Archives for posts with tag: crime fiction

Image

The Moving Target — originally published in 1949 — features Lew Archer, an L.A. private investigator, who appears in a series of novels by Ross Macdonald.

While reading the work of this amazing wordsmith/poet, I was struck by its similarity to the best passages in The Great Gatsby by F. Scott Fitzgerald — and figured somebody somewhere must have written about this. A quick Google search revealed more than I’d hoped.

My research uncovered a fascinating article entitled “Ross Macdonald’s Marked Copy of The Portable F. Scott Fitzgerald: A Study of Influence” by Robert F. Moss. In the article, Moss demonstrates how Macdonald learned from Fitzgerald on a variety of levels, including language, plot, structure, and technique. Macdonald is quoted as calling Fitzgerald “a dream writer,” “our finest novelist,” and “my master.” Read the entire article here.

To give a sense of Macdonald’s command of language, here is the opening paragraph from Chapter 4 of The Moving Target:

We rose into the offshore wind sweeping across the airport and climbed toward the southern break in the mountains. Santa Teresa was a colored air map on the mountains’ knees, the sailboats in the harbor white soap chips in a tub of bluing. The air was very clear. The peaks stood up so sharply that they looked like papier-maché I could poke my finger through. Then we rose past them into chillier air and saw the wilderness of mountains stretching to the fifty-mile horizon.”

Image

For a limited time, the Kindle version of The Kept Girl by Kim Cooper is available for just $2.99. Get your copy of this fascinating read at Amazon.com. (The price is “counting down” each day until it reaches the $7.99 list price.)

ABOUT THE BOOK: Kim Cooper‘s The Kept Girl is inspired by a sensational real-life Los Angeles cult murder spree which exploded into the public consciousness when fraud charges were filed against the cult’s leaders in 1929. The victim was the nephew of oil company president Joseph Dabney, Raymond Chandler‘s boss. In the novel, Chandler, still several years away from publishing his first short story, is one of three amateur detectives who uncover the ghastly truth about the Great Eleven cult over one frenetic week. Informed by the author’s extensive research into the literary, spiritual, criminal and architectural history of Southern California, The Kept Girl is a terrifying noir love story, set against the backdrop of a glittering pre-crash metropolis. To learn more about the book, visit the author’s blog. Read a sample chapter here.

Image
the crow
by james w. moore

a crow will
Fall

a crow
a crow
that’s going to fall

the eyes    the flicker

crazy
a thing in my life
crazy
a thing in your life

it’s
O.K.
O.K.
O.K.

I

I

I

would still
light the fire

SOURCE NOTE:  “the crow” by james w. moore is based on a page from Chapter 2 in Double Indemnity by James M. Cain.

SOURCE: “the crow” by james w. moore and work by over 40 other poets appears in the Silver Birch Press NOIR Erasure Poetry Anthology (December 2013) — a 122-page collection of erasure poems based on the writings of a range of noir authors, including James M. Cain, Raymond Chandler, Dashiell Hammett, Patricia Highsmith, Walter Mosley, Robert B. Parker, and Cornell Woolrich – available at Amazon.com.

chandeler_by_laumann

Noir fiction master Raymond Chandler was born in Chicago on July 23, 1888 and spent much of his childhood living in his divorced mother’s native England. He moved to Los Angeles in 1913 — and remained forever identified with the city, thanks to his short stories and novels where Los Angeles plays a central role.

Chandler was 51 years old when his first novel, The Big Sleep, was published in 1939. He had spent many years as an executive in the oil business and, when he lost his job in the early 1930s (during the Depression, no less), decided to reinvent himself as a crime fiction writer.

After figuring out  the formula to the pulp detective stories, Chandler submitted his twist on the genre to the popular magazines of the day — most notably Black Mask, where his first published work appeared in 1933. Of this experience, he later wrote: “I spent five months on an 18,000 word novelette and sold it for $180. After that I never looked back, although I had a good many uneasy periods looking forward.”

