them off fangling a-new what has not worked in the past.
It’s this storming of brains got us in a mess in first place!
Time to rant, hone your leadership skills and craft.
Mind not the barbarians nor bigots at the gates.
Good luck, hugs, in fellowship,
your HR team, who’ve taken refuge ashore.
What? Don’t you like the cut of our jib?
We are reviving the lost art of letter writing over at dVerse Poets. Mine is a tongue-in-cheek corporate newsletter, ostensibly asking for leadership courage. But we all know what that means in corporate speak…
Crime Thriller Fella finds crime of any type exciting, as you might have guessed from his name. Whether it comes in book form, on the silver screen or the small screen, he will read it, review it, muse on it… oh, and he also writes his own novels and screenplays. You can find him chatting about life in the dark lane on his blog or you can engage with him on Twitter, which is where I met him. So today it is with the utmost pleasure that I grill him in a little more depth about his reading habits.
How did you get hooked on crime fiction?
Back in the mists of time I think I must have read the Secret Seven and it’s all been downhill from there. I remember being gripped after picking up one of the Bonds as a kid – Dr. No, I think – and films were a big influence on me. I grew up during a classic age of crime movies – The Godfather, The Taking of Pelham One Two Three, Get Carter – and I’d go out and find the source material.
Are there any particular types of crime fiction or subgenres that you prefer to read and why?
I’ll read anything, but I guess I tend towards procedurals and psychological thrillers. The books I review for Crime Thriller Fella are all incredibly different, and I like picking up books I’d never usually read. It takes me out of my comfort zone. The crime genre is so diverse. There’s something for everyone.
What is the most memorable book you’ve read recently?
The imagery in Hold The Dark by William Giraldi is powerful and stays with you long after you’ve put it down. Set in Alaska on the edge of civilization, it examines what happens when we come into contact with the primeval forces that we long ago lost inside of us. Or something.
If you had to choose only one series or only one author (crime fiction) to take with you to a deserted island, whom would you choose?
I’d probably have enough to worry about without reading about crime and murder, and other dark themes, but I’d probably take Charles Willeford’s Hoke Moseley novels with me. They always make me smile. Or any book with a photo of the author on it. I could chat to it. It could be my Wilson.
What are you looking forward to reading in the near future?
Neil Gaiman’s Trigger Warning collection. Still haven’t got round to reading the latest William Gibson, and Denis Lehane’s latest novel World Gone By.
Outside your criminal reading pursuits, what author/series/book/genre do you find yourself regularly recommending to your friends?
They don’t listen to anything I have to say, so we mostly drink in tense silence.
Thank you, Crime Thriller Fella, and stay positive! I know just what you mean: my friends ask me for my reading recommendations and then proceed to ignore them, while my family never even ask for them in the first place. As for Charles Willeford – that’s a new author for me, so I’ll be tracking him down shortly. And I love the clone trooper guarding your precious pile of books…
For previous participants in the series, just follow this link. This series depends, of course, on your participation, so please, please let me know via Twitter or comments if you would like to share your criminal passions with us.
Apologies for the rather obvious rhyming and prosaic language. I’m attempting a vilanelle for the first time for dVerse Poets, in the spirit of being brave and trying out new forms. Join me there for some (far better) villanelles and a great sense of community.
I’ve been reading a lot of media stories lately about cyber-bullying, trolling and other cruelties of our online world. Not that there isn’t plenty of pain that we can cause each other in ‘real’ life, but wolf pack attacks are so much easier when we are anonymous.
You crawl into the bush to hide
Arrows quiver on your flanks
Lick your wounds, stem the black tide.
It’s such an easy slope to slide:
their office cheer, their thoughtless pranks.
You crawl into the bush to hide.
Cracks start spreading, fissured pride,
from dream to hell it rudely yanks.
Lick your wounds, stem the black tide.
You ventured forth, ignored and lied –
pretended words were toothless blanks.
You crawl into the bush to hide.
But something inside has surely died
as foaming waves erupt over banks.
You crawl into the bush to hide –
Lick your wounds, stem the black tide.
However, I don’t want to spoil your Passover or Easter holiday, so let me wish you beautiful weather and a relaxed, peaceful time!
Val McDermid wrote an article recently about crime fiction and politics. She argues that quite a lot of modern crime fiction is left-wing (voice of the little people, the poor, the oppressed), while thrillers (with their international conspiracies, nasty foreigners and arrogant governments) are more right-wing. While there are many exceptions to prove her rule, it’s true that most crime fiction is by its very nature political, because ‘crimes are an attack against society and the status quo’ (Michael Connelly). It tends to fall down, however, when the authors sets out too deliberately to make a political statement, when the message obliterates the story.
