This announcement is criminally late, and will serve only to inform potential attendees in the Iowa-Illinois Quad Cities area. How criminally late? The event takes place the evening of the day this update is posted.

I will be appearing at a screening of Road to Perdition at the Figge Art Museum, doing a post-film Q and A joined by my frequent collaborators, Barbara Collins and Matthew V. Clemens.

Here are the details as reported by Tristan Tapscott at QuadCities.com:

Okay, why such a late announcement? Two reasons – the official date of this event was originally announced at a time Barb, Matt and I had not cleared with our schedules. The correct information about a new date did not get announced until just recently, and that announcement did not fall neatly into when my weekly update/blog appears (each Tuesday morning).

Now, I could have done a special posting earlier last week, but I was caught up in writing the final chapters of the new Nathan Heller novel (for Hard Case Crime), The Big Bundle.

I’m going to talk about that now.

As I’ve said here before, the Heller novels are my proudest achievement and the series is what I consider my signature work. Quarry, which after Heller is my favorite among my series, has become my signature work in the eyes of some. I don’t resent that at all – I like that two things of mine are viewed with such enthusiasm by readers. And of course Road to Perdition (and its sequels and subsequent graphic novels) is the most famous…though I should note that Road to Perdition was an off-shoot of the Heller saga.

Keeping Heller alive throughout my career has been tricky. The day when a mystery series could keep going at the same publisher over many decades had already ended when True Detective (the first Heller novel) was published in 1983. Spillane, Stout, Hammett, Chandler, Christie, and any number of less household-name authors were able to stay with one publisher and one series for a long, long time. But for some while we have been in a situation where publishers cancel a series – somewhat in the network TV mode – as soon as they deem it to have run its course, i.e., as soon as sales begin to drop at all. Often after one or two of three entries.

Heller has been cancelled and pronounced dead (even by my own agent) more times than Dracula at Hammer Films. I have been encouraged to leave him behind and write something new. Well, writing something new is no problem – I like doing that. But when I have hold of something special, I want to stick with it.

That’s why, when I had the opportunity decades later to pick back up with Quarry, I grabbed the chance. I knew Quarry was among the handful of innovative things I’d done in my career – a first-person hitman “hero” was, in a field that is built on recycling the ideas of others (and your own), something unique. When you have writers as gifted as Lawrence Block and Loren Estleman following your lead, you must be doing something right.

Heller is probably my major contribution to mystery fiction because he went somewhere no private eye had gone before: real crimes, researched as if this author (me) had been preparing to write the definitive non-fiction account of each crime…and with fresh solutions to those crimes. Additionally, he would age and change, would have a father and mother, would marry and produce an offspring, his one-room office would over the years become a coast-to-coast agency, and he would do human things like cry, fart, lie and cheat while not losing his P.I. credentials of having a code and being the best man in his world. I consciously chose to examine the cliches and tropes of the private eye, to find the reality behind them – to take Heller back to when Race Williams, the Continental Op and Sam Spade took the private eye into public consciousness…and when in fact there were real private eyes more or less doing for a few decades the fanciful things fictional private eyes would do for many decades.

But continuing the Heller series over decades has a downside that perhaps publishers anticipated. The novels get less frequently reviewed. New waves of fans ignore the books and don’t even try them. Their cultish status – their historical nature – get them ignored by mystery fandom publications. Reviewers who love the Heller novels and rave about them will forget to include them on their year’s end “best of list,” perhaps because the Hellers are in a sub-genre of their own. Or maybe Heller is just a been-there-done-that for such reviewers.

Keeping him alive meant somehow bamboozling various publishers into picking up a series that another publisher deemed had run its course. I started at St. Martin’s, moved to Bantam, then Dutton, and (after a decade-long break) to Forge. Now, Charels Ardai – who understands the hardboiled field, including its history – has picked up my torch at Hard Case Crime.

What has caught up with me, after all these years, is all these years. By which I mean, I am 74 and doing a Nate Heller book is a bitch. It really is. The joy of writing Quarry or Nolan or Mike Hammer is that a fairly minimal amount of research is involved. Some research is necessary, particularly since all the recent books in those series are set in period. Even though I lived through those eras doesn’t mean I was paying attention. I still have to check things like what songs were popular and what night TV shows were on, and fashions and brand-names, and on and on.

But generally there are great stretches where I can just write – I can just follow one of my protagonists into and through a scene, and dialogue can ensue as well as mayhem and eroticism. That’s when writing fiction is fun – when you have room in the kitchen to cook.

And Google has made much research both possible and easier. For decades, research associate George Hagenauer (who did not participate much in The Big Bundle) and I would both spend hours in libraries and other research-friendly facilities digging out all kinds of things. We both have built voluminous libraries of books and magazines that we have scoured over the years to produce Heller and other historically-themed novels. Google – added to those already assembled personal libraries – has made doing Heller easier.

But not easy.

Let me put it into perspective. Quarry’s Blood was written in three weeks. The Big Bundle took two months of reading/note-taking followed by three months of writing. (I got paid the same for both Blood and Bundle. Not complaining – that’s just the reality.) At my age, the degree of difficulty for doing a Heller is considerable.

I have committed to doing another Heller for Hard Case Crime, Too Many Bullets, which with The Big Bundle will comprise what I will likely call The Kennedy Quintet (Bye Bye, Baby; Target Lancer; and Ask Not being the previous novels in this cycle within the Heller cycle).

I find myself wondering – assuming I’m able to stick around on the planet a while longer – if I have the energy to keep Heller going. I have wanted to do a Watergate novel with him for some time, and have considered a Martin Luther King assassination novel (although in the current climate that may be a bad idea). I had a George Reeves/Superman novel in the research stage, but the film Hollywoodland came out and explored the same subject, so I shelved it; but enough time has passed that I might reconsider. There are several other smaller crimes that might become shorter Heller novels.

Perhaps he will have run his course by the end of Too Many Bullets. Lord knows I don’t want readers to say I’ve written Too Many Hellers. But the practical consideration of the degree of difficulty of these things may decide it for me.

I am picturing this week a page from the manuscript of The Big Bundle. I have circled everything that required me to stop and do research before going on. You will see, I think, what I am up against.

And yet I love having written The Big Bundle. Unintentionally, it became – like Skim Deep for Nolan and Quarry’s Blood for Quarry – a meditation on what had come before. Quite accidentally, Heller finds himself in situations that resonate with his past, starting with the case at hand being the kidnapping of a child – summoning both the Lindbergh kidnapping and his own fatherhood. If not a coda to the Heller saga (chronologically it appears before Target Lancer and Ask Not), it is a reconsideration and a revisiting of what has gone before.

None of this is bitching by the way, or if it comes across that way, my apologies. These are just the thoughts that occur to me as, with Barb’s help, I prepare to enter my final corrections into The Big Bundle manuscript and get it sent to Hard Case Crime yet today.

In a list of favorite Paul Newman films, Connie Wilson includes a nice little write-up of Road to Perdition.

This is a lovely review of Quarry’s Blood, but BEWARE – it includes a MAJOR SPOILER.

And here’s a podcast featuring Brad Schwartz, discussing our Eliot Ness non-fiction tomes. (I passed on participating because I was deep in The Big Bundle.)

M.A.C.