Showing posts with label Ellery Queen's Mystery Magazine. Show all posts
Showing posts with label Ellery Queen's Mystery Magazine. Show all posts

"East of A" by Russell Atwood

“East of A” was originally a short story in the July 1997 issue of Ellery Queen Mystery Magazine. That was when Russell Atwood first introduced his series Private Detective Payton Sherwood to readers. The story was about a missing teenager from New Hampshire who followed a musician to New York City and never made it back home. Payton thinks it might be tied into a recent purse snatching and murder, so he takes to the streets of New York City’s famed East Village and Alphabet City, which Atwood vividly captures from intimate, first-hand experience. It’s the author’s stamping ground, and his geographical know-how gives a unique flavor to the story. There are a couple of convenient coincidences in the plot, and Payton hasn’t fully come of age as a character yet, but Atwood makes up for this with a sobering twist at the end. More than anything, however, it is that local authenticity that stands out in the story.

Two years later, Ballantine published Atwood’s full-length novel East of A. Same title, same neighborhood, same Private Detective, but Atwood takes things to another level. The writing is rich and confident, the plotting intricate but precise, and the characters as lively and vivid as their East Side surroundings. Atwood bends the Private Eye genre without breaking it, and his story is absorbing and original.

This time around, Sherwood comes across a teenage girl named Gloria being attacked on the streets. When he steps in, he gets beaten up and she gets away. Before she flees, she steals his gold Rolex. At first he just wants his watch back, but soon he uncovers a mystery that he can’t let go of. Word on the street is that she stole a lot of drugs and that the dealers are looking for her – but they can’t find her, and neither can Payton Sherwood. Soon some of the local residents of Alphabet City are turning up dead, and Payton wonders how much longer before someone else finds the girl first?

In the novel East of A, Payton Sherwood emerges as a mature character, a modern incarnation of the Private Detective that pays homage to the classic archetypes but doesn’t blindly repeat them. His apartment is messy, he’s not exactly a gourmand (often eating cheese and crackers), and he doesn’t have the token secretary like so many PIs of yesteryear. Like many of the residents of Alphabet City and the East Village (including the girl he is looking for), Payton Sherwood is a little lost himself. Perhaps that’s why he ignores the job offers from his former employer, Metro Securities, in order to pursue an empty dream of finding this girl. There’s no light at the end of this tunnel, no reward waiting for him, no prize girl to put her arms around him. Payton’s not the white knight that Marlowe was, nor is he the vigilante that Mike Hammer was, or even the seeker of booze-and-broads like Bill Crane. Payton’s interest in Gloria goes much deeper – deeper than perhaps he even realizes – and reveals the detective’s own uncertainty and indirection in life.

Even more than the original short story, here Atwood proves that he can write New York with the best of them. Reading East of A takes me right back to my first visits to the East Village and Alphabet city, right around the same time the book was published. Since that time, St. Marks Place and the surrounding streets have changed greatly. East of A is like a time capsule, perfectly capturing the neighborhood the way it might never be again. If you never visited during that time, read the book and you’ll know the sights and smells like you were there just yesterday. Atwood’s prose is also both colorful and inventive – a favorite turn of phrase is when he describes a fight by saying “It went on like that for five pages.” It cleverly conveys the lengthy, arduous encounter without belaboring it for five pages.

East of A is now out of print, though it is available as an eBook. The short story is also available for eReaders, or as a free PDF from the author’s website. Atwood’s follow-up, Losers Live Longer, also features Payton Sherwood and was published by Hard Case Crime in 2009.

Some of my favorite quotes:

“From that distance, the city stays the city of your imagination: a scintillating island of promises, of hope, of love renewed. Not until you get closer is the sobering truth revealed: you’re happier to see her than she is to see you. Not angry, not resentful. Worse. Uninterested, dispassionate, preoccupied; her reticence inspires myth.”

“We’re all in the gutter, I thought, but some of us are looking at the swollen cigarette ends, wadded pizza-parlor napkins, and a discarded, toothless comb.”

“We’ve got these voids, empty spaces,” he said, “some of us – maybe all of us – inside us. You got to fill it with something. People try smoke, alcohol, God, violence…You smoke, right? So maybe you can understand a little. There’s a poem goes, ‘Water is taught by thirst.’ So true.”

Ken Bruen Goes Western with "Colt"!

