Kirjahaku

An MWA Grand Master tells it straight: Raymond Chandler: "You have to wonder how he got it so right. He spent a lot of time in the house--working, reading, writing letters. He saw to his wife, who required a lot of attention in her later years. And when he did get out, you wouldn't find him walking the mean streets. La Jolla, it must be noted, was never much for mean streets." Evan Hunter: "In his mid-seventies, after a couple of heart attacks, an aneurysm, and a siege of cancer that had led to the removal of his larynx, Evan wrote Alice in Jeopardy. And went to work right away on Becca in Jeopardy, with every intention of working his way through the alphabet. Don't you love it? Here's a man with one foot in the grave and the other on a banana peel, and he's perfectly comfortable launching a twenty-six book series." Donald E. Westlake's Memory: "Here's the point: Don's manuscript arrived, and we had dinner and put the kid to bed, and I started reading. And my wife went to bed, and I stayed up reading, and after a while I forgot I was having a heart attack, and just kept reading until I finished the book around dawn. And somewhere along the way I became aware that my friend Don, who'd written a couple of mysteries and some science fiction and his fair share of soft-core erotica, had just produced a great novel." Charles Willeford: "Can a self-diagnosed sociopath be at the same time an intensely moral person? Can one be a sociopath, virtually unaware of socially prescribed morality, and yet be consumed with the desire to do the right thing? That strikes me as a spot-on description of just about every character Willeford ever wrote. How could he come up with characters like that? My God, how could he help it?" An MWA Grand Master and a multiple winner of the Edgar, Shamus, and Maltese Falcon awards, Lawrence Block's reflections and observations come from over a half century as a writer of bestselling crime fiction. . Several of his novels have been filmed, most recently A Walk Among the Tombstones, starring Liam Neeson. While he's best known for his novels and short fiction, along with his books on the craft of writing, that's not all he's written. THE CRIME OF OUR LIVES collects his observations and personal reminiscences of the crime fiction field and some of its leading practitioners. He has a lot to say, and he says it here in convincing and entertaining fashion.

In the 1980s, Lawrence Block developed an interactional seminar that adapted elements of the human potential movement specifically for writers.For several years he and his wife, Lynne, traveled the country conducting seminars that focused on the inner game of writing, and designed to enable participants to get out of their own way and put their best work on paper.This book was written to make the seminar available to a larger audience.Block self-published it in 1986, in an edition of 5000 copies, which sold out in short order. A few years later he stopped offering the seminar, having tired of the guru trip and preferring to concentrate on his own writing, and ever since the book's been impossible to obtain.When eBooks came around, Block arranged for HarperCollins to publish Write For Your Life in that format. But it's the sort of text one wants to be able to page through, and a printed book is just more user-friendly. In the fall of 2013, an assistant found the last box of 25 copies of the 1986 edition in a storage cupboard; Block offered them in a newsletter, and they sold out within three hours.This is the original book, with a foreword bringing it up to date. With the book, as with the seminar, it doesn't matter at all where you are in your writing career, or what kind of writing you do. That's all beside the point. Write For Your Life is about making the best out of what you are and who you are.

Lawrence Block's WRITING THE NOVEL remained continuously in print since 1978. But the world of publishing has changed, and Block has expanded and updated his original text, bringing each chapter up to date and adding new material on ebooks, self-publishing, and what perils and opportunities await the new novelist--and the veteran as well.Unlike many advice-givers, Block doesn't tell you what book to write, or the one and only way to write it. He holds that every novel is different, and so is every novelist; his aim is to give you the tools to enable you to find your own way. Here are some chapters: #1--Why Write a Novel? #2--Deciding Which Novel to Write. #3--Read...Study...Analyze. #4--Developing Plot Ideas. #5--Developing Characters. #6--Outlining. #7--Using What You Know...and What You Don't Know. #8--Getting Started. #9--Getting It Written. #10--Snag, Dead Ends, and False Trails. #11--Matters of Style. #12--Length. #13--Rewriting. #14--Getting Published. #15--The Case for Self-Publishing. #16--The Case Against Self-publishing. #17--How to Be Your Own Publisher. #18--Doing It Again. #19--Now It's Up to You WRITING THE NOVEL FROM PLOT TO PRINT TO PIXEL is half again as long as the original version, and Lawrence Block has managed to retain all the 1978 text while bringing it up to date. As he would be the first to tell you, you don't need this book--or any other--to succeed as a novelist. But thousands of writers have found it helpful. And most of us feel we can use all the help we can get.

