twenty years, the water inside the bottles had gotten so damned hot he could have made coffee with it and it tasted like melted plastic, was probably toxic, poisonous in some way. Wasn’t plastic bad for you? He seemed to remember reading that somewhere or hearing it on the television a million years ago when his house wasn’t underwater and there was still air conditioning and cold beer in the fridge instead of this…this purgatory of hot sun and stagnant water and sweat-soaked clothes.

But drinking hot water that tasted like plastic and was probably, maybe, poisonous—that was better than dying of thirst on the hot tiles of this stupid stinking roof. He’d tried to conserve it, space it out, save it, trying to make it last as long as possible because he had no idea when rescue was coming.

If it ever came at all.

He’d been on the roof so long already—how long had it been?

Days? Weeks? Months?

Should have left, should have listened to her, should have put everything we could in the truck and headed west.

But they’d never gone before, never fled before an oncoming storm, laughed at those who panicked and packed up and ran away, paying hotels and motels way too much money for days on end.

Hadn’t the storms had always turned to the east at the last minute, coming ashore somewhere to the east, and New Orleans breathed another sigh of relief at dodging another bullet while saying a prayer at the same time for those getting hammered by high winds and storm surges and power outages and downed trees?

Hell, that last time the storm had gone up into Mississippi and the highways south had been damaged and blocked, keeping people who’d gone that way marooned for well over a week.

So, no, there wasn’t no need to go this time, either, because Katrina would surely turn east like so many before her had.

Stupid, so damned stupid.

He could be in a hotel room in Houston at this very moment, basking in the air conditioning, drinking lots of ice cold water, waiting for the water to recede and come home, see what survived, see what could be saved and what couldn’t.

Ice.

He’d sell his soul for an ice cube.

But when rescue came, he’d have to explain…

No, no need to think about that now.

If—no, when— rescue came, he’d deal with it then.

The sun, oh God, the sun.

He’d never been this hot in his life before, at least not that he could remember.

The closest was t the beach in summertime, but there was always something cold to drink, the warm gulf waters to plunge into for some relief.

He felt like he was broiling inside his own skin.

Sometimes when it became too much he’d slip back down inside the attic. The oven. The air down there so thick and humid and hot and dusty in there he could barely breathe, but at least he was out of the sun. The air was barely breathable, clinging to his skin, so thick and wet he felt sometimes like he was drowning,

Every so often the wind would come, blowing through the vents at either end of the attic, and it felt so good he felt like crying.

But he couldn’t stay down there for long. He had to stay out on the roof, in case rescuers came. He couldn’t take a chance on missing them.

If someone came for him.

Don’t think that. Someone had to come, rescuers will come. If I don’t believe that I’ll lose my damned mind.

Maybe it’s divine punishment for—

Yet another helicopter flew past overhead, the latest of many. He’d stopped waving and yelling and jumping up and down when they passed overhead, like he wasn’t even there. His throat was so sore from yelling he could barely make a sound anyway. They never stopped, but he knew—he knew they were rescuing people. They had to be. What else was the point to the big basket hanging from the underside of the helicopter, if not for lowering down to people stranded up on roofs like he was?

He just had to be patient. It would be his turn eventually.

He just had to stay alive until it was his turn.

The whole city was probably underwater for all he knew.

At least it was for as far as he could see, shimmering filthy water everywhere.

Should have left, should have listened.

One of them would –had to—stop for him, before he died.

Meantime, roasting, baking, frying, dying in the late August sun, or was it September now?

Every once in a while he heard a boat motor passing close by. He didn’t bother making noise anymore when he heard those, either. There wasn’t any point. They hadn’t heard him when he could still yell. Back when he could still yell, whenever that was. However long it had been.

They never heard him. They never came.

His throat hurt so badly from all the yelling he’d done when his throat could still make a sound other than a hoarse rasp he might have damaged his vocal chords. He might never be able to talk again.

Which wouldn’t matter, anyway.

If I never get off this roof.

