Posts Tagged ‘New Releases’

Heart-Felt Pt. 5

Tuesday, February 2nd, 2016
Quarry's Cut

Okay, this is getting ridiculous. The day this is posted I will be getting an out-patient procedure that will determine whether I will finally get my heart surgery, which if so, will likely (pause while I laugh hysterically) be next week. I never dreamed that I would be so eager to get an operation like this, but this has been going on since last June.

I will continue to keep you posted, and either Nate or I will provide updates here and on Facebook (our weekly ones will continue to be posted each Tuesday morning).

My apologies for this unintentional cliffhanger serial – I’m usually not quite this corny – but I continue to appreciate the support from my readers, friends and acquaintances. It’s been a great boost to the spirits.

Perhaps in honor of my inevitable surgery, the Quarry reprint out this month is QUARRY’S CUT. Also coming out this month are mass-market paperbacks of ANTIQUES SWAP and KILL ME, DARLING.

* * *

A piece of good news for longtime readers of my stuff: my complete novel version of ROAD TO PERDITION the movie is due to be published along with reprints of ROAD TO PURGATORY and ROAD TO PARADISE. You may recall that my PERDITION novelization was reduced to a pale shadow of itself back in the day – a 40,000 word condensation of the 70,000-word novel is what was foisted upon the public (it even made the New York Times best-seller list). As a great man once said, “Pfui.” But we appear to be on the verge of vindication.

In addition, new editions of BLACK HATS and RED SKY IN MORNING are in the works, to be published under my own name for the first time (R.I.P. Patrick Culhane).

All five of these books will be published by Brash Books, which is in part the brainchild of my buddy Lee Goldberg.

I now have in hand all five Hard Case Crime reprints of the first five QUARRY novels, each with a stunning Robert McGinnis cover. Or I do, assuming this isn’t an hallucination, which is kind of what it feels like. This latest publication of QUARRY continues to stir up reviews of a novel that was first published in 1976 – that’s forty years ago – and written a few years before that.

For example, there’s a splashy QUARRY review, featuring the McGinnis cover, in the second issue of the amazingly slick and colorful (and expensive) UK magazine, CRIME SCENE. On your newsstands now. Nice write-up, but one that includes the now-usual complaint about Quarry’s non-PC gender attitudes – again, a forty-year old book is accused of being somewhat “dated.” No one seems to mind that he’s an assassin. I guess some things just never get old.

Check out this QUARRY review from Col’s Criminal Library.

And this one from the San Francisco Book Review.

QUARRY’S DEAL is given a fine review at Everything Noir.

Finally, here are a couple of splendid reviews from Bill Ott at Booklist that you may have missed:

QUARRY.
Collins, Max Allan (Author)
Oct 2015. 271 p. Hard Case Crime, paperback, $9.95. (9781783298839).

Originally published in 1976 as The Broker, this first novel in Collins’ series starring the Vietnam-vet-turned-hit-man finds Quarry five years into his career as an assassin for hire, getting his assignments from a middleman called the Broker. Trained to kill in Vietnam, Quarry finds he quite likes the work and has no trouble distancing himself emotionally from what he does. But he doesn’t like complications, and when the Broker adds a wrinkle involving drugs to Quarry’s latest job, the hit man protests. So begins the severing of the Quarry-Broker connection, a relationship that we learn much more about in succeeding novels in the series.

Collins didn’t know Quarry would lead to a series when he was writing it, but he set the table perfectly, even so. Quarry was the first hit-man antihero in crime fiction, and, unlike most of his successors, he remains the most “pure,” in the sense that he isn’t somehow a good guy who only kills those who need killing (Dexter, et al.); no, Quarry kills for money and tells you so. Yes, he has his own sense of justice and will sometimes kill (pro bono) those he feels are on the wrong side of his very personal scales of right and wrong, but he’s still a killer more than a knight errant. And, yes, Collins makes us root for Quarry, or he draws us so completely into Quarry’s world that rooting for anybody becomes beside the point. That, after all, is the real trick to creating a compelling antihero.

Collins also pairs his antihero with a writing style that is perfect for the man and the premise: mainly straightforward, no-nonsense declarative sentences, more Hammett than Chandler, more Spillane than Hammett. Killers shouldn’t be fancy talkers, especially those who work the drab mean streets of places like the Quad Cities, spanning the Mississippi and connecting Illinois and Iowa, where the action in Quarry takes place. And, yet, just to keep us off balance, Collins will occasionally show some Chandlerian chops, as when he describes a cluster of trees “bent over green and graceful in the less than gentle afternoon breeze, like oversize, out-of-shape ballet dancers trying in vain to touch distant toes.” Even hit men can wax poetic now and again.

