Tag: Double Indemnity

Crazy Arms

Sunday morning and all is calm in the house. I feel good, very well-rested and cheerful, which of course is lovely. The Sparkster let me sleep in till almost eight, and now I am finishing my first cup of coffee and have already had this morning’s slice of chocolate marble swirl coffee cake (can’t imagine why I can’t lose weight, can you?), and am about to get another cup of coffee. I did get some things done yesterday, which is cool, and have more things to do today as well. I have one errand to run later this morning, and I’m going to get that out of the way, come home and get cleaned up and get back into working for a bit. Yesterday was a lovely day. I worked some more on the apartment, and delved even more deeply into my renamed main character in the current work. I’m also going to try writing it in the first person present tense, which is going to be really hard for me. (I tend to always use first person past tense.)

The best part of writing a book is this part–even if a lot of this background work never makes it into the finished part.

I’ve been listening a lot to old Fleetwood Mac albums in the car lately, and while they’ve always been my favorite band of all time–every album is a gem, in its own way–when I go for a while without listening I sometimes forget why they are my favorite band of all time. This past week I was listening to their Christine McVie-less recording from the early aughts, Say You Will, which is really good, but kind of Buckingham Nicks 2.0, really. I also like watching Youtube videos of young people listening to their recordings for the first time, and appreciating the artistry, talent, sound, and production values. Rumours will always be my favorite album of all time, and my favorite album of theirs, but the others are also excellent and merit more listening.

We watched this week’s episode of Heated Rivalry, which was probably the best, and most engaging, episode of the show thus far (I loved episode 3, spoiler alert); the first time I cared whether the main characters were just fuck buddies or a couple slowly falling in love. I still have some thoughts about the show, some quibbles as it were, mostly about relationship roles and the feminization of bottoms, but that can wait till I’ve finished watching the show and review it for the newsletter. (I’m still bitter about the cancelation of Boots, but…they also could have seriously fucked up a second season, so I’m choosing to see this cancelation, evil as it was, as a good thing.)

I did have the college football games on yesterday, but the only one we watched was Miami-Texas A&M, which was the only good game of the day. We turned off the later games to watch other things once it was clear they were not going to be competitive. Despite their blowout losses, good for both Tulane and James Madison for having breakout seasons and making it to the playoffs before a lot of name brand schools did. I don’t know if I’ll watch the quarterfinals or not; I don’t care who wins but I am also not a big fan of any school still left in it–although I always pull for underdogs, so I kind of would like to see Indiana do well–so am not sure.

I did finally finish reading The Postman Always Rings Twice yesterday; it’s really a nasty little book, isn’t it? I now can see why it was controversial; for one, it’s told from the villain’s point of view, which may or may not have been shocking to readers in the 1930s. (This particular reread also made me realize I need to delve more deeply into Chlorine and my main character–who he is, what he wants–and very glad I did; this reread was crucial.) Postman also deserves its own newsletter (I need to get some of the others done and out of the way already, don’t I?), where I can talk about this vicious little novella that changed everything in the crime fiction genre (I”m talking out of my ass here, but I would imagine it did challenge the sensibilities of readers conditioned to Christie, Queen, and Sayers, among many others), and its impact on me, both as a writer and a reader. I also generally don’t revisit Postman often; usually I just revisit Double Indemnity and Mildred Pierce, but am very glad I did. It made me see what was wrong with what I had already done on this book.

I also gave my main character a new stage name–because the old one really didn’t work. It was more modern than the weird names movie stars were given in the late 1940s and early 1950s (Tab Hunter, Rock Hudson, Troy Donahue), and so yesterday one of those dopey names came to me as I was cleaning the house; and realized it would work, plus would help define the amorality and narcissism in the character. I will reuse the working name for him in another book, certainly–it’s a good name–but this new one is even better.

And on that note, I am heading into the spice mines. The sun is shining outside (it’s gorgeous out, just as it was yesterday), and I still have some things to do this morning. I’m going to start reading the new Eli Cranor. methinks, while also revisiting a classic juvenile series mystery from one of my favorite juvenile series. I also have some short stories I want to work on, too. Have a lovely Sunday, Constant Reader, and I will be back in the morning before I head in for my last two work days before Christmas.

The gift where they meant well, but didn’t think about the cost-feeding, clothing, cleaning up after him, etc.

One Toke Over the Line

One of the fun things for me about going to mystery conferences (literary conferences in general, but I much prefer the mystery ones) is discovering new-to-me writers. Sometimes I meet them through writers I already know, sometimes they are on panels with friends, and sometimes they’re on a panel with me.

I was asked, very late, if I would fill in on a panel about humor and mysteries as moderator because the original moderator had dropped out. This was pretty late; I don’t think the program even listed me as the moderator, even. I didn’t have time to read any of the books, which I felt absolutely horrible about, and my free time was very tight–I’m not sure I remember precisely why, or what was going on in July/August this year (and am not entirely sure I want to remember because it might have been something bad) but I reached out to all of them and asked them if there were any questions they wanted to be asked (whenever I moderate, I always ask this–there are questions I would love to answer but never get asked; and if you ask a writer a question they really want to answer–they’re going to be very animated and passionate in their response, which will engage the audience). It was also an incredibly hot and miserable summer here in New Orleans, and just surviving it in general was asking a lot of all of us. I knew I would have a lot of anxiety about the panel, but it was an afternoon panel and I knew I could do some good research that morning…which was when, to my absolute delight, I discovered that three of my panelists were debut authors…and I love nothing more than being on a panel with new writers.