During the 1940s, Chandler worked for a brief period as a Hollywood screenwriter — his most notable contribution as cowriter with Billy Wilder on the film noir masterwork Double Indemnity (1944), which earned the two men Academy Award nominations.

He spent his final years in La Jolla, California, just north of San Diego, and passed away in 1959.

BOTTOM LINE: Chandler turned something commonplace (pulp fiction) into something extraordinary — bringing style, originality, and unforgettable prose to crime sagas and turning them into high art.

Illustration by Scott Laumann, ALL RIGHTS RESERVED (Used by permission). Visit Scott’s website here. I love Scott’s illustration because it sets Chandler in his free-ranging Southern California milieu, yet the formally attired writer remains detached, distanced — as if tilting his head to get a perspective on the bleached out, gritty place he called home for most of his life.

Image
While checking the amazon.com page for the Silver Birch Press NOIR Erasure Poetry Anthology — released about 30 days ago — I noticed that several online booksellers had listed the book for around $1,000 (yes one thousand dollars). I have no idea what this is all about — only that some “experts” feel that the book is collectible. Perhaps Guy Budziak‘s superb cover art has led to this phenemenon.

Get a new copy today for the bargain price of $10.15 at Amazon.com.

Image

L.A. historian/author Kim Cooper, renowned for her Esotouric bus tours into “the secret heart of Los Angeles,” recently completed her noir novel THE KEPT GIRL – and is offering readers a terrific opportunity to subscribe to the book’s first printing (details at thekeptgirl.com).

The prestigious Kirkus Reviews recently featured THE KEPT GIRL in an article entitled “Eight Tales to Warm You Up for the New Year.” Mark your calendar for the launch party at Skylight books in Los Angeles on Thursday, 2/13/14.

The subscription offer — available through early January 2014 — features a variety of benefits, including the subscriber’s name prominently acknowledged in all copies of the book,  which will arrive enclosed in a limited-edition decorative slipcase. Book lovers, collectors, hardboiled fiction fans, don’t miss this chance to take part in a true publishing event. Considering all the benefits, this first-class publication is a tremendous bargain at just $65.

Before Raymond Chandler became LA’s crime laureate, he was an LA oil company executive. Inspired by this historic nugget, Kim Cooper, social historian and co-founder of Esotouric, spins Chandler’s early LA years, a sinister 1920s angel-worshipping cult, an LAPD cop and a heroine who is much more than a ‘kept girl’ into a deeply researched and compulsively readable crime novel.”

Denise Hamilton, author of DAMAGE CONTROL & editor of Edgar Award-winning anthology LOS ANGELES NOIR

ABOUT THIS PUBLISHING METHOD: The Subscription model of publishing flourished in England in the 17th Century. Instead of relying on a single regal (and often capricious) patron, authors and publishers cultivated a select group of literate, engaged readers and collectors whose support encouraged and enabled the publication of books that would otherwise be prohibitively expensive to produce. Through Subscription-sponsored publication, important atlases, geographies, and histories saw the light, along with great literature, including Milton’s Paradise Lost.

ABOUT THE BOOK: Kim Cooper‘s The Kept Girl is inspired by a sensational real-life Los Angeles cult murder spree which exploded into the public consciousness when fraud charges were filed against the cult’s leaders in 1929. The victim was the nephew of oil company president Joseph Dabney, Raymond Chandler‘s boss. In the novel, Chandler, still several years away from publishing his first short story, is one of three amateur detectives who uncover the ghastly truth about the Great Eleven cult over one frenetic week. Informed by the author’s extensive research into the literary, spiritual, criminal and architectural history of Southern California, The Kept Girl is a terrifying noir love story, set against the backdrop of a glittering pre-crash metropolis. To learn more about the book, visit the author’s blog. Sign up for the newsletter to receive occasional updates. Read a sample chapter here.

Kim Cooper is the perfect Virgil to 1929 Los Angeles, a city that was both a paradise and an inferno. Her knowledge of the city that was is unparalleled, her imagination unnerving. The real-life characters and crimes that would give birth to the pulp fiction of the 1930s and the film noir of the 1940s can all be found here. Aficionados of noir Los Angeles will read The Kept Girl with fascination and with growing horror as the terrible crime at its core is revealed.” 