Although Collins originally saw Quarry as a stand-alone, he did leave his protagonist in a major pickle at the end of the book. The implication seemed to be that Quarry was doomed—a fitting end for a one-off noir—but when an editor asked the author to write more about the character, Collins was happy to find a way to get Quarry out of his pickle. When Hard Case finishes its reissuing of the first five Quarries, there will be a total of 11 pickle jars on the shelf (the original five plus the six Collins has written since he brought back the series in 2006)—and plenty of room for more.

QUARRY’S LIST
Collins, Max Allan (Author)
Oct 2015. 219 p. Hard Case Crime, paperback, $9.95. (9781783298853).

His relationship with the man known only as the Broker irretrievably broken in Quarry, the first in the series, Collins’ hit-man-for-hire hopes to develop a new business plan. Without the Broker to act as middleman, setting up clients for Quarry and others to kill, it could prove difficult to find marks, but Quarry has grown disenchanted with working through someone else and wants to go another way. But before that can happen, he must deal with the other hit men he knows will be coming for him, as various lethal entrepreneurs vie for the prize of taking over the Broker’s business. Quarry is ready when they come and dispatches a pair of killers with little trouble, but that’s only the beginning. Tracking back to find the man who wants him killed, he falls hard for a blonde in a swimming pool, only to discover that she’s the Broker’s wife and, further, that the man he is hunting is setting up a hit on Mrs. Broker. A plan is forming in Quarry’s mind: the killers in the Broker’s employ will all contract with other brokers eventually and go back to work. If Quarry can find the Broker’s list of killers, he can start his own business by tracking them to their next jobs and hiring himself out to their would-be victims: pay me, and I’ll kill the guy hired to kill you. It’s an ingenious scheme, but there’s lots of preparatory killing to do first.

Hats off to Collins: he needed a scheme to keep his series going, and he found a doozy. As Quarry puts it, “I’d still be killing people, but for the most part it would just be other hit men, like myself, and that seemed a step up somehow.” Originally published in 1976 as The Broker’s Wife, Quarry’s List is being reissued by Hard Case Crime along with the four other early Quarry novels (Collins took a 30-year hiatus from the series before bringing Quarry back in 2006). This one shows Collins developing the storytelling skills that eventually will define his long career as a genre writer. His plots are tricky but never overly so; like the late, great Ross Thomas, he knows how to build a maze but not lose his readers in it before showing them a way out. So it is here, as Quarry must juggle various pieces on a moving chessboard: the list, the widow, the killers, the plan. Fortunately for genre fans, Quarry (and Collins) are up to the challenge.

M.A.C.

James Bond And Me

Tuesday, November 10th, 2015
Fate of the Union

Paperback:
E-Book:
Audio MP3 CD:

Before we get to James Bond, I need to mention that FATE OF THE UNION’s pub date is today. Over the weekend, Barb and I took a day trip to Des Moines and listened in the car to the audio version, read by the always terrific Dan John Miller.

This really seems like a good one to me, whether you read it or Dan reads it to you, and I hope you’ll give it a try.

* * *

We tend to think of the pop-culture British Invasion as beginning with the Beatles. But I doubt the Beatles would have hit quite so hard if secret agent James Bond hadn’t softened up American teenagers first.

I was thirteen or fourteen when I first read Ian Fleming. I was in the eighth grade, and in complete Mickey Spillane/Mike Hammer thrall. But Mickey wasn’t writing much – his first novel in almost a decade, THE DEEP (1961), was not a Hammer – and I was in the market for something to tide me over until Spillane got around to writing something again. But I’d already plowed through all the Richard S. Prather/Shell Scott novels and a lot more (and Chandler and Hammett, of course).

Then came James Bond.

Ian Fleming, on the first round of Signet paperback Bond reprints (significantly, Mickey’s paperback publisher), was blurbed as the British Spillane, and Bond the Brit Hammer. This wasn’t hard to do, since many reviews pointed out Spillane as a Fleming source, and Signet even used Hammer cover artist Barye Phillips. Despite Fleming’s third-person approach, and the civil servant aspect of the character, Bond was nonetheless very similar to Hammer – a killer who got a lot of sex, to put it bluntly. Calling Bond a Hammer imitation would not be going too far.

The first Fleming novel, CASINO ROYALE – published at the height of worldwide Spillane mania (1953) – was in particular a Hammer-like novel, right down to its violent, sado-masochistic torture-scene climax and its abrupt ending, with the chilling last line of the book not unlike I, THE JURY’S “It was easy.”