Jimmie John Hall wasn't anything until he was a killer, and Betty Dienhardt wasn't anything until she met Jimmie John Hall. When they get together, sparks fly and bullets follow. The first to go are Betty's parents, but Betty isn't bothered. She only wants to be with her man - the first person to ever make her feel special. They set off on a cross-country spree, killing for gas money and food, killing to swap their car for one the police aren't looking for. As the dragnet draws tighter, they only grow closer, riding a road that leads to death because death has surrounded them all the time. This novel derives from and was inspired by the real-life (and real death) rampage of Charles Starkweather and Caryl Fugate in 1950s Nebraska; the novel itself is set fifteen years later, and does not attempt a literal reconstruction of the original case. It's a powerful work of fiction, a penetrating look at two disturbed and disturbing individuals, and a breakneck tear across the American Midwest. Like Such Men Are Dangerous and The Triumph of Evil, it was originally published under LB's Paul Kavanagh pen name, but as soon as he could he resides all three books under his own name, and is pleased to make them available now in the Classic Crime Library.

"Originally marketed as "occult horror", Ariel is neither. It's a story of the madness that lies just under the surface, and what it takes to bring it out; the need to give evil a face and a name. Who better to scapegoat for unexplainable tragedies than the one who is Different? Ariel is adopted, and looks slightly unusual. Her unstable mother never fails to assume the worst, almost deliberately misreading the girl's ordinary teenage perceptiveness and need for privacy. By the book's end, almost everyone believes that Ariel is a monster -- including Ariel herself. "Great characterizations, wonderful descriptions -- I want to live in Ariel's house. I could wish for a sequel, or just for more books like it." From Lawrence Block: A publisher provided the premise of Ariel--an adoption that went awry. I was in Charleston when I began the book, and chose that extraordinary city as its setting. I don't know to what extent the book works--I should note that not every reader agreed with the one quoted above--but I greatly enjoyed the interplay of Ariel and her friend Erskine, and on certain nights I can still hear her flute off in the distance.

Alex Penn wakes up in a squalid Times Square hotel room. This is what he sees when he finally opens his eyes: "The floor was a sea of blood. A body floated upon this ocean. A girl--black hair, staring blue eyes, bloodless lips. Naked. Dead. Her throat slashed deeply. "It had to be a dream. It had to, had to be a dream. It was not a dream. It was not a dream at all. "I've done it again, I thought. Sweet Jesus, I've done it again." Years before, Alex Penn woke up in similar circumstances, called the police, went to prison. A technicality freed him--and now there's been another drunken blackout, another dead streetwalker. But something nags at his memory, and he begins to suspect some other hand wielded the knife. And if he didn't murder this woman, maybe he didn't kill the other one, either. So he runs, adrift in an urban jungle, hoping to steer clear of the police long enough to solve the crime. AFTER THE FIRST DEATH is sure to appeal to fans of David Goodis and Cornell Woolrich. And, with its gritty New York setting and its undercurrent of alcoholism, it can be considered a precursor to Lawrence Block's iconic Matthew Scudder series. THE CLASSIC CRIME LIBRARY brings together Lawrence Block's early crime novels, reformatted and with new uniform cover art.