Ken Bruen, that elegant bard of noir hailing from Ireland, takes on the Wild West in his latest story, “Colt.” It appears in the August 2010 issue of Ellery Queen Magazine. In just six short pages, Bruen manages to pack in all that we love about his work—the personal tragedies of Tower (co-written with Reed Farrel Coleman), the inimitable punchy poetry of The Guards, and the gut-busting humor of Bust, Slide, and The Max (all co-written with Jason Starr)—but he also manages to show a new side to his art as well. Bruen is damn good at Westerns! It's funny, action-packed, and packs a solid punch at the end, and I can't recommend it highly enough.

“I had me a thirst, been riding hard, real hard, to get way the hell outa Arizona, they wanted me real bad in that godforsaken place

“The why is a whole other yarn and I ain’t gonna bother you none with that hokum now


“Doggone no.


“This here is about a gal


“Ain’t it always?”


The story is about a wandering gunman who learns the hard way why you keep you mouth shut at the bar. In between shots of whiskey he hears of an impending hanging that has everyone in town excited. Why, you ask? Because it isn’t just any old criminal at the end of the rope, it is a woman. And just who is that woman…someone from the gunman’s past that he can’t get out of his mind.

“Colt” is thoroughly a Western, but there are still traces of Bruen’s noir sensibility lurking just beneath the surface. How many of noir’s fallen heroes (or ennobled villains, depending on how you look at them) started like this? “I’d made me some gold offa a claim that was already staked out and I was looking to spend it, met Molly in a saloon and she not only took off with my stash but my dumbass heart as well.” Clearly Bruen is having a grand ol’ time with lines like these, and we’re laughing along with him, but were this to be rewritten without humor, we’d be looking straight at the start of a classic pulp tragedy.

Bruen wrote “Colt” as a tribute to the late Robert B. Parker. As he explains, “Robert Parker was one of the reasons so many writers turned to mysteries… He made it so deceptively easy to read. But there will never be another of his talent, I miss him so.”

If this isn’t enough of a reason to pick up the August 2010 issue of EQMM, just take a look at that gorgeous vintage pulp painting by Norman Saunders called “Jump Ship” from 1950. They don’t make ‘em like that anymore…well, Glen Orbik does, and Robert McGinnis is still around. Let us be thankful for this.

“The Flaw in the System” by Jim Thompson (Ellery Queen's Mystery Magazine, July 1956)

Con artists are nothing unusual in the world of Jim Thompson, but what is atypical about his short story “The Flaw in the System” (Ellery Queen's Mystery Magazine, July 1956) is that, instead of putting us in the shoes of the criminal, Thompson takes the point-of-view of the victims. Moreover, the victims – our narrator and his boss at the credit lending office – not only recognize they are being conned right from the get-go and allow it to happen, they also sympathize with the grifter. They also envy his nonconformity and freedom, a desire that characterizes many of Thompson’s protagonists, and in many cases causes their downfall.

When a nameless, faceless drifter wanders in and asks for credit with no job or collateral, the creditors know that he’s going to just run out on them and never repay the loan. Yet, for some reason, they are compelled to go against company policy and approve his application. It is this impulse, rather than the con, that preoccupies Thompson. For him, it is a heroic act – a mistake necessary to prove one’s humanity and individuality, and ultimately one’s own agency over their own thoughts and actions. In Thompson’s novels like The Killer Inside Me (or any number of his other books), these impulses become much darker, leading not towards the subversion of an inhuman organization but murder. Though even in this story one can feel Thompson’s trepidation towards the characters and their actions because even they recognize the dual implication of what they did. On one level it may prove they were human, but it also proved they weren’t in control of themselves. And that is something to worry about.

“Well,” I hesitated. “It was like I had to do it to prove something. That I was a person – a human being, not just part of a system. That there wasn’t any system big enough to keep me from doing the right thing. So – well, I guess that’s why I did it. Because it was the only way, it seemed, that this guy would go on liking me. And I was afraid that if he ever stopped liking me, I – I just wouldn’t be any more. I’d have moved off into a world I could never come back from.”

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Cover art by George Salter.

“The Flaw in the System” was also reprinted in
Fireworks: The Lost Writings of Jim Thompson (Donald I. Fine, Inc., 1988), edited by Robert Polito and Michael McCauley.

"The Town Square" by Orrie Hitt (Swank, May 1964)

"The Town Square" is one of the few known short stories published by prolific novelist Orrie Hitt, and it appeared in the May 1964...