While Fleming never replaced Spillane in my pulpy little heart, Bond zoomed into a secure second place behind the world’s toughest private eye. Reading these books in the early ‘60s – though most were published in the ‘50s – Bond seemed a logical next-decade extension of Hammer, particularly through the intermediate step of cool Peter Gunn, the Hammer imitation that sparked the TV private eye fad. The GUNN pre-credits sequences, followed by Mancini’s powerful theme set to abstract animation, is an obvious precursor to the way Bond films begin to this day.

I was alone among my junior-high peers in my enthusiasm for Fleming (a few were into Spillane, though). So when suddenly, in 1963, a film of DR. NO appeared on the pop-culture horizon, I could hardly believe it – had people in England actually made a movie just for me?

As an only child, I occasionally was able to pressure my parents in doing what I wanted. And what I wanted was to see DR. NO the evening it opened in Davenport, Iowa. Trips to the Quad Cities, before improved highways came along, were rare for my family. It took a lot of work to get my parents to take me to the first Bond film, in the middle of the week on a school night.

As someone who had been reading Fleming, I can assure you that Sean Connery’s “Bond, James Bond” all but sent me into a paroxysm of glee. He was perfect, and so was the movie. Soon the disease spread, and within a year all of my friends, particularly, the males, were Bond fanatics. We routinely went to openings at matinees and sat through the films at least twice. In those pre-VCR days, we gobbled up the double feature retreads that appeared a year or so later, as well. Binge watching is nothing new.

My lovely wife Barb also loved the Bond films, and in the early days of going together and well into the early years of our marriage, we would follow that same matinee-then-sit-through-it-again routine. The delight of seeing YOU ONLY LIVE TWICE twice remains a fond, shared memory.

Since then, I have never missed a Bond film on opening weekend – usually opening night. This continued through the hit-and-miss Roger Moore years – as a MAVERICK fan, I was more forgiving than some, since Moore had been Cousin Beau Maverick (and of course the Saint) – and I have a vivid memory of Barb and me seeing LIVE AND LET DIE in a theater in Wichita, Kansas (on our way back from a comic con in Texas). The title song and credit sequence was so great, what followed seemed pretty good, too.

I’ve gone on record here and elsewhere that I consider Timothy Dalton the second-best Bond next to Connery, who in my heart of hearts is the only true Bond. There are Bond movies without Connery, but the only real Bond movies have Connery in them (and I include NEVER SAY NEVER AGAIN). On the other hand, Pierce Brosnan makes a fine melding of Connery and Moore, and unfairly got the bum’s rush out of a series he helped revitalize.

Now we come to Daniel Craig, who is a fine, tough Bond, if a little rough-hewn for anyone who has read the books – he’s one of those actors who the leading ladies love because the script tells them to. That aside, he may be the finest actor ever to play the role, and CASINO ROYALE, QUANTUM OF SOLACE and SKYFALL are terrific movies, including the second one on that list, even if it does lag behind the other two.

Which brings us to SPECTRE.

Spectre

First, here’s what I don’t like about the film – Sam Smith’s song. The title sequence is great, but Smith is a second-rate talent with a third-rate song, and Bond films deserve better. They deserve the best.

Second, here’s what I like about the film – everything else. I know reviews have been mixed, but those reviews tend to look at the film in an inappropriate, realistic way, not in the context of the series. They wanted something grittier, and instead got what they dismiss as a formulaic Bond film. Were these naysayers present during the last few scenes of SKYFALL, when the series did a backward reboot with Bond entering the classic Connery-era office?

SPECTRE is what the first three Craig movies were leading up to – a big, sometimes a little dumb, but always exciting James Bond movie much in the manner of DR. NO, FROM RUSSIA WITH LOVE, GOLDFINGER, THUNDERBALL, YOU ONLY LIVE TWICE and ON HER MAJESTY’S SECRET SERVICE. Virtually all of those films are referenced in SPECTRE, but not in cutesy ways. The villain’s liar is DR. NO and YOU ONLY LIVE TWICE; Bond in captivity facing slow death is the laser-beam scene from GOLDFINGER; FROM RUSSIA WITH LOVE’S hand-to-hand combat in a train compartment is expanded to every car; and ON HER MAJESTY’S SECRET SERVICE is referenced by a snowy mountain retreat and some Alpine violence.