Imagine my delight and surprise in doing my research that J. D. O’Brien’s debut novel, Zig Zag, was about a marijuana dispensary heist. I made sure to get a copy (I bought a book from each of my panelists–my God, what a dream panel they were! It was easily one of the best experiences I’ve ever had moderating.) and after finishing Lou Berney’s stoner noir Dark Ride, I thought Zig Zag would be an excellent pairing,

And I was correct.

When Harry checks in at Reduced Rent-A-Car, Ken from the desk escorts him to the lot anf unfurls a rinkydink red carpet leading to the driver’s side door of a Ford Fiesta. An added feature of the white-glove service package. The dingy carpet is matted flat and Harry sees the rest of his life laying there in front of him. Thirteen steps to the gallows.

He removes his Stetson Sundowner like it’s made out of lead and hunches in behind the wheel. “I think the last guy must have smoked in here,” he says.

Ken looks over the inventory sheet.

“Let’s see if we have something else for you.”

“Don’t bother,” Harry says. “I just don’t want to get bit for it.”

And so we meet Harry Robatore, a burned out Texan who now runs a bail bonds business, dresses like a cowboy, and drinks a lot of liquor and smokes a lot of weed. Harry is the primary antagonist of this tightly-plotted genre-bending novel–it’s about crime, and criminals, but it’s definitely not a mystery; if pressed to classify it, I’d call it a heist caper novel, like those of Westlake and Block. (It reminded me a lot of The Hot Rock, and this is not a bad thing.) On the other side of the equation of the book is our femme fatale (I could so totally picture Barbara Stanwyck in this role) Capri, a hard-luck girl who wants to pull herself out of poverty however she can doing whatever she needs to with the amorality of Phyllis from Double Indemnity–she is a schemer with dreams, and whatever she has to do to get those dreams is justified by the dream itself. She’s been a stripper and a shot girl and now is clerking at a weed dispensary in Van Nuys called Big Smoke–and Big Smoke isn’t exactly about following the law, either. A huge delivery of Acapulco Gold is coming into the dispensary, and she sees stealing the weed and selling it as her way out of the hole she is currently in. She convinces her boyfriend–a not-so-smart dude name Teddy, to help her, and that’s when everything starts going haywire. Teddy is the son of a friend of Harry’s, who owns a rundown tacky bar Harry frequents, and when Ted is caught–because he’s not very bright; he successfully steals the weed but leaves his bag with his wallet in it behind, goes back for it and then is caught–he bonds the bail. Ted and Capri decide to hit the road and try to sell the weed to dispensaries or weed edible manufacturers, and thus begins an epic road trip with mayhem and insanity at every turn–with any number of people chasing after them, and Harry coming along behind to try to get his money back from the court.

I really enjoyed this book. As someone (I don’t remember who) once said, in rebuttal to the claim that criminals generally aren’t very smart, “the smart ones don’t get caught.” No one in this book is particularly smart; and while I hesitate to call them losers per se–societal misfits is more accurate; they cannot function successfully in society the way others can–this entire book is about bad choices and bad timing and bad decisions. But it’s incredibly clever, ironically funny, and even though he’s really not the best person in the world, you can’t but root for Harry; his character and who he is really reminded me of James Crumley’s The Last Good Kiss–the style of the writing, the characters, the world-weary cynicism–which isn’t easy to do.

I really enjoyed this, and look forward for more from O’Brien.

Heart Attack

Work-at-home Friday and here we are. Tug is still snoozing upstairs, and I have to go to my appointment at the pain management clinic later this morning during a break from work-at-home duties. I managed to somehow make it through the entire week without being completely worn out and exhausted by last night–a first–and I’m not entirely sure what that means? Am I getting used to this schedule? Was going in at eight on Monday better than going in at seven thirty? Maybe, but it may have been the evenings spent with a kitten donut sleeping in my lap while I watch an episode of Moonlighting and reread The Dead Zone. It’s actually been kind of a lovely week, honestly, one of the better ones in recent memory.

Last night’s episode of Moonlighting was “The Dream Sequence Always Rings Twice,” one of the more legendary episodes and one that really made everyone stand up and pay attention to what they were doing. (I’d be curious to know if the guy who created The West Wing was influenced by it as well; while the shows were vastly different they also had a lot of similarities–the rapid fire overlapping dialogue, for one.) It’s a very simple premise; in the course of a job Maddie and David hear a story about an old LA club where a very noirish type murder grew out of a love triangle, in which the band’s singer and the horn player have an affair and eventually her husband is murdered. Naturally, David and Maddie put their own spin on it–Maddie convinced she loved the man who killed her husband and it was all for love, while David is convinced the woman was a Phyllis-type from Double Indemnity type femme fatale who suckered her lover into killing her husband and taking the fall. They argue, go home, and both fall asleep–to dream their own versions of the story. The episode was also introduced by Orson Welles–which I’d forgotten–and this is probably one of the best episodes of television ever produced. (I also realized, while watching “The Lady in the Iron Mask” episode, that the entire plot of my aborted fourth Scotty book, Hurricane Party Hustle, was directly lifted from this episode.)