This has provoked, needless to say, a flurry of controversy, and I’m not going to add to the conversation here, other than to say that in both thrillers and crime fiction, the detecting hero is idealised (has to be!) as caring about ‘everyman’, thinking that ‘everybody counts’ equally… which to me does sound rather leftie. Meanwhile, in countries that have had authoritarian regimes, the police is regarded with fear and distrust – and crime fiction of nearly any stripe becomes unpalatable.
French audiences are quite keen on political thinking in their crime fiction, so there were many questions about this at Quais du Polar. I thought I’d summarise some of the most interesting debates and quotes here. The author pictures are all from the official programme, while additional (wobbly) pictures are my own.
From the Panel: The Americas
Michael Connelly – US: I’ve been lucky to be able to write about Harry Bosch for so many years, as my books show a man evolving in a city that’s evolving (LA). The man has certainly changed much faster than the city has. I don’t set out to make political statements in my books, but invariably, when I look back on them, they are political in some way. I am a ‘reformed journalist’, I’ve left non-fiction behind, because I believe that fiction allows you to uncover a higher degree of truth about life and people.
Emily St. John Mandel – Canada : Because noir novels look at the margins of society, the underbelly, the notion of ‘margin’ itself is a political statement. Not everyone is making it, not everyone is successful – according to society’s definition of success. Illegal immigration, people without papers, economic collapse in 2009 – it’s a shadow world most of us don’t get to see and I felt a strong urge to write about it.
Paulo Lins- Brazil: From the end of the dictatorship in Brazil in 1984, it’s only now that we’re entering a period which bears some resemblance to real democracy. We’ve opened up to the US and Europe, international trade relations have improved, a middle class has emerged and many have moved above the poverty line. But it does mean that criminals have adapted – the very local gang wars in the favelas have now become more organised crime, engulfing all of the country, not just certain neighbourhoods. We like to blame crime on drug dealers, but there’s also plenty of trafficking of weapons, and, sadly Brazil is one of the three most violent countries in South America, alongside Colombia and Venezuela. It’s hard not to feel at times that things are not changing for the better. It’s the regular families that suffer most, those are the people I want to write about. Whenever your child leaves the house, you tremble for his or her safety. Yet, in spite of all that, I do remain positive and have hope for my country.
Paco Ignacio Taibo II – Mexico: Mexico is a blend of third world and first world. There are more cinemas in Mexico City than in Paris, more students than in New York. At the same time, there are 160 people being killed by police every month. There is such urban fear, pressures from poverty, electoral fraud, no moral values, it’s a quagmire. Writing novels is my attempt to make sense of something surreal and absurd. However, reality is so much stranger and less believable than fiction in my country that I can’t help feeling at times that I am like Walt Disney…
Leonardo Padura – Cuba: It’s hard to write crime fiction in Cuba, not because of censorship, but because most of the crime is about pickpocketing, thefts, these small cons to survive, not assassination. It’s simply not worth killing anyone, as people are all equally poor, so I cannot have more than one corpse per novel. It’s clear, however, that Cuba is changing: differences are starting to appear between rich and poor, small businesses are taking off, people are moving to Havana to find their fortune. I’m not sure where all this is heading, but it will be reflected in literature eventually, it just needs a little more time to follow suit.
From the Panel: The Burden of History
Attica Locke – US: The idea for The Cutting Season came to me when I attended a wedding on a plantation in Louisiana. The idea of visiting such a place for fun struck me as incongruous, and I had a visceral reaction of pain and sadness when I got there. Then I saw all the migrants from South America working on this ‘theme park’ and realised that all we’d done was exchanged one shade of brown for another. I don’t have to try to be political, it comes naturally to me. So, instead, I focus on the story. What I want to do is shift the lens a little, get readers to view things through someone else’s eyes.
Yasmina Khadra – Algeria: I come from a family of macho Arab/Berbers and was forced to join the army at the age of 9. I grew up fully expecting to die for my country, fought for eight years against terrorism, collected my colleagues by the spoonful following explosions and felt survivor’s guilt when I finally retired from the army. Why was I the one spared? I started writing to justify my continued existence… and to serve my country in a different way. Books are all about raising awareness, waking people up, while television (advertisements, consumption society etc.) is all about lulling people into a false sense of security, putting them to sleep.
Michel Bussi – France: I have no pedagogical or educational mission. I write to entertain, but in those first couple of books (set in Normandy), I try to convey my love for my native region and its emotional scars dating from the D-Day landings. I am a geographer by profession, so for me it’s all about the setting.