At the same time, modern elements come into play – there’s nothing retro about the way Moneypenny, Q and M are portrayed, and the size of the action scenes rival or probably out-do anything in the BOURNE films. The villain (who also appears in a number of the films mentioned above, but I won’t spoil things by telling you that he’s Blofeld) (whoops) is the Moriarty of the Bond movies. Speaking of Moriarty, the actor who portrays him in the BBC SHERLOCK (Andrew Scott) appears as an adversary of M’s in the muddy bureaucracy of British spydom. Seems the bad guys want to control all the surveillance in the world, including anything pertaining to innocent citizens like you and me – which is about as topical a theme as you could come with.

If you don’t like this movie, I’m sorry, but you’re not a James Bond fan. You may be a fan of SKYFALL, you may be a fan of Daniel Craig, but not a Bond fan. And what gives me the right to make such a pronouncement? Well, without me, there would have been no SKYFALL or SPECTRE.

You see, I wrote a little graphic novel called ROAD TO PERDITION, the Sam Mendes-directed movie of which featured Daniel Craig. If I had not written PERDITION, Craig and Mendes would not have (wait for it) bonded.

You’re welcome.

* * *

Please check out one of the coolest reviews I’ve ever received for a Mike Hammer.

This just in: a review of the 1990 paperback, DICK TRACY: THE SECRET FILES.

And here’s a review of the Ms. Tree novel, DEADLY BELOVED.

Check out this splashy display of FATE OF THE UNION with a brief, nice review. (Did I mention this was pub day?)

Library Journal takes a nice look at Titan Books, with a mention or two of yours truly (oddly, though, no Mike Hammer reference).

Finally, here’s a terrific review of THE FIRST QUARRY.

M.A.C.

X-Files Is Out There

Tuesday, July 28th, 2015
The X-Files: Trust No One
Paperback:
Audio MP3 CD:

The surprising news of a new, six-episode season of THE X-FILES featuring the original cast caused me to reflect on just how much Barb, Nate and I enjoyed the series, back in (as they say) the day. How we never missed an episode, even when we were so frustrated we wanted to throw a brick through the screen (“All will be revealed!”), and binge watching our laser discs that allowed some of the fan favorite episodes to be viewed again and again at home (amazing).

The series ran nine seasons and a major, big-budget motion picture was part of the mix, as well. Toward the end of the run, I was well-established as a writer of tie-in novels, and was approached by Harper Collins (the publisher, not some obscure cousin of mine) to develop a proposal for an original X-FILES novel.

In the business of writing tie-ins, Fox TV was notorious for being hard to work with, especially on the X-FILES franchise. But I was such a fan, I wanted to do it anyway. So for a period of about a year, off and on, I worked under the guiding hand of a Harper Collins editor to produce a fifty-page story treatment for a novel. This was entirely on spec, something I rarely do – but remember, I was a fan.

I came up with something I thought was very, very good, and so did the editor – a kind of X-FILES MEETS AMITYVILLE. We sent it in. We never heard a word. No rejection, much less an acceptance. That’s the writing biz – you drop something down a well and don’t even hear a splash.

By this time the series was in its final season, and not only did my tie-in never happen, no other X-FILES novels by anybody happened, either.

Then in 2008, a second film was produced: THE X-FILES: I WANT TO BELIEVE. Out of the blue, I was approached to write the novelization. I was thrilled, although I was apprehensive, because the movie was being produced in great secrecy, and the reputation of the X-FILES people being impossible to work with was a less than distant memory.

As it happened, I WANT TO BELIEVE was the single best experience I ever had, writing movie novelizations. I was one of a small handful of people (something like five) who had a copy of the script. The actors, I understand, had only their own script pages. The cinematographer had to read the script in a bank vault. But it was on my desk in Muscatine, Iowa.

Both Chris Carter and especially co-writer/producer Frank Spotnitz were terrific; I was frequently on the phone with the latter. If I had questions about wardrobe, I was sent daily costume sheets. I had photos from the set when the Internet had next to nothing. In one case, the editor of the film (Richard A. Harris, Academy Award winning editor of TITANIC and TERMINATOR 2) sat at his computer in Canada and described an action scene to me, frame by frame, that was not in my script. We were on the phone for two wonderful hours. Incredible.

I think I WANT TO BELIEVE is one of my best movie novels, but the film itself disappointed a lot of people. I liked it. It was an intelligent monster-of-the-week episode with some daring themes. The mood was right and the two leads were typically stellar. I remain thrilled that, sort of at the last minute, I became a part of THE X-FILES.

Now with the six-episode special-event series coming, a real push on X-FILES material is under way, particularly from IDW, with whom I have a long history. I was approached by the fine writer (also fine guy) Jonathan Maberry to contribute a story to an X-FILES anthology, TRUST NO ONE. I asked if I could do a novella and was given permission.