I have to say, I am enjoying the hell out of my rewatch of this show, which is exceeding my wildest hopes and memories that it was as good and classic as it was when I originally watched and fell in love with it back in the 1980’s when it aired. It’s definitely one of the three most influential television shows on me and my writing–along with Dark Shadows and Scooby Doo Where Are You?–and I am so delighted that it’s streaming at long last.

I also read more of The Dead Zone last night and have reached the third and final act, in which almost all of the storylines introduced throughout the course of the book have wrapped up to set up the final denouement between Johnny Smith and Gregory Stillson, the monstrous populist politician. It’s really remarkable, you know, that King was so amazingly gifted and able to structure a novel so brilliantly so early in his career. I also remember that King wasn’t taken very seriously either by critics or the Academy in the those earlier days of his career; he got roasted pretty regularly by critics even as he was selling books in the millions; horror not being taken seriously as a genre, for one, and the enormous popularity he enjoyed naturally meant “well, he can’t actually be any good, can he?” But he was. Yes, there are some problematic stuff in his earlier work (the depictions of queer people aren’t great–but are there; he seriously has an issue with overweight people; and he does have a tendency to only use people of color as “magical” characters), but the world-building, the character building, the internal monologues of the characters, and the completely realistic way he develops and reveals the characters to the readers all the while telling a very compelling and fast moving story you cannot put down is all there from the very beginning. (Of course, the Straight White Male Literary Icons were the only people getting critical acclaim back then, your John Updikes and Saul Bellows and John Gardners and Philip Roths and William Styrons and so on…and the bestseller lists were peopled with mostly straight white men like Harold Robbins and Sidney Sheldon and Arthur Hailey and Irving Wallace and Herman Wouk–things are better now, I ‘d say) I’ve just finished the second act, in which Johnny is working as a private tutor for Chuck Chatsworth, with the inevitable call back to the lightning rod salesman’s futile foreshadowing attempt to sell the owner of Cathy’s, a steakhouse/hang out that always hosts Chuck’s high school graduation party. Johnny has a vision of the place being struck by lightning and burning rapidly to the ground with celebrating teenagers trapped inside. He tries to convince Chuck not to go, and even Chuck’s father, not quite believing, offers to host everyone at the Chatsworth house instead–getting about half the crowd…and it is during this get-together that Johnny’s horrible vision comes true and the news of the tragedy breaks. It’s really an incredibly powerful, well constructed scene, and the character of John Smith, the victim of fate who never really understands why he has been so cursed, is really one of King’s best.

I wish I could write a novel half as good as this one, which I am looking forward to finishing tonight. I think next up will be Clown in a Cornfield by Adam Cesare.

And on that note, I need to get back to work and. get cleaned up for my appointment. Have a lovely Friday, Constant Reader, and I’ll check in on you again soon.

Beast of Burden

Wednesday and only two–count ’em, two–days left before the parades start rolling down St. Charles, so tonight after work I am taking the highway and swinging by Costco on my way home. Yesterday was an okay day in that I never really felt tired or drained, which is always a plus. I did manage to start working on the first stage of the revisions of the manuscript–and I started working on something cool and exciting and new, but must remain a secret for now until I get it all figured out and worked out–and that’s terrific. I am sure going to Costco after work today is going to be a draining experience–but it’s never as bad as just going to a regular grocery store or Walmart, frankly. I also have to clean up around the kitchen this morning because I am doing a ZOOM thing for the MWA-Midwest chapter tomorrow night. I also have to go in Friday morning for a staff meeting (yay) but that’s fine; I can run to the grocery store for last minute things and pick up the mail afterwards so we’re good through Monday.

Because the grocery store won’t be a zoo the first Friday morning of parades, either.

I’m a bit groggy this morning. I slept pretty much through the entire night, other than when Scooter began howling for food early in the morning. He’s such a sweetheart, though. I went to bed last night before Paul got home and fell asleep almost immediately. I woke up when Paul got home and Scooter was curled up, nestled inside my right arm with his head right next to mine. You have to love a cat that’s just a big ole cuddlebug.

While I waited for Paul last night–I am still in the final stages of the malaise, alas; my creativity at a very low ebb at the moment–I started going through the manuscript, this time getting character names and seeing which characters actually had their names changed from one thing to another over the course of the manuscript (which happens when you don’t have a character key, which I know and don’t know why I didn’t keep up with mine as the manuscript progressed…especially when you have a fashion show with how many drag queens walking the runway? But the manuscript, even with the slight glances I was giving to it as I went through pulling out character names, didn’t seem nearly as messy and sloppy as I remember it being while I was writing it–which can be either my faulty memory or my usual self-loathing of any and every thing I write. The latter is always possible, but so is the former. At some point I should probably address my failing memory on here…but not today; I shall save that for some morning when I am not awake before sunrise and can focus properly on writing about my aging mind.