He picked up the wine bottle again, poured the last swallow of hot red wine into his mouth. Alcohol dehydrated the body, he knew that, remembered that from somewhere. But some liquid was better than no liquid.

The sour hot wine hit his empty stomach. He hadn’t eaten, hadn’t had anything to eat in—it felt like an eternity. He’d passed the point of being hungry.

But he worried that since all that was left was hot wine, he might make himself sick.

If he started throwing up he might just throw himself off the roof and drown himself.

It was tempting to think about. The thought came now and then, when he was so hot he could barely stand it, when his skin hurt so bad, blistered from sunburn that he climbed down into the stiflingly hot attic and wept, but was too dehydrated for tears to form. That was when he thought about drowning himself, diving through the trap door into the water and drowning himself.

Joining her down there.

Then he would get back to his right mind and open another bottle of wine and sip it slowly.

He looked at the empty bottle in his hands, and tossed it off the end of the roof.

It splashed when it hit the water.

It was the last of the wine. All that was left now was hard liquor—a bottle of hot gin and a bottle of hot cheap tequila.

He hadn’t wanted to touch the liquor, so he saved it for when there was nothing else left. Every time he took a swig of the wine he got light-headed, so there was no telling what the liquor would do, on his empty stomach and dehydrated body.

He wasn’t even hydrated enough to sweat anymore. He hadn’t had to relieve himself since—weeks ago? It didn’t matter. Nothing mattered.  Time didn’t matter anymore, it was all one endless nightmare of heat and humidity and the sun, oh God, the sun.

Water, water, everywhere— but not a drop to drink.

No one was ever going to come.

I can’t believe I’m going to die on this stupid roof. I should just kill myself and get it over with.

No, someone will come.

Someone had to come.

Should have left, should have listened.

The sun was setting in the west in an explosion of oranges and reds reflecting off the stagnant, dark, oily water. The roof of his truck was still slightly visible when he looked down over the side of the roof, its white roof almost glowing through the filthy water. Paid for, finally, years of paying off that damned loan finally come to an end just a month ago, the pink slip arriving in the mail last week. And now it was drowned, just like the city and God knows how many people. Ruined, gone, the money he put into it wasted. He’d babied it, too—oil change every three months without fail, servicing it before it was needed, the fucking thing so well taken care of it would have lasted easily another five to ten years if he kept babying it.

It doesn’t matter anyway. Everything’s ruined. The city’s dead. We’ll never come back from this.

Thank God the old house had an attic—yes, thank God for that—the kind with a trap door with a long dangling chord that hung down in a corner of the bedroom. You pulled the chord, the door came down, and a wooden ladder unfolded. He’d left the door open when he came up, when the water came, as the house filled up, left it open thinking it might help when rescue came.

If rescue ever came.

Even though she was down there.

Someone will come, he told himself again, someone will come for me.

Someone has to.

If he didn’t believe rescue would come, he would lose his mind.

If he didn’t believe someone would come, there wasn’t any point in going on, to this suffering, to this agony of broiled skin and dehydration and starvation and air so thick he could barely breathe it, the stink of the wet wood rotting down below.

And despite the delirium, despite the agony, somehow–somehow he wasn’t ready to give up.

If he gave up now, the suffering of the days? Weeks? Months? Was for nothing.

Nothing.

But it would be so much easier to give up. Then I wouldn’t be thirsty anymore. Then I wouldn’t be hungry anymore.

If he stopped believing one of the helicopters would lower a basket for him, or a boat might come by to take him to safety, through the end of the world to whatever might still be out there, away from the water, he might as well kill himself now.

There was a rope coiled in a corner of the attic. He could tie a noose and find something, somewhere, on the roof or in the attic, to loop it around and just let his weight fall, his neck snapping, death coming quickly and easily.

That would be so much better than this slow, horrible death from heat exhaustion and dehydation on the roof.

But the sun was going down at last, and night was coming.

He’d survived another day.

It would still be hot, and humid, and the smell of the water wouldn’t go away, but the night was better.