"You may rape the bride..." David and Jill Wade wanted a properly traditional start to their marriage. For openers, they decided to delay its consummation until after the ceremony. They planned a perfect honeymoon at a secluded lakeside resort in Pennsylvania's Pocono Mountains. Joe Carroll, the guest in the cabin next door, seemed friendly enough. They took his dinner suggestion, then returned to their cabin and prepared to retire--until a noise alerted them, and they went to the porch and watched a group of men descend on Joe Carroll's cabin. They dragged him out at gunpoint, then executed him in cold blood. And Jill screamed... The men heard her, rushed the Wade's cabin. They took their turns with Jill. Then they left. And the newlyweds barely considered reporting the violation to the police. Instead, with only a name and a few bare clues to steer them, they hunted down the men who'd done the awful deed and the crime boss who'd given them their orders. DEADLY HONEYMOON was Lawrence Block's first hardcover novel. It's a powerful tale of revenge, and of a man and woman far more closely bound by their shared mission than they would have been by a more ordinary honeymoon.

"This goes through you like a dose of salts and stings like iodine." So said Virginia Kirkus Reviews of Such Men Are Dangerous when it first appeared almost fifty years ago, and since then this edge-of-the-chair novel hasn't lost a step. It's the story of Paul Kavanagh, a burnt-out ex-Green Beret who copes with what we've since learned to call PTSD by retiring to a dime-sized islet in the Florida Keys. There he lives a determinedly simple life, his human contact limited to a weekly visit to a storekeeper on a nearby island. Then George Dattner turns up with a plan. A CIA op, he has inside knowledge of a scheduled shipment of military goods from an army base in South Dakota. It's really nasty stuff--atomic grenades, lethal gas, tactical weaponry that could be a game-changer for a border war or insurgency. And he's got a buyer lined up. All he needs is a partner, because the way he's got it figured, hijacking the shipment is a job that the right two men can pull off. Kavanagh signs on. The operation is brilliantly planned and executed, but not without a few surprises along the way. But the greatest surprise of all is a shocking denouement that will hit you as hard as it hit readers half a century ago. This Classic Crime Library ebook edition of Such Men Are Dangerous contains as a bonus the opening chapter of the next book in the series, Not Comin' Home to You.

"The colonel was right. You had to draw a line through mankind, a wavy line but a line, and on one side you had Good and on the other side you had Evil. There was good and bad in everyone, sure, and every shitheel was some mother's son, and it was all well and good to know this, but when push came to shove, it was just words; there was Good and Evil with no shades of gray and Judgment Day came seven time a week." Meet the Specialists, five good men, Manso and Murdock and Simmons and Giordano and Dehn. They scattered when they took off their green berets and returned to civilian life, but now and then their colonel picks up the phone and gets in touch--and they get together to do as they did in Vietnam. Colonel Roger Elliott Cross left a leg in Vietnam. His men came home physically intact, but each bears scars nonetheless. But when they come together, teamed up to right wrongs, they are a powerful force for good. And, by doing good, they also manage to do well. Because when five specialists take on a Mafia-owned bank, why shouldn't they turn profit on the deal? If you saw The A-Team on television, this may seem familiar to you. When Lawrence Block saw the A-Team, it seems uncannily familiar to him, and he had the feeling the show's producers had read his 1968 novel. But he decided, wisely or not, that life is too short for litigation. Now, years later, the TV show has vanished and the book lives on. Isn't that as it should be?

"If you're not part of the solution, you must be part of the problem." You heard that a lot in the early 1970s, when the country seemed to be teetering on the brink of revolutionary upheaval. Miles Dorn, living quietly in retirement in the U.S., had come a long way from his roots in Central Europe, leaving his past as an assassin and agent provocateur behind him. But as soon as he walks into his house and smells the smoke from a Turkish cigarette, he knows nobody can walk away from the past. It's always there, and it can reach out at any moment and get hold of you. He's recruited for a series of assassinations designed to render his adopted country vulnerable to a political coup. Instead of the elaborate web that's the staple of conspiracy theorists, he's one man, working alone. He's also a man falling in love, and with a woman a generation too young for him. "We're the same age, Miles," she insists. "I've known you for exactly as long as you've known me." Of course he likes the sound of that, but he knows better than to believe it. Just as he knows better than to believe that their love affair--or anything else in his life--has a real chance of working out. But what can he do? Is Dorn part of the solution--or a principal part of the problem? The Triumph of Evil is a powerful evocation of perilous time in America's