As it happens, Barb and I won’t be able to go the Comic-Con this year. So the listings that have me hosting the Scribe awards, doing a signing, and having a Quarry panel are now all inaccurate. Likely I’ll be there next year, but this time, no. My pal Jonathan Maberry will be hosting the Scribes for me.
Coincidentally, a French publisher (Ombres Noires) is translating “It’s in the Book” for their own edition (it’s available in English only in a small book, as well, published by Otto Penzler). They asked me to do an interview, which they will include in the small book, in French of course.
I thought you might like to see it in English.
It’s in the Book
You wrote the end of a story by Mickey Spillane, who passed away in 2006. You were friends, how did you two meet?
As a young teenager, I idolized Mickey and wrote him dozens of fan letters. He never responded until I published my first novel, BAIT MONEY, in 1973, and sent him a copy, He wrote me a warm, lengthy letter of welcome to the community of professional writers.
Over the years I have been a defender of Spillane, who remains controversial in the United States. Because of that, I was asked in 1981 to be the liaison between Mickey and the Bouchercon mystery convention in Milwaukee, where he was a guest of honor. We immediately hit it off and I began to visit him at his home in South Carolina once or twice a year.
How did you come to complete his manuscripts?
On my various visits to Mickey’s home, he would send partially completed manuscripts home with me. He said this was just because he thought I’d be interested, but on one occasion he said, “Maybe we can do something with these someday.” He was referring to two partial Hammer novels, THE BIG BANG and COMPLEX 90. We had begun to collaborate on projects – a number of noir anthologies of his work and the work of others, a science-fiction comic book called MIKE DANGER, and a biographical documentary I wrote and directed, “Mike Hammer’s Mickey Spillane.”
When Mickey became ill, with a particularly virulent strain of cancer, we stayed in close touch by phone. He was working desperately to finish what he described as the last Mike Hammer, THE GOLIATH BONE. Shortly before his death, he called and said he didn’t think he’d be able to finish it. And he asked me to do it for him, if that proved necessary. I of course said yes.
Around the same time, Mickey told his wife Jane to gather all his unfinished material and give it to me – “Max will know what to do.” No greater honor could be paid me. There were six major Hammer manuscripts, often with notes, and another half dozen shorter Hammer novels in progress. There were also short openings for novels, running from six to ten pages, that I thought would make good short stories. “It’s in the Book” is one of those.
You wrote several stories from his manuscripts. What did you like in this one in particular?
It had a beautifully written opening, with two cops coming to see Hammer in his office, to take him to see a U.S. Senator for some mysterious, important job. Mickey’s manuscript ended before that job was fully described by the client, and that enabled me to use the missing ledger that made the story a bibliographic mystery. You see, editor Otto Penzler had requested that specific kind of story.
What sort of shape did the manuscript have – was it just a few lines, a structure, several chapters?
It was basically that opening, right up to where Hammer meets with the senator. I thought it was a lovely, traditional opening for a private eye story.
It must be a very special experience, and a challenge, to finish a story more than 20 years later. Did you try in any way to modernize the style, the story, or anything – or did you try to remain faithful to Spillane’s style?
I’ve done seven Hammer novels now, and the unfinished Spillane manuscripts spanned his entire career – from 1947 to the month he died. I always try to determine when Mickey was writing the story, and then I immerse myself in material that he wrote around that same time, so I can catch the flavor and capture Hammer at that specific time. Hammer is a much changing character, and a story conceived by Mickey in the ‘50s is vastly different from one written in, says, the 1980s. I don’t try too overtly to mimic Mickey’s style — it’s collaboration, not pastiche. I concentrate on getting Mike Hammer right. It’s a matter of character.
I am a very traditional, Old School mystery writer, so this comes naturally to me.
Did he influence you in your writing, or help you in your own work?
Mickey was a huge influence on me. The key writers for me were Hammett, Chandler, Cain, Thompson and Westlake. These are very different writers in their approaches, and I think having such variant influences has worked well for me. Mickey never really gave me any writing advice – I was already a pro when our friendship developed. But he was supportive and provided blurbs for many of my book covers.
What is it that makes the character of Mike Hammer so special, compared to other popular characters?
Hammer had an enormous impact on popular culture worldwide, well beyond the private eye genre. James Bond is a version of Hammer, for example. Prior to Hammer, detectives did not display the emotions – love, hate, fear – that Spillane gave his hero. Hammer was the first avenger of modern fiction, a hero who used the methods of the villain to triumph over that villain. In addition, Hammer as a combat veteran brought a traumatic backstory to the detective, much imitated since. Finally, Hammer slept with women, unashamedly. While Sam Spade had sex with his femme fatale, just about no detective since had done so. Chandler said disparaging things about Mickey, but after the success of the Mike Hammer books, Marlowe began having an active sex life.
Say what you will about Mickey, but he was the most influential mystery writer of the 20th century…and the bestselling, with the possible exception of Christie.
How did you come up with the idea of this ending?
That idea jumped to mind at the outset. I knew it was a good one. Mickey loved surprise endings, and this was right up his alley.
Are you yourself interested in rare books and first editions?
I am. I have a good collection with many signed books – all the writers I mentioned above, and more. I have a very strong Rex Stout collection, for instance.
What do you enjoy most about writing short novels?
I’m not a short story writer by inclination. I’m very much a novelist. But I’ve grown to like the form. It’s nice to have a project that lasts a week and not several months. My wife, Barbara Collins, is an excellent short story writer.
Who are the authors that inspire you today? Why?
I read very little contemporary fiction. I don’t care to be influenced by trends, and anyway my reading time is taken up largely by research for my historical thrillers. I continue to read and re-read the greats – again, Hammett, Chandler, Cain, Spillane and so on.
Do you read French thrillers?
I’m very traditional on that front, as well – Boileau-Narcejac. Jean Pierre Melville is one of my favorite film directors.
The same site followed up quickly with a piece speculating about the Spillane/Collins collaboration process. You’ll see a lengthy comment from me explaining that process in some depth.
Here is a lovely, gracious review of SPREE by one of our great noir writers, Ed Gorman.