Now he had to just survive another night.

He could still see the skyline of the business district in the distance in the darkening sky. There were no lights anywhere. Thick black plumes of smoke billowed in several places he could see, but there hadn’t been an explosion in a while.

Or gunfire. He hadn’t heard gunfire in a while.

Night wouldn’t relieve the relentless humidity, but at least being out of direct sunlight would be better, give his blistering and salt-crusted skin some relief.

There might even be a breeze.

And he could stay out on the roof, not have to climb down inside to get away from the vicious rays of the sun.

No air moved in the attic, the heavy wet air almost suffocating in its thickness.

He could smell his own stink, and sometimes imagined he could even smell his flesh frying in the hot sun. His skin was burned, red, raw, but he couldn’t breathe the fetid stale dead air in the hot attic all day. A cold shower to bring his skin temperature down was all he could think about, or packing himself in a tub of ice. That wasn’t going to happen any time soon.

Ice. The thought of it made him want to weep.

Should have left. Should have listened.

She’d been right.

“We need to go,” she’d said on Saturday, whenever that had been, however long ago that had been. She’d never been afraid of storms before, never wanted to leave. This unease, this nervousness, was something new, something he’d never seen before in her. There had been storms before when he’d wanted to go, and she’d laughed in his face, mocked him, and they hadn’t gone. She’d been right those times.

He liked that she was afraid of this one, that it made her nervous. She seemed off-balance, for once, not sure of herself.

“It won’t come this way, you know they always turn east before land fall,” he’d replied, dismissing and laughing at her, shutting her down every time she watched another emergency news conference, or when the Weather Channel ran another worst-case scenario for the city, as everyone began packing up and heading west for Houston, north for Jackson, and the city began to empty out. He mocked her panic, her nervousness, enjoying this new side of her he’d never seen before, and was determined to take advantage of it as long as it lasted. He sent her to the store for supplies. Batteries and bread and bottled water and peanut butter and protein bars and hell, might as well get some liquor, too.

Liquor never went to waste, after all, and it didn’t spoil.

She came home hours later, complaining about how crazy the Wal-Mart had been, everyone talking about evacuating and the city being destroyed, whining the way she always did when she didn’t get her way.

“You know they say that every time,” he’d replied, sure of himself, smug he’d held firm and not given in, cracking open a beer and flipping away from the Weather Channel with it’s constant predictions of doom and aerial views of the traffic snarl on the highways out of town. He found a baseball game and relaxed in his easy chair.

Probably no work on Monday, he’d thought as she clattered around in the kitchen angrily, muttering to herself, so might as well kick back and have a nice little mini-vacation.

Some mini-vacation this had turned out to be.

The sun usually set around nine in the late summer, didn’t it?

His watch was down on the first floor, under the water. The power had been off before the nasty filthy dirty murdering water had started filling up the house, drowning everything as far as the eye could see. Days, time, had all lost all meaning for him. The only thing that mattered was night or day. He didn’t sleep well—could anyone under the heavy hot wet blanket of humidity?

He didn’t really care anymore. Nothing really mattered other than the sun was going down and his skin would have some blessed relief.

And he would hear her again, whispering.

We need to go, Mike. We can’t stay here.

Every time the sun went down. Every time it got dark.

It’s a big storm. At least the power will go out and do you want to be here without the a/c?

Sometimes he thought he might just be going insane.

If he wasn’t already, that was.

He wasn’t sure of anything anymore.

We can stay with my sister in Houston, we don’t even have to pay for a motel, Mike, can’t we go, please?

The water lapped against the side of the house.

Water, water, everywhere.

Through the attic door into the downstairs, he could see things floating when he looked. Furniture, books, cushions, once even the dresser was there.

He hadn’t seen her down there in a while.

He was always afraid he’d look down and see her face, floating just below the surface, her eyes staring at him.

Should have closed her eyes.

He wasn’t sure where she was and he didn’t care.