I was too tired to read as well last night; I am hoping to break that tonight when I get home. I am in the midst of two really fun and well written crime novels–Abby Collette’s Body and Soul Food and Ruth Ware’s The Lying Game–and so maybe every night when Paul’s not home I should take a book to bed with me? I don’t know how that might work, to be honest; usually I am so groggy by the time I climb the stairs I’m not sure how much reading I could do–let alone retain–late in the evening. I was pretty worn out by the time I finished watching Airplane! on HBO MAX (I got tired of scrolling through Youtube videos to watch so decided to rewatch one of my favorite comedies of all time–which has some eyebrow raising moments, but still holds up for the most part) and maybe that’s what I should start doing on the evenings when Paul works late–watch an old movie, maybe even a rewatch of a particular favorite, like Rogue One or something I’ve not seen in years, like Double Indemnity.

But today’s goal is to finish the character list and start the outline, so I can see what corrections needs to be made, what sections might need moving, and where I need to add more. I am feeling more awake now–coffee always helps, but my legs feel like they’re still not completely awake yet, which is a weird feeling that I am not describing properly to get across. It’s not like they’re asleep and tingling, or even exhausted or fatigued or anything like that–they just feel like they’re not awake, which isn’t getting the way it feels across, is it? Ah, well, it doesn’t matter because they don’t feel like they’re still sleeping in the bed, anyway.

And I still haven’t gotten an Arthur Hardy’s Mardi Gras Guide 2023 yet, either.

And on that note, I am heading into the spice mines. Have a lovely day, Constant Reader.

The Moment I Knew


Thursday, y’all, and I think I am going to take a vacation day tomorrow to try and help me get caught up on all the things I need to get caught up on. Another three day weekend, following up on the one just past already? To be fair, it kind of needs to actually happen, to be honest. I also have to remember to dedicate myself to making sure all the things I need to get done actually get done.

Which, you know, is the real trick here.

I also kind of need to pull myself together. While I am fully aware that there are certain things about myself I cannot control–depression, the mood swings, etc–it is still enormously frustrating to have to deal with them, try to work through them, get through them while trying to keep going with everything I am juggling these days. Part of it comes, undoubtedly, from my inability to ever get a handle on everything; even when I am making lists and working from them there’s always something I am forgetting when I make the list or something that comes up new after I make the list–and the list is so long and daunting to begin with that the thought of adding something else to it is paralyzing, which drags me back into the endless cycle of plate spinning to “Flight of the Bumblebee” again.

Obviously, the insomnia never helps either, nor does fearing, every night when I go to bed, that I am going to have insomnia again.

We started watching Mythic Quest last night on Apple Plus, and it’s not bad; we watched two episodes and I think it has the potential to become really funny; it stars Rob McIlhenny of It’s Always Sunny in Philadelphia, and I was really surprised to discover that not only was he the driving force behind that show, but this one as well. We’re also watching We Hunt Together on Showtime–we started the other night, before getting distracted by Ted Lasso, which I absolutely love–and while it’s not bad, it’s not the best British crime show I’ve watched. It’s very unusual in that it features two mixed couples (a Black man and a white woman) on opposing sides of the law–the investigating detectives and the criminal couple killing people–and reflects the similarities of relationships and their dynamics in both; it’s like they are mirror images of each other if it’s a funhouse mirror. It’s an interesting choice, and the acting is superb; the female cop is played by Eve Myles of Torchwood fame, whose work I always enjoy.

During my condom-packing hours yesterday I also returned to the Cynical 70’s Film Festival, this time watching Jane Fonda in her Oscar-winning role as Bree Daniels, the call girl, in Klute (what is with women winning Oscars playing prostitutes, anyway?). Klute is a very strange film, and it’s the first of what is called, by film scholars, the Paranoia Trilogy of director Alan J. Pakula (I have recently watched the other two, The Parallax View and All the President’s Men). Klute, to me, is a deeply flawed film, but an interesting one all the same. It’s a crime movie, the title character is a cop who takes a leave of absence to investigate the disappearance of a friend, and yet neither the cop nor the investigation are the lead story of the movie; it’s really a character study of Bree Daniels. Klute, the detective, is played almost completely emotionlessly by Donald Sutherland (obviously a choice made by both director and actor; since this is also the same period that produced his stunning performance in Don’t Look Now), so the emotional heart and center of the movie is Fonda’s performance. I came away from the film not entirely convinced by that performance; there was complexity there and some moments of truly fine acting, but over all–the film hasn’t really aged all that well (the underground world of orgies and call girls and pimps and heroin of Manhattan in the 1970’s it is trying to depict feels very screenwriter-ish to me; a film studio’s thoughts about how that particular subculture would look, walk and talk)–but I can see why she won an Oscar; those scenes where she is able to really inhabit the character are stellar. Klute is a subversion of noir/crime thrillers, really; by focusing on the character study of Bree rather than the story, it becomes less a crime story than the story of the unfortunate aspiring actress/model who turns to tricking to pay the bills and then is trying to leave the life but isn’t entirely able to; not only because she needs the money but because she likes the power of being in control–or at least, the allusion of control hooking brings her.