Tom Rob Smith – UK: I’d never have dared to set my books in such an unfamiliar environment as Stalinist Russia, if I’d not had an experience in my youth of writing a soap opera for Cambodian television. I found out that some stories feel truly universal, that they transcend cultural influences and borders. Of course I did a lot of research (mostly based on books and archives, rather than actual travelling), but it’s all about finding that emotional connection.
From the Dialogue between Ian Rankin & Val McDermid: The Passionate Thistle
Val McDermid: Isn’t it funny how we only mention politics in a novel if it is leftwing politics? No one says anything about ‘look what right-wing views Patricia Cornwall displays in her latest book’? I’m naturally a very political creature, so of course it finds its way into my books. But if I were to set out to do it deliberately, that would be dangerous, it needs to service the story and the characters. The best crime novels have politics with a big P and a small p in them (like Sara Paretsky, McIllvaney).
Of course the Scottish Referendum will be reflected in Scottish literature. You can’t live in Scotland and not engage with it in some way. It’s like writing a book about 1914 and not mentioning the First World War. I’m always astonished, however, when people ask my opinion about current affairs. After all, I just sit in my room and write. I don’t have a dog in this fight, though I have an opinion. But so does everyone else, why should my opinion count for anything more than theirs?
Ian Rankin: I naturally gravitated more towards urban problems, so was initially attracted more to American authors (British crime fiction at the time was more cosy, set in picturesque villages or amongst the middle classes, things I couldn’t relate to). I seemed to end up reading a lot of James-es (Ellroy, Lee Burke, Sallis) – they didn’t have to be called James, but it seemed to help.
Traditionally, Edinburgh was viewed as the nice place, while Glasgow was the one beset with social problems. I didn’t grow up in Edinburgh and seldom visited it until I went to university, but I wanted to show something about the city beneath its pretty tourist facade. 30 years later, I’m still trying to discover and understand the complete city, it keeps on changing. Edinburgh is like the Tardis – much bigger on the inside.
As for the referendum, we Scots are cautious people, we weigh things up very carefully, so it was a struggle between heart and head. I tried to show that in my new novel as the difference of opinion between Rebus (who votes No) and Siobhan (who votes Yes). And the debate is continuing, it refuses to go away, a whole generation has now become politicised.
Well, if you’ve made it to the end of this loooong post, you deserve something pretty to help you prepare for the long Easter weekend (if you celebrate Easter): the German tradition of decorating Easter trees.
No, it’s not an April Fools’ Day joke! My TBR pile has augmented by another 12 books. Other than rebuying the graphic version of Manchette’s Fatale (you can find my review of the reissued translation of it on CFL),I could not stop myself from acquiring books by favourite authors, as well as allowing plenty of room for discovering new names. Luckily, there was a fairly good selection of books in English this year as well, so I didn’t have to read the French language translations for some of them.
I tend not to read series in order (partly out of necessity – it’s not easy to find the English series at libraries here in France, and I can’t afford to buy all of them), so there’s always one or two I’ve missed. The problem is that I sometimes forget which one I’ve missed – or else the title of the US and UK editions are different (Louise Penny says her publishers have promised that will stop – hurrah!). So here are the books I bought from writers whose work I already know I like:
Denise Mina: Gods and Beasts – I’ve read her Garnethill and Paddy Meehan series, but only ‘The Red Road’ from the Alex Morrow series. This one takes place before the events in Red Road and won the Theakstons Old Peculier Award in Harrogate in 2013.
Louise Penny: How the Light Gets In
Book 9 in the series and it’s winter once more in Three Pines. A famous woman has gone missing and Gamache has to battle with hostile forces within his department. I’ve reviewed ‘Dead Cold’ (aka A Fatal Grace) and ‘The Long Way Home’ and was searching for ‘The Beautiful Mystery’, but it was not available from Decitre’s English language section.
Tom Rob Smith: Child 44
I’ll be honest: I hesitated to read this one because I’m a little traumatised reading about brutal repressive regimes (although I’ve had less dramatic immediate experience of it than other close friends). So I read ‘The Farm’ instead (which is very different, more domestic), but this account of a serial killer in the Soviet society where such crime is apparently unthinkable sounds fascinating. The author spoke about the inspiration behind the story: real-life serial killer Chikatilo, probably one of the worst criminals in history (but who committed those crimes two decades later than the events in this book).