John Buntin, author of L.A. NOIR

Image

ABOUT THE AUTHOR: Kim Cooper is the creator of 1947project, the crime-a-day time travel blog that spawned Esotouric’s popular crime bus tours, including Pasadena Confidential, the Real Black Dahlia and Weird West Adams. Her collaborative L.A. history blogs include On Bunker Hill and In SRO Land. With husband Richard Schave, Kim curates the Salons of LAVA–The Los Angeles Visionaries Association. When the third generation Angeleno isn’t combing old newspapers for forgotten scandals, she is a passionate advocate for historic preservation of signage,vernacular architecture and writer’s homes. Kim was for many years the editrix of Scram, a journal of unpopular culture. Her books include Fall in Love For LifeBubblegum Music is the Naked TruthLost in the Grooves and an oral history of the cult band Neutral Milk Hotel. The Kept Girl is her first novel.

COVER ART: Paul Rogers

Image

Noir fiction master Raymond Chandler was born in Chicago on July 23, 1888 and spent much of his childhood living in his divorced mother’s native England. He moved to Los Angeles in 1913 — and remained forever identified with the city, thanks to his short stories and novels where Los Angeles plays a central role.

Chandler was 51 years old when his first novel, The Big Sleep, was published in 1939. He had spent many years as an executive in the oil business and, when he lost his job in the early 1930s (during the Depression, no less), decided to reinvent himself as a crime fiction writer.

After figuring out  the formula to the pulp detective stories, Chandler submitted his twist on the genre to the popular magazines of the day — most notably Black Mask, where his first published work appeared in 1933. Of this experience, he later wrote: “I spent five months on an 18,000 word novelette and sold it for $180. After that I never looked back, although I had a good many uneasy periods looking forward.”

During the 1940s, Chandler worked for a brief period as a Hollywood screenwriter — his most notable contribution as cowriter with Billy Wilder on the film noir masterwork Double Indemnity (1944), which earned the two men Academy Award nominations.

He spent his final years in La Jolla, California, just north of San Diego, and passed away in 1959.

BOTTOM LINE: Chandler turned something commonplace (pulp fiction) into something extraordinary — bringing style, originality, and unforgettable prose to crime sagas and turning them into high art.

Illustration by Scott Laumann, ALL RIGHTS RESERVED (Used by permission). Visit Scott’s website here. I love Scott’s illustration because it sets Chandler in his free-ranging Southern California milieu, yet the formally attired writer remains detached, distanced — as if tilting his head to get a perspective on the bleached out, gritty place he called home for most of his life.

Image

Silver Birch Press NOIR Erasure Poetry Anthology

Released: December 7, 2013

Size: 122 pages (5.5 x 8.5″)

Available in paperback for $10.60 at Amazon.com

EDITOR’S NOTES

WHY: As a longtime fan of hardboiled detective fiction and film noir, and an aficionado of found poetry, I wondered what would happen if the two were combined. A call for submissions on the Silver Birch Press blog, as well as requests from our contributing editors to their colleagues resulted in a wide range of submissions, including those featured in the Silver Birch Press NOIR Erasure Poetry Anthology. 

WHAT: So just what is an erasure poem? Take a page from any book, cross out or whiteout some of the words and the remaining words constitute the erasure poem. The Silver Birch Press Noir Erasure Poetry Anthology pays homage to noir authors—including genre founders Raymond Chandler and Dashiell Hammett, as well as other authors of crime fiction whose work served as source material.

WHO: My thanks to the 46 poets represented in the collection (find their names in this post), as well as the 16 noir authors whose writing served as inspiration. A special thank you to contributing editors Jenni B. Baker, Catfish McDaris, james w. moore, and Gerald So—accomplished poets and authors who encouraged their writing colleagues to participate in the collection. Thanks, too, to Guy Budziak for his stunning cover art. (View more of the artist’s work at filmnoirwoodcuts.com.)