Imagine Double Indemnity if the focus of the film wasn’t the plan to kill Phyllis’ husband, but rather who she is and why she is the way she is.

The paranoia is also there in that Bree’s phone is tapped, not only by Klute but also by the killer. There’s another part of the film that is a flaw; the motive for the killing and the motive for hiring and paying Klute doesn’t really wash; but’s that probably also the crime writer/editor in me. I had also thought the film was based on a book but was apparently wrong; I could have sworn I remember seeing a paperback novel of Klute on the wire racks at Zayre’s, but of course it could have simply been a novelization of the film.

I did find Don’t Look Now also available to stream somewhere as I idly looked through all my streaming services apps last evening before we started watching Mythic Quest; I definitely want to watch that film again–and it’s not a bad idea for me to delve back into Daphne du Maurier’s short stories again. I may even have to read one of the novels she wrote that I haven’t read yet; there appears to be an adaptation of The Scapegoat (which I’ve not read) available to stream as well. The concept of the book intrigues me–the concept of the look-alike, which is something I’ve always wanted to write about myself. I’ve always had this idea of a bartender in a gay bar being approached by someone who thought he was someone else as a great starting place for a thriller; the problem, of course, being that now DNA would take away any possibility of an imposter passing for someone else. (FUCKING technological improvements.)

This idea came to me–not the least because of The Ivy Tree by Mary Stewart–but because when I used to visit New Orleans before moving here, consistently people–locals–would come up to me and start talking to me like I was someone else; eventually I would point out to them that they didn’t actually know ME and they would be very startled. This continued for a year or so after we moved here–I would sometimes get bought drinks by total strangers who thought I was someone else, and now that I think about it, perhaps the reason so many bartenders gave me a drink for free now and then was because they thought I was someone else. But it stopped after living here for a few years–I’d forgotten this used to happen–but they would always tell me I had a double here in New Orleans; one that I never met or saw anywhere. Isn’t that strange? But I always thought it was a good opening or idea for a story–but of course now, as I mentioned before, DNA has ruined the imposter stories forever.

Today is a better day, so here’s hoping it lasts and I can get back on track.

Jack the Lad

And now it’s Tuesday.

Yesterday was a strangely low-energy day for me; it was kind of overcast all day and I never really did seem to kick into a higher gear at all.

I did manage to rewatch Body Heat last night, one of my all-time favorite movies, and am delighted to report that it does, indeed, hold up after forty years. And what a film. I saw it originally in the theater; drawn in by a great review I read in the paper that compared it to Double Indemnity, or said that it was loosely based on it, or something like that. I went by myself–I trained myself to go to see movies alone in my late teens–and it was a matinee so there weren’t many people there. I remember that opening shot, of William Hurt’s bare, sweaty back as he watched a fire in the distance from his bedroom window while his hook-up dressed behind him, sitting on the edge of the bed. I remember thinking how sexy he was, and once the character of Kathleen Turner appeared on screen, I also remember thinking how gorgeous she was, as well. I knew who she was–I knew her from her role as Nola on The Doctors, and I also knew she’d been fired from the show for being overweight….which was incredibly hard to believe as I watched her slink across the screen, saying my favorite line ever from a movie: “You’re not very smart, are you? I like that in a man.” I also knew she’d been replaced by Kim Zimmer–I knew all of this because flipping through the channels one day I stopped on The Doctors because Kim Zimmer was on screen and I thought to myself, she’s really pretty and kind of reminds me of Jane Elliott–who’d played my favorite character on General Hospital, Tracy Quartermaine–and at first I did think it was Jane Elliott. I used to read Soap Opera Digest in those days, and shortly thereafter they did a piece on Kim Zimmer, which was when I learned about Kathleen Turner. (Interestingly enough, there was a strong physical resemblance between Zimmer and Turner as well; Zimmer appeared in the film in a supporting role as well)

Body Heat blew me away that first time I saw it; I watched it again when it debuted on HBO, and I try to watch it again periodically. It showed up when I was searching through HBO MAX, and last night I thought, as I waited for Paul to come home, why not? It was very tightly written as well; although last night I spotted a couple of holes in the plot–but the cast was fantastic an it moves so quickly and inevitably to its climax that you don’t really have time to catch those holes until you’ve watched it numerous times. You also have a pre-Cheers Ted Danson as the assistant prosecutor who is a friend of Ned Racine, the low-rent shitty lawyer played by William Hurt, and a very young and beautiful Mickey Rourke as Freddy, the arsonist client of his who holds several keys to the plot in his sexy hands, and of course, both Hurt and Turner at the peak of their youth and beauty.