Now all will be revealed: I used my long-ago story treatment for the novel that never happened to write “The House on Hickory Hill.” Finally I got some money for writing it! Finally that story gets to be seen. And I think it’s a good one.

Also, a series of X-FILES audio books has been produced including the various vintage original tie-in novels and the two movie novelizations (also TRUST NO ONE). That means that suddenly a 2008 movie novel of mine has an audio book. I haven’t heard it yet, but admit I am pleased it exists and will delight at revisiting that underrated tale again, on some road trip to come.

The X Files: I Want To Believe

It’s hard to know if THE X-FILES will be a “thing” again or just be a nostalgic blip on the pop-culture radar. The early ‘90s is suddenly a very long time ago. But THE X-FILES is a series that had an incredible impact on everything that came after. CSI, for example, played off a similar flashlights-in-the-dark vibe. As frustrating as the serialized nature of X-FILES could be, it set the stage for so many novelistic series to follow. Of current series, ORPHAN BLACK is steeped in the X-FILES approach.

I, for one, can’t wait to once again be thrilled and frustrated by this seminal series.

* * *

I am pleased to find this review of BATMAN: SECOND CHANCES that likes and understands my run on the comic book. This is definitely worth checking out (scroll down some).

This somewhat ancient but lovely review of my novel SAVING PRIVATE RYAN has popped up on the Net.

Here’s an interesting article on the QUARRY TV series moving to Memphis for its last weeks of production on season one. Lots of mentions of the novels.

Finally, here’s a write-up on the Eclipse comic book company that includes a brief but very nice mention of MS. TREE.

M.A.C.

Batman — Second Chances

Tuesday, June 23rd, 2015
Batman: Second Chances

Nobody at DC Comics informed me of this, but a collection of all of my BATMAN comic book stories has been published. A small box of comp copies arrived the other day, my first contact with DC on the book. Its pub date is July 21, but comic book shops may have it sooner.

It’s a handsome volume, but I haven’t sat down to read it yet. That experience will no doubt be bittersweet, because my BATMAN comics were not well-received by a significant number of fans. Even today, I’m one of the least popular BATMAN writers on many comics chat sites.

My position has always been that I did a good job, but was undone by poor editing. The latter is hard to prove, because I no longer have my scripts and my memory is fuzzy – I just know that certain explanatory captions were dropped and several sequences that were cross-cut got reassembled in a more linear, boring fashion. Back in those pre-Internet days, contact with an editor (in this case, the legendary Denny O’Neil) was strictly through the mail and the occasional long-distance call. I’ve come to think that Denny and I were not a good fit because, ironically, we both respected each other’s work so much that we didn’t want to step on the other guy’s toes.

What really turned me into an also-ran on BATMAN was the inability of O’Neil to pair me with an artist for longer than two issues. Sometimes the second part of a story would be drawn in an entirely different manner from the first, and apparently minus any reference material having been provided to the second artist to keep character visuals consistent with the first. There are eight comic-book stories by me in this volume (a handful by other writers are included) and for those eight issues, I had six artists.

Among the ironies of my brief tenure on BATMAN is my Toys ‘r’ Us success. That company went to DC, wanting to put together bags of BATMAN comics; the Toys ‘r’ Us people looked at about three or four years of BATMAN…and picked out my issues. I made a lot of dough from those reprints.

I’ve also been told that my material has been a source for animated BATMAN adventures.

The most famous thing about my version of Jason Todd is that fans voted to kill him off, like Andy Kaufman getting voted off SNL by phone. I should say that the writers who followed me (notably Jim Starlin) did not take Jason Todd’s story in the direction I intended and had set up.

BATMAN – SECOND CHANCES is complete as to my comic-book stories. But it does not include the first continuity of the BATMAN strip that I did before the Tribune forced me to step down at the threat of a lawsuit (the great Marshal Rogers was the artist). I did a final comic-book script about my Mime character that was never produced, but I turned it into a BATMAN short story. My two BATMAN graphic-novel projects – SCAR OF THE BAT, Eliot Ness Meets Batman; and BATMAN – CHILD OF DREAMS based on the Kia Asamiya manga – constitute the rest of my body of work on the Dark Knight, and represent my best work there. And it speaks well of Denny O’Neil that he recruited me for SCAR OF THE BAT after all we’d been through.

For the record, I was not fired – I quit. Now, I probably quit about fifteen seconds before I would have been fired…but I beat ‘em to the punch.

BATMAN – SECOND CHANCES represents a second chance for my comics stories on that character to be reappraised, and I’m pleased to have these stories gathered in one place.

M.A.C.