Kishwar Desai: Witness the Night
A combination of influences made me buy this: Margot Kinberg’s spotlight on the book, reading Desai’s second book (on surrogate mothers – wombs for rent in India), seeing her speak so passionately on her panel and direct conversation with the author. As Margot says: ‘There’s always a risk when a novel addresses a social issue that the author may have an agenda that will overshadow the plot, but if it’s done well, a crime novel can be a very effective forum for a discussion of social issues.’ and Desai does just that. This book also won the Costa First Novel Award.
Sylvie Granotier: Personne n’en saura rien (No one will know anything)
Sometimes the name is just enough. I’ve read and loved her ‘The Paris Lawyer’ and other books that have not yet been translated into English. I interviewed her at Quais du Polar two years ago and she is so thoughtful and articulate that I’ve succumbed to her charm. I have no idea what this new book is about, but I’m sure I’ll enjoy it – even though it is a story of revenge, manipulation and yes, a serial killer.
Always meant to read:
Yasmina Khadra: Qu’attendent les singes (What are the monkeys waiting for)
A former Algerian army officer who uses his wife’s name to publish some of the most ambitious and topical fiction about the Middle East. Some of his work is available in English, especially his trilogy about Islamic fundamentalism: ‘The Swallows of Kabul’ (about Afghanistan), ‘The Attack’ (Palestine) and ‘The Sirens of Baghdad’ (Iraq). However, his latest book returns to Algeria and features a feisty female detective. Khadra said he is an ardent feminist, and admitted it is very difficult to be a woman in any public position in his native country. Khadra also comes highly recommended by Claire McAlpine at Word by Word.
Debut authors who impressed me at panel discussions:
Yana Vagner: VongoZero
The title is the name of a lake on the border between Finland and Russia, where a group of survivors of an apocalyptic flu epidemic are travelling for their survival. Dystopian psychological thriller written in installments on Yana’s blog, and incorporating feedback from her readers – very Dickensian.
Saul Black: The Killing Lessons
Strictly speaking, Saul Black is not a debut author, as it’s the crime genre pseudonym for highly regarded author Glen Duncan. He’s always found it hard to allow himself to be contained by just one genre and has written a werewolf trilogy (which would normally be enough to put me off his writing). However, this book is more typical crime fiction fare, set in Colorado, with shades of McCarthy’s ‘No Country for Old Men’.
Daniel Quirós: Eté rouge (Red Summer)
Don Chepe, former guerilla fighter in Nicaragua’s bloody civil war, has retired to the paradise of a fishing village on the Pacific coast in Costa Rica. But the body of an Argentine woman washes up on the beach one day and he becomes involved in a complex investigation which digs deep into his personal and his country’s history.
Recommendations from blogs or bloggers:
Franck Bouysse: Grossir le ciel (Magnifying/swelling up the sky)
When Catherine from Le Blog du Polar de Velda recommends a new French writer, I sit up and listen. She has a nose for up-and-coming talent – and quite often a similar taste as myself, on the noirish side. This story of two isolated farms in a remote rural area of France – and the men who inhabit them – sounds intriguing (especially to me, coming as I do from solid farming stock).
Barry Gornell: The Healing of Luther Grove
Gothic tension in the Highlands, where an urban couple relocate, believing they have found their rural paradise. Barry was interviewed by Crime Fiction Lover as part of New Talent November, so his name seemed familiar, and I approached him at the book signing. When I discovered he was a debut author and this was his first participation at an international crime fiction festival, I just had to find his book in English and get it signed. It also got a glowing review by Eva Dolan on CFL.
Fabrice Bourland: Le diable du Crystal Palace (The Devil of Crystal Palace)
Bourland is a great admirer of Poe and Conan-Doyle and he’s written a series of supernatural thrillers set in London, featuring elegant 1930s detectives Singleton and Trelawney. A couple of them have been translated by Gallic Books. This one hasn’t, but has a personal connotation, as it’s set just a stop or two away from the part of London where I used to live.
You may well argue that I overestimate the number of books I can keep on my shelves (even signed books), and that I still haven’t read all of the books I bought at the previous two editions of the festival. [I am in good company there, as I heard several festivalgoers say the very same thing.]
But you know what? I don’t smoke or gamble, I seldom drink or go out on shopping sprees. A girl’s got to have some vices, right? And books are my vice. What do you think? Have you read any of the above and what did you think of them? Are there any which tantalise your taste buds?
I’ve written a pretty exhaustive report on the panels and encounters with writers (including quotes) for Crime Fiction Lover, so I won’t repeat myself here. Let me tell you instead some of my personal highlights.