As I watched Body Heat again last night, something else about the film struck me: it was the first time I can recall seeing a film where the camera sexualized a man in the same way it usually sexualized a woman. Hurt was shirtless or naked at least half of the time he appeared on screen, and his body–which was, for the time, quite spectacular–was shot lovingly by the camera. One of the sexiest sequences I’ve ever seen on film was one shot, where Hurt’s hook up for the night is getting dressed and he is lying in bed, naked, with a sheet draped over his groin but his left leg is uncovered, and you can actually see his naked hip, and the curve of his ass on the bed; it’s an incredibly sexy shot, and not the kind of thing that was standard for a male in a film of the time. He was meant to be seen as sexy and hot; and I don’t remember ever seeing that before in a movie; men were usually considered to be hot and sexy by dint of just being male in movies…I could, of course, be wrong, but at least that’s how I remember it. And as the 80’s progressed, what I call the “gay male gaze” began to be used to shoot beautiful actors more regularly–think about how Rob Lowe was sexualized in almost every movie he made, and it became more of a regular thing.

Body Heat inspired me to start writing noir, quite frankly. I had already read some James M. Cain (Double Indemnity, The Postman Always Rings Twice, Mildred Pierce, Love’s Lovely Counterfeit), but as much as I loved his books it never occurred to me to start writing in that style. Body Heat, on the other hand, inspired a story I started writing called Sunburn (which was used by Laura Lippman as a title for her own noir homage to Cain a few years ago and is one of my favorite noirs), which eventually was retitled Spontaneous Combustion, and now sits in my files, waiting to be written. When I first moved to Tampa, and went for a drive along Bay Shore Boulevard, the big beautiful houses lining the road also inspired me; one in particular seemed the perfect locale for the story of the middle-aged wealthy widow who falls for a hot young man, which kicks off the story.

I’m reminded of that idea every time I watch Body Heat, and as I watched it last night, I thought about the noirs I want to write–a queer noir quintet–and as I write this I realize Spontaneous Combustion isn’t one of them.

Interesting. And on that note, I am off to the spice mines.

Think of Laura

Zulu is passing now; I can hear the drums of the marching bands. It’s a gorgeous morning, the sun is shining and I am betting the crowds up at the Avenue are deep; they certainly were last night for Orpheus. Paul and I both have to work tomorrow, so we’re ending our Carnival early; taking today to rest and recover so we can hit the ground running on Ash Wednesday. I also have a lot of things to do today; emails to answer, things to write, things to edit, things to read, a kitchen to clean. Even though it was abbreviated this year (I was in Alabama for the first weekend of parades), I enjoyed every bit of Carnival this year; and am already melancholy to see it end as always.

I’ve also been enjoying the hell out of the Winter Olympics, and like millions of people worldwide I am–what’s the word kids use now? Oh yes–stanning Adam Rippon. As a long time figure skating fan, I’ve known of Adam long before these games; I remember when he had a mop of floppy curls; when gossip websites were pairing him and Ashley Wagner as a couple (I rolled my eyes every time I saw the photos), and I remember when he came out. I blogged about homophobia in figure skating a while back; when Adam came out while still on the Olympic eligible circuit I thought to myself you’re never going to win anything now; so I was pleasantly surprised to see him win US Nationals and make the world team in 2016; he missed last season with a broken foot, and this season he is full-on out: his short program is to gay club music, and his long program, as everyone saw the other night, is breathtaking. I’m so happy for both him and Mirai Nagasu, who became the first American woman to land a triple axel at the Olympics that same night; they earned bronze medals as part of the team competition, and I couldn’t be happier for both of them–all of the Americans on the team, to be honest. Adam is so funny and refreshingly himself; a big personality and a natural wit he doesn’t try to hold back, and that honesty…I just can’t get enough. I had tears in my eyes when he finished his long program the other night; Paul and I both screamed when Mirai landed the triple axel. Seeing the trashy homophobes on Twitter trashing him or going after him makes my blood boil; I’ve resisted the urge to reply to them He’s got an Olympic medal and you’re a fifth-rate Twitter troll. Congratulations.

So. There’s that.

And in other news of the fabulous, the lucky world of readers can look forward to the upcoming release of a new Laura Lippman novel, Sunburn. I got an ARC at Bouchercon and read it in one sitting on a rainy Saturday back in October.

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It’s the sunburned shoulders that get him. Pink, peeling. The burn is two days old, he gauges. Earned on Friday, painful to the touch yesterday, today an itchy soreness that’s hard not to keep fingering, probing, as she’s doing right now in an absentminded way. The skin has started sloughing off, soon those narrow shoulders won’t be so tender. Why would a redhead well into her thirties make such a rookie mistake?

And why is she here, sitting on a barstool, forty-five miles inland, in a town where strangers seldom stop on a Sunday evening? Belleville is the kind of place where people are supposed to pass through and soon they won’t even do that. They’re building a big by-ass so the beach traffic won’t have to slow for the speed trap on the old Main Street. He saw the construction vehicles, idle on Sunday, on his way in. Places like this bar-slash-restaurant, the High-Ho, are probably going to lose what little business they have.

High-Ho. A misprint? Was it supposed to be Heigh-Ho? And if so, was it for the seven dwarfs, heading home from the mines at day’s end, or for the Lone Ranger, riding off into the sunset?  Neither one makes much sense for this place.

Nothing about this makes sense.