DEDICATION: Noir and erasure poetry are a perfect match—stark, pared down, elemental, bare bones.  As the author who invented L.A. Noir and elevated prose to poetry, we dedicate the Silver Birch Press NOIR Erasure Poetry Anthology to Raymond Chandler.

WHERE: Find the Silver Birch Press NOIR Erasure Poetry Anthology — an interesting, unique (and inexpensive) holiday gift for lovers of crime fiction (and poetry!) — at Amazon.com.

Image

The Night Before Christmas

by Raymond Chandler as told to CJ Ciaramella

It was the night before Christmas, when I first saw the red man. I was settled in my chair in the midst of a long bourbon nap, hand still clutching a highball glass of the stuff, when I heard a clatter, like a body tumbling down a flight of stairs.

I sat up in the chair to see what was the matter. The room was dark, save for the glow of Christmas lights on the tiny tree by the window. At first I thought it was nothing but a dream, when what to my wondering eyes should appear but the outline of a heavyset man creeping slowly out of the fireplace and into the room.

Then I thought about my gat, but it was in my suit coat, which was hanging by the doorway with care.

I sized him up as he moved closer. He was about six-foot-even, dressed from head to toe in a heavy red suit, like some two-bit hustler. His face was hidden under a thick, white beard. Under the suit I could see he was a big man. His belly jiggled like a bowl of jelly as he crept through the apartment. He moved quiet for his size and age. He had a big bag slung over his shoulder. I pegged him for a professional cat burglar or something.

He was halfway to the Christmas tree by the window when he spied me sitting in the chair. We had a nice, quiet moment where we considered each other’s presence.

“Expected me to be in the bedroom, I’m guessing,” I said. “What’s in the bag, Mac?”

He turned his head and laid his finger aside his nose with an impish grin. I stood up slowly from the chair and put the glass on the table.

“Okay, funny guy,” I said. “Okay.”

I went for the coat. He was on me as quick as a flash, awful fast for a big man. The bag clocked me in the back of the head as I reached the coat. Lights popped behind my eyes, and stars and sugar-plums and other silly things danced in front of them.

When I could see straight again, the red man was hoisting me to my feet. He spoke not a word, but went straight to work, planting one of his big, gloved mitts in my stomach, which doubled me over, and another on my chin to straighten me out. Then he tossed me, casually as he probably tossed that bag around, across the room.

“Merry Christmas, shamus,” the red man said real jolly like, throwing me a wrapped package from his bag as I sprawled on the floor. “Have a swell night.”

“How about next time just mail a card,” I said, rubbing my jaw.

He ignored that, walked over to the table, drank my bourbon, and walked out my door, leaving it swinging open.

The package was addressed to me from “St. Nick.” The name meant nothing to me. Inside was a new hat and an emptiness that only gift boxes on dark, solitary nights possess.

I put the tag in my pocket, the hat on a hook, closed the door, and poured another couple fingers of bourbon into the glass. Sat in the chair and waited for dawn or sleep, whichever found me first.

###

CJ Ciaramella has written for the Washington Free Beacon, The AwlThe Daily Caller, the San Diego Union-TribuneThe Weekly Standard, the Oregon Daily Emerald, the Oregon Quarterly and the Oregon Commentator, among others.

Illustration: Sodahead

Image
I know this is a poetic no-no (I’ve been told as such by real poets), but I just can’t help myself. Ross Macdonald‘s beautiful language makes me think of poetry, as noted below.

THE MOVING TARGET
Chapter 4 (Opening Lines)
by Ross Macdonald

We rose into the offshore wind sweeping across the airport
and climbed toward the southern break in the mountains.
Santa Teresa was a colored air map on the mountains’ knees,
the sailboats in the harbor white soap chips in a tub of bluing.
The air was very clear.The peaks stood up so sharply
that they looked like papier-maché I could poke my finger through.
Then we rose past them into chillier air and saw
the wilderness of mountains stretching to the fifty-mile horizon.