Sometimes he would see her, walking on the surface of the oily water, pointing her finger at him, complaining, whispering, we should have left, I wanted to go, this is all your fault, you know, like everything is always your fault you can never do anything right this is why I never listened to you…

And he would wake from his fevered sleep, shivering even though it was so hot, even though the air was so damp and heavy and warm it just pressed down on him until he thought his bones might break.

His lips were so damned chapped. His skin was red and hurt, blisters here and there on the peeling baked skin. He wanted water to drink, something to eat besides chips and crackers and peanut butter and bread. He wanted off the roof. He wanted a bed. He wanted to be away from New Orleans, it didn’t matter where as long as it was far away from the drowned city. Sometimes he wondered if the entire world was under water, that it wasn’t just New Orleans that drowned.

Someone would come, he knew it. He just had to hold on, stay alive no matter how horrible it got. He wouldn’t die on the damned roof of the house he’d never liked in the first fucking place.

She’d wanted the house. Once she saw it when they were driving around looking, this was the house she wanted, even though it was on the wrong side of the Industrial Canal, even though it was in the 9th Ward. “It spoke to me,” she’d insisted, “and it’s cheap! We can fix it up ourselves. It’ll be perfect!”

He’d given into her, even though he didn’t want to live down here. She was right about the price—it was less than they’d been thinking they’d spend, and the monthly mortgage payments were a lot more affordable than any of the other houses they’d looked at. It wasn’t until later, when they’d moved in, that it even occurred to him that it was the only place they’d looked at in the 9th Ward. When he brought it up to her, she’d admitted she’d found it on her own and fell in love with it, colluded with the realtor to get him to see it.

They’d worked on him until he’d given in.

It wasn’t the last time she’d gotten her way.

We need to go, Mike. It won’t be safe here. I’m scared.

She always got her way, didn’t she?

Not this last time.

Which was why he was up on the roof. Because just once he didn’t want her to get her way, wanted to stand up for himself and not give in for once, put his foot down for good and MEAN it.

So, really, in a way, it was her fault.

And if someone did finally come, if someone ever did come to rescue him, he was never coming back to this godforsaken place.

Because she would be here, waiting for him. She would never leave him alone, not as long as he was here, even if the house was bulldozed and he built a new one.

Mike we have to go, it’s scary, it’s a big storm, we’ve got to go.

He lowered himself back down through the hole in the roof, carefully avoiding the jagged edges of the beams he’d hacked through with the ax to make the hole in the roof, so he could get out there, out of that suffocating attic, away from the rising water. He switched on the flashlight, looking for the liquor, and saw there was actually another bottle of the red wine after all—it had rolled off to the side, and he hadn’t noticed before. There was no need to switch to tequila just yet. He fought with the corkscrew, chewing the cork up, little flakes floating down into the wine but he didn’t care, he could always spit them out, and took a slug out from it. The sourness made him wince but it was wet, and that was all that mattered.

He heard a splash.

That wasn’t from outside.

The trapdoor to the lower level was open, a large rectangle of dark with the long shadows creeping across the floor.

He took a deep breath and backed away, not losing his sweaty grip on the green bottle. He’d closed it before he went back out on the roof, hadn’t he?

He couldn’t remember.

Hadn’t he decided to close it, in case he saw her down there in the water again?

He could hear his heart beating.

He focused on keeping his breathing even, taking deep breaths, ignoring the rising fear creeping up his spine.

I just forgot to close it, is all, I meant to close it but maybe it didn’t latch, that’s all there is to it, just close it now. She couldn’t have gotten up here. I’d have heard her.

She’s dead, you idiot.

But that wouldn’t stop her, would it?

Just close the damned door. All that’s down there is water. You’re making yourself crazy. She’s dead, dead, dead. Just close the door and you won’t have to worry about her.

But he couldn’t move, wouldn’t move, he kept standing there and staring and trying to remember if he’d closed it or not. He would swear that he did, but he wasn’t sure of anything anymore. The heat, the humidity, the damned bugs and the sun and the monotony, the way everything kept changing in his mind, the way he couldn’t remember how long he’d been up on the damned roof, how long it had been since the water rose, since he’d climbed up the damned ladder to the attic, since he’d taken the hatchet and chopped his way out to the roof.