Laura Lippman has been one of my favorite writers since I read Baltimore Blues years and years ago. I tore through her Tess Monaghan series, and she very quickly became one of my buy in hardcover authors. I’ve never regretted making that switch, and as she has expanded her skills and pushed herself with her exceptionally brilliant stand alone novels, I’ve never once quibbled but I want another Tess novel! (I do, always, but the stand alones are so fucking fantastic that it doesn’t matter–I really just want a new Lippman, and wish she was on a yearly schedule rather than an eighteen month one.)

Laura’s career trajectory has been most impressive from a writing perspective; because as a writer of stand alones, she has gone from being a literary crime writer to a literary writer about crime, if that makes sense. Each of her stand alones are unique and different from the others; about as far removed from her series as any novels can be and still be by the same author. Each one of these novels are rare pearls, individual and vastly different from the others; different themes, different explorations, different everything. The one common thread that runs through these novels is that they are, for the most part, about women, and what women face in their lives; how they deal with crimes and tragedies that take them out of the ordinary and into the extraordinary. Laura also regularly experiments with form and voice and tense; enormous, dangerous risks as a writer that she somehow always manages to pull off, make engaging and enjoyable, and always manages to tell a story that makes a very compelling point.

Sunburn,  her latest, is as different from anything she has done before as it could be unless she decided to write about vampires or a zombie apocalypse; but she also brings her incredibly powerful sense of empathy to this tale of murder, vengeance, and oh-so-careful planning. The book opens with the main character, Polly Costello, walking away from her husband and child on a beach vacation and winding up in the hard-knock town of Belleville; she is being observed by Adam, who is being paid to keep an eye on her, follow her–but not to become obsessed by her, which is what happens. Their story is told in a very limited third person point of view, alternating between them, and as we slowly get to know them, watch their physical attraction expand and develop into something more, the questions remain: why did Polly walk away from her family and child? How could she do such a thing? Who is this enigmatic redheaded bar waitress?

And just how fucking good does Adam’s grilled cheese sandwich taste?

The prose in this book is lean; not an extra word to be found anywhere, and it is an homage of sorts to the kind of lean, tight, dark noir that the great James M. Cain wrote. (Cain is a hero of mine, and I have always wanted to write something that dark and lean and tight…ironically, one of the ideas I had for such a noir–gay, of course–was also titled Sunburn) I’ve seen, in some of the early reviews, comparisons to Cain’s Double Indemnity and The Postman Always Rings Twice, which seem obvious; there’s an insurance scam buried deep in the plot, it’s set in a bar/diner, it’s about an unexpected, explosive attraction between a man and a woman; there are side plots that end in mysterious deaths… but if anything, I’d say Sunburn is more reminiscent of Cain’s The Cocktail Waitress than anything else.

The book is extraordinary, and probably Laura Lippman’s best work to date; that wisecracking, tight prose; a complicated and complex plot that grows even more complicated as you read another page; fully developed characters you can help but root for, even if their motivations aren’t exactly pure; and ultimately, the book is about a woman with everything stacked against her all of her life, who  never gives up, and makes plans…risky plans; where she gambles everything, including her own happiness and desire, for her future, yet is flexible and smart enough to always adapt.

Polly Costello is a heroine Cain would have been proud to call his own.

You Can’t Hurry Love

I read a lot this weekend! I did work on the writing a little bit, but not nearly as much as I could/should have. I finished reading the Highsmith, reread The Exorcist, and finally got to Ross MacDonald’s The Drowning Pool, which I read yesterday afternoon, and then last night while watching the US Open I started reading Christopher Golden’s Ararat (which is great fun so far; I’m a little less than halfway through and having a great time reading it).

It might interest you to know, Constant Reader, that I’d never read Ross MacDonald until I was on a panel somewhere with Christopher Rice, either in 2002or 2003, and Chris mentioned MacDonald as one of his favorite writers/greatest influences. I’d read John D. MacDonald and Gregory McDonald; but had somehow never gotten around to Ross. I knew of the Lew Archer series, of course, but had never read any of them, nor any of his standalones. Based on Chris’ recommendation, I started reading them, and never looked back–although I have been slowly doling them out, as there is a limited amount of them and no new ones coming anytime soon. I was a little surprised, after finishing The Exorcist, to pick up The Drowning Pool and realize it was one I hadn’t read.

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If you didn’t look at her face she was less than thirty, quick-bodied and slim as a girl. Her clothing drew attention to the fact: a tailored sharkskin suit and high heels that tensed her nylon-shadowed calves. But there was a pull of worry around her eyes and drawing at her mouth. The eyes were deep blue, with a sort of double vision. They saw you clearly, took you in completely, and at the same time looked beyond you. They had years to look back on, and more things to see in the years than a girl’s eyes had. About thirty-five, I thought, and still in the running.

She stood in the doorway without speaking long enough for me to think those things. Her teeth were nibbling the inside of her upper lip, and both of her hands were clutching her black suede bag at the level of her waist. I let the silence stretch out. She had knocked and I had opened the door. Undecided or not, she couldn’t expect me to lift her over the threshold. She was a big girl now, and she had come for a reason. Her stance was awkward with urgency.