1) Max Cabanes
A few of you have noticed and complimented me on my new Avatar on Twitter. This is a very idealised portrait of myself drawn by Max Cabanes, one of the foremost artists of bandes dessinées (graphic novels or comic strips, hugely popular in the French-speaking world but with no perfect equivalent in the rest of the world), winner of the most prestigious prize in the field, the Grand Prix du Festival d’Angoulême in 1990, and a contributor to Charlie Hebdo. I had already bought his latest work, the adaptation of Jean-Patrick Manchette’s Fatale (I had dithered previously over whether to buy this or the collected works of Manchette … ended up getting both for myself for Christmas).
However, I stupidly forgot it at home, right next to where I’d packed my suitcase, so I couldn’t get him to sign it (and BD artists always draw something when they give their autographs). So I kept walking up and down in the very busy main hall, trying to find a solution (they had none of Cabanes’ other volumes). Finally, I bought another copy and explained the whole dilemma to him. He was so lovely and chatty, we ended up talking for 20 minutes or so. He went to Paris initially to become a ‘serious’ artist and sculptor, claimed he wouldn’t sell his soul to BD, until he discovered he loved telling stories… and that it helped pay the bills much more effectively. He did admit that it was much more difficult for young artists today to break into the field and make a living out of it (and he had advice for my older son, who likes writing and drawing his own BD).
Finally, although I knew that it takes at least a year to produce a normal sized graphic novel, I was stunned to discover just how long it took Cabanes to adapt Fatale – nearly 3 years! That’s because he is meticulous about his research, every little detail has to be perfect, and, even though Manchette is very cinematic in his writing, you still have to select the best ‘moments’ to illustrate. So, worth every euro, I think! He also told me he is reviewing his reworking of ‘Princess du sang’ by Manchette and will have a beautiful re-edited version published in autumn.
Meanwhile, I have a spare copy of Fatale to give away, so let me know if you read French and have a hankering for it…
2) Informal Encounters with Humans
Meeting some of the big names of literature can be an intimidating experience, especially when you are just one of the hundreds who are assaulting them at such events. Plus, I have the tendency to get uncharacteristically tongue-tied and shy (afraid I can’t think of anything intelligent to say, something they haven’t heard thousands of times before). So it really helps when you bump into them informally or somehow manage to catch them at a time when they are not being jostled into place for their next panel or signing. [It must be very tiring for them, to be honest, as the timing is very tight and you have to run from one venue to the next.]
Most crime writers I’ve met are delightfully unpretentious, warm human beings. I gushed to Sean French and Nicci Gerrard (of Nicci French fame) that I’ve been a huge fan ever since I heard them speak about the Moomins and the Martin Beck series at the Henley Literary Festival 6 years ago and congratulated Nicci on her brilliant initiative to allow family of dementia patients improved access to NHS hospitals.
You have to balance this, however, with the danger of being considered a stalker. I happened to come across Attica Locke powdering her nose and was not sure if I should approach or not. I’m glad I did, though, because she is funny, down-to-earth and politically engaged. She was signing books next to one half of Michael Stanley – namely Stanley Trollip – from South Africa (of Inspector Kubu fame) and you couldn’t have asked for nicer neighbours at the table. Stanley explained the very collaborative writing process with Michael Sears as ‘like an old married couple, we may bicker but we haven’t got divorced yet’. A bit like Kubu and his wife Joy, then!
Alongside personal hero(ines) such as Ian Rankin, Denise Mina, Val McDermid and Sylvie Granotier, I also got to meet Louise Penny. I only discovered her series about Quebecois inspector Armand Gamache 2 years ago (thanks to Margot Kinberg), but she has become one of my favourite authors with her inimitable blend of cosy location, unforgettable characters, cracking plots and profound questions about the human condition, personal relationships and the nature of beauty and creation. She is so gracious, beautiful and generous: I want to be like her when I grow up!
3) Online Friends and the City Itself
But what would even a beautiful and gourmet city like Lyon be without the people you meet there? I got to spend some time with the charming Lyonnaise-by-adoption Emma, who blogs in English and has done an excellent write-up of the event.
Last, but not least, I had the pleasure of meeting once more my blogging friend Catherine, whose pictures of the event are much more professional than mine. She knows more about British crime fiction than any other French person I know, plus she is my constant source of reference for French and other crime.
I’ll tell you more about Saturday night’s Murder Ball and the city-wide Murder Mystery Trail in a future post, as well as the books I bought and the new-to-me authors. I’ll probably drone on and on about this event until you’ll start wishing I’d never gone there. I don’t get out much, you see – this is my one big event of the year, so bear with me…
In return, please keep me informed of all the other great events in the UK and US that I’ll be missing this summer!