The shadows were getting longer. Soon it would be completely dark.

Mike we have to go really, it’s a big storm and what will happen to us if the levees fail?

“Shut up shut up SHUT UP!” he yelled, or tried to, but all that came out of his sore and parched throat was a croak.

He took a step forward, swallowed, and took another.

One after another until he was standing next to the dark opening, looking down into the flooded house.

She wasn’t there.

Shaking now, he reached for the flashlight and flicked it on, pointing it with trembling hands into the darkness.

The oily dark water reflected the light back up at him, the filthy water swirling around in what used to be his bedroom.

Their bedroom.

He closed his eyes and said a prayer before opening his eyes again.

No, she still wasn’t there.

The last time he’d looked down and seen her—when was that? It didn’t matter, it was after the water came and he’d gone up to the roof– she was still there, face up floating in the water, her dark hair fanned out in the filthy water, eyes wide open and staring up at him accusingly.

You killed me. We should have left, but we stayed and you killed me.

He knew he couldn’t really hear her, she was just in his head, but still—he kept the light shining down there, swinging back and forth. He heard another splash somewhere down there—maybe it was a gator? There wasn’t any telling what was down in that water.

During the day, he could see the river levee in the distance—maybe it had held, but there was no telling where the water had come from. That didn’t matter anyway. All that mattered was that it was there.

So maybe…if the bayous and canals or even the swamps had filled with water, it wasn’t out of the question there could be gators in the water-filled city.

But wouldn’t he have heard something if a gator had gotten her? Some loud splashing or something?

She’s dead so she couldn’t fight it but still a gator wouldn’t have been able to get her underwater without making some noise?

He’d seen snakes a couple of times, making s curves to move forward in the water outside, but not inside the house.

The house.

What was left of the house.

The plasterboard was probably dissolving from the wet, and there was no mistaking the smell of wet, rotting wood. Hell, black mold was an issue even when the house wasn’t underwater—how many times had he had to climb a ladder to wipe down the ceiling around the air conditioning vents with bleach to kill it?

Yeah, this house had been a good investment.

Even if the water somehow got pumped out—and it didn’t look like that was going to happen any time soon—the house was ruined. It would take a lot of money to make it habitable again.

Maybe this time New Orleans would be left to drown.

He turned off the flashlight and backed away from the hole. He took another slug of the hot, cloyingly sweet wine.

She’d wanted to evacuate Sunday morning when the Weather Channel and all the weather broadcasters had gone into full-scale panic mode. “The mother of all storms,” the mayor had called it. He just shook his head at her fears, her complaints, his mind was made up and that was that. “They say this every time,” he’d scoffed at her, “remember Ivan? Jorges? I can’t even remember how many times they said it was the end. If you’re so damned scared, you go. I’m staying put.”

She wouldn’t go by herself. He knew that.

And why get in the damned truck and be stuck in stop and go traffic, eight hours to go the seventy stinking miles to Baton Rouge just to hole up in a hotel somewhere that jacked up their room rates to gouge the evacuees only to have the stupid storm turn east like they always did at the last minute and New Orleans would be fine.

Yeah, no way.

They weren’t going anywhere.

They’d lost power sometime in the early morning before the full fury of the storm came, and when it did come, it wasn’t that bad. Howling winds and crashes outside, sometimes the house itself shook, but then, after what seemed like an eternity, it was over.

It was over and they’d survived.

He’d gone outside. Some tree branches were down, debris everywhere he looked, a big live oak down the street had been uprooted and smashed through a house. Everyone else was gone, evacuated, holed up in a hotel or shelter somewhere west on I-10.

They had a few hours before the house started filling up with water.

He’d lost his temper when she started panicking. He just meant to slap her but he hadn’t meant to slap her so hard, it was an accident, she slipped in the water and hit her head on the table and went limp, and before he knew it the house was filling up with water and she was dead and he had to get up into the attic, had to make sure food and liquid was up there—

He reached over and looked down into the darkness. He shone the light down, his heart pumping, as he waved the beam of light around.

Nothing but floating furniture.

No sign of her.

He heard something.

Was that an outboard motor?

Bottle of hot wine still in one hand, he tucked the flashlight into the waistband of his shorts and climbed back out onto the roof.

It was definitely an outboard motor, and getting closer from the sound of it.

The flashlight dimmed in his hand and went out.

Swearing, he shook it as he tried to yell, but his vocal chords were too fried, his throat too raw.

Miracle of miracles, the flashlight came back on, and he started waving it in the direction the motor sound was coming from.

Oh please god oh please God oh please God

He was almost blinded as a strong spotlight shone in his eyes.

“Hey there,” a voice called as the motor idled, close by, near enough for him to see if not for the damned spots in front of his eyes. But as the bright red shapes began to fade, he could see someone swinging up onto the roof, and heard footsteps, and something cold and icy and wet was put in his hands. He almost wept, it felt so good, the cold against his hot skin. “Have some water, man. My name is Pete LaPierre, me and some buddies came down from Breaux Bridge to rescue some people—they told us we couldn’t and we thought, damned if we don’t have our own boat all we need is some water to put it in  and here we are.”

He twisted the cap off the water and poured some of it down, the coldness stinging his throat. He dropped the wine bottle he’d forgotten, heard it hit the roof and roll down the side and splash when it hit the water. He didn’t care, this cold water was like he’d died and gone to heaven, he just wanted to cry—

“Are you the only one here? No one else around here, down in the attic? You must have been pretty lonesome.”

He took another drink of the water, slow and steady, and felt a cramp forming in his stomach—too much cold too fast—­and he breathed in and out for a moment, waiting for the cramp to pass, pressing the cold plastic bottle against the hot skin of his forehead.

He shook his head no.

“Come on, then, let’s get you out of here.” Pete LaPierre clapped him on the back, and he followed him down the side of the roof, and dropped down over the side into the boat. It wasn’t much, just a fishing boat with an outboard motor and a large cooler filled with ice and water and beer and—

“You need you a hot shower,” Pete said, and he revved the motor, steering the boat away from the little house and away through the dark night, using the spotlight to make sure there was nothing beneath the surface.

He looked back at the house.

He might never ever see it again.

He slumped down in the boat and took another drink of water.

Someone was pressing a sandwich on him, one of Pete’s buddies, but he just waved it away.

They might not ever find her.

He exhaled, and watched the stars pass by overhead.

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Turn to You

Very tired this morning; a late night of bar testing concluded my twelve hour day yesterday and there is nothing like walking ten blocks on a sultry, steamy New Orleans night to stand in the upstairs of a bar whose a/c is set to “Econo”, and then walking ten blocks back.

I changed my socks three times yesterday.

But I have a short day today; only four hours to put in today, and I don’t have to be at the office until four. Huzzah! I also get to go in a little later tomorrow, and don’t have to work a full eight hour shift then, either. So, I get to sort of ease my way in to the weekend, which is lovely. I am making a Costco run this morning, making a grocery run tomorrow, and then I get to only leave the house to go see Wacky Russian Saturday morning. I do rather have to get motivated, though, which isn’t easy when you’re already tired. But if I have another cup of coffee, do my morning stretching, and then hop in the shower, I will be good.

One can hope, anyway.

My short story continues to putter along, and man, is it all over the place. I am trying very hard not to stop myself and correct the narrative–I’m just trying to get the story down, do the polishing and reorganizing on the next go round, but it’s kind of slow going. I kind of have a vague idea of what the story is and how it’s going to end, and I am writing a lot of chaff that will have to be separated out later, and the voice is all over the place as well. Ah, well, the great joys of being a writer; this constant internal struggle between confidence, over-confidence, and NO confidence. The Three Faces of Greg, as it were.

I’m still reading A Feast of Snakes; it’s very short, and I should be able to finish it soon. But I am going to absolutely reward myself with the latest Rebecca Chance, Killer Affair, when I am finished with this one. (I need a break from the Southern Gothic, frankly, but I’ll be jumping back in right after.) My copies of Barry Hannah’s Airships and Raymond Carver’s Will You Please Be Quiet Please arrived, so I also have more short stories to read, and of course, there are more stories in Faulkner’s Knight’s Gambit to read as well.

I think it’s very important for a writer to read as widely as possible. I read scifi, fantasy, horror, romance, ‘literary’, ‘popular’, and historicals, in addition to social history and commentary, literary criticism, and biographies, as well as history. I also love comic books. But I’ve been reading almost exclusively crime novels for a very long time, and as such, there’s been such a narrow focus in my reading that I need to expand out a bit; I am enjoying the Southern Gothic reading I’ve been doing–some of which could be defined as crime fiction, which makes it all the more fun–and it also makes me realize that reading all these different types and styles of fiction should be helping make me into a better writer.

I am hoping to get back to the serious chore of the final edit of the WIP this weekend; one of the reasons I want to get all this errand running finished over today and tomorrow is so that I won’t be too tired on the weekend to get this accomplished.

And on that note, I need to get the day going.

Here’s a Throwback Thursday hunk for you, Constant Reader:

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Robert Kelker-Kelly, from Another World and Days of Our Lives

We’ve Got the Beat

Staring down a twelve-hour day at the office today, rather grimly. Actually, it’s eight hours of testing at the office, and then three hours bar testing tonight, but I get a very short day tomorrow as a result and hopefully, I won’t be dead tired by the time I get home tonight. I slept in again this morning; would be perfectly happy to continue sleeping, quite frankly; so sleeping in tomorrow morning is actually going to be rather lovely. For some reason, though, my days are messed up this week; I kept thinking yesterday was Thursday, for example, and so am still a bit disoriented this morning about the days of the week.

Clearly, I am getting old.

As I continue to work on “A Holler Full of Kudzu” I am constantly second-guessing myself; I’ve written about the world/area where the story is set before, and I am worried, of course, that I am repeating myself with it. This morning I decided to just forge forward and stop worrying about it; that’s what edits/revisions/rewrites are for, after all. Part of the reason I’ve been so drawn to Southern Gothic fiction lately has been because not only because I am Southern but because I’ve so rarely used that personal history to write. As I have said before, two of my favorite short stories that I’ve written are “Small-town Boy” and the as-yet-unpublished “Whim of the Wind”; recently I’ve been thinking about that Civil War ghost story I’ve been thinking about writing for thirty years–which is also set in the same area (fictional Corinth County, Alabama, which I briefly touched on in Dark Tide–it’s where my main character is from originally–and again in Going Down for the Count–again, where the main character is from originally); and the more Southern Gothic fiction I read, the more I want to write that book. “A Holler Full of Kudzu” is also set in that area; and I am more than a little concerned that the story might wind up too derivative of “Small-town Boy”; but I will, as mentioned before, deal with that in the rewrites.

I also watched Captain America Civil War yesterday, since it marked the debut of Tom Holland as Spiderman. (And yes, I have become a huge fan of young Mr. Holland, but not in a creepy old-man pervy way. I just think he’s adorably cute.) I mean, the movie was okay, but Holland was definitely the highlight of the movie for me. I’ve not seen Captain America The Winter Soldier, so I obviously missed some plot points that probably would have helped the viewing experience somewhat; but it wasn’t that hard to figure out. I am, however, tempted to go back and watch it; I do love Chris Evans, but there are just so many Marvel films now that it’s a huge time commitment to get caught up on them all–and much as I love Chris Hemsworth, the first Thor movie was kind of boring.

All right, Constant Reader, ’tis back to the spice mines with me. Here’s a shot of Chris Evans, without a shirt, to help you through your Hump Day.

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