“Mr. Archer?” she said at last.

“Yes. Will you come in?”

“Thank you, Forgive me for hanging back. It must make you feel like a dentist.”

“Everybody hates detectives and dentists. We hate them back.”

The Drowning Pool is hard-boiled, borderline noir (based on the fact that Archer works as a private eye), and can’t you imagine the above scene being played, in black-and-white by either Humphrey Bogart or Robert Mitchum, talking to either Gloria Grahame or Ida Lupino or Barbara Stanwyck? The story is simple: Archer is hired by the wealthy-seeming Mrs. Slocum to find out who has written her husband a poison-pen letter accusing her of adultery; back at the time the book was written, adultery was one of the few grounds for divorce recognized in every state. But as Archer begins to investigate, turns out Mrs. Slocum and her husband don’t have money; the money belongs to her mother-in-law, and she keeps them on a tight leash. Her estate is also sitting on a lot of oil, which she refuses to allow anyone to drill for, which would in turn make them even filthier rich. The elder Mrs. Slocum winds up dead in the swimming pool during a party, and soon the case begins twisting and turning left and right–and more bodies continue to pile up as Archer tries to get to the bottom of what is going on at the Slocum estate. It’s a great, fast read–and MacDonald’s grasp of language is extraordinary.

There’s a reason why MacDonald is up there with the greats of crime fiction.

There’s also an interesting subplot–almost a throwaway–about why the second Mrs. Slocum’s marriage is an abject failure. MacDonald doesn’t spend a lot of time on this, but it’s there for the queer reader to pick up on. It would be interesting to compare and contrast this book with MacDonald’s wife, Margaret Millar’s, Beast in View, released a few years later. There’s also an interesting comparison to be made between The Drowning Pool and James M. Cain’s Double Indemnity, in the character of Mrs. Slocum’s daughter Cathy, and the daughter in Cain’s book; also, an interesting comparison between this book could be made with Hammett’s The Maltese Falcon.

Maybe someday when I have more time.

 

Maneater

Is there a male version of the term maneater? I’ve been wracking my brain trying to think of what it could be; which indicates that the answer to that question is obviously, no. I also would imagine maneater and femme fatale are interchangeable; Phyllis from Double Indemnity is one of the best fictional representations of the type. I’ve always wondered what Phyllis was thinking, and how much more interesting the book would be told from her point of view. There has been a so-called trend in crime fiction lately, where the stories are told from the point of view of the maneater, which has also led to lots of opinion pieces about the rise of unlikable women characters in crime fiction, which strikes me as kind of odd, as those types of characters have been around (male or female) since the very beginning of crime fiction. Gillian Flynn’s Gone Girl is often credited as the book that started the trend, but I think it’s more accurate to say that Flynn’s book was the first major break out bestseller to have an unlikable woman as the focal point of the story.

I made some great progress on reading The Gods of Gotham  last night, and what a marvelous read it is! This is historical crime fiction done right–the last historical crime fiction novel I read that I enjoyed this much was Louis Bayard’s The Black Tower. Lyndsay has somehow managed to weave a tale involving the founding of the New York police department, Irish immigration, religious/ethnic bigotry, racism, politics, and child prostitution; and this world is alive and breathes. It’s really quite an accomplishment, and it’s written with wit and style and compassion; it’s also written in the style of nineteenth century novels but she has also managed to update the style and make it modern; Dickens, as it were, without the cloying over-sentimentality. Faye’s characters are also developed so strongly they all live and breathe and seem absolutely real; the maneater of the book is a madam named Silkie, who is delightful in her scheming and corruption. I intend to read more of the book later today, after I get the errands and chores done, and more of the goddamned line edit. My to-do list for the weekend is rather ambitious, I do confess; perhaps too ambitious to get everything done, but I’d rather overestimate what I can get done than underestimate.

The kitchen is a mess, the apartment is a disaster area, and of course, laundry laundry laundry. Heavy heaving sigh. Paul’s off playing tennis this morning, and I actually woke up feeling rested this morning. So, getting everything done seems like it’s something that’s actually possible. It’s supposed to rain off and on all day; we’ll see. I also made some progress on the Scotty book yesterday. My goal is to try to get a chapter done every day for the next twenty days–which will be, of course, a complete first draft. By that time, the line edit of the WIP should be finished and input–I can only do line edits on hard copies, which is not eco-friendly, but doing it on the computer has proven to not be as effective over the years. I do think this line edit is going well, and making the book even stronger, which is the entire point, right?

I also had a terrific conversation with the moderator of one of my two panels at Bouchercon, and I am very excited about the panel; this is also the first time I’ve been on two panels at Bouchercon–so probably I’ll be lucky to get one on St. Petersburg next year. I am looking forward to the Toronto trip this year; Bouchercon is always one of the highlights of my year.

I am going to read, I think, The Fixes by Owen Matthews (aka Owen Laukkanen) next, once I’ve finished Gods of Gotham.

And on that night, I should probably get back to the spice mines.

Here’s a Saturday hunk for you, Constant Reader:

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MUSIC: Losing My Religion by REM

MOOD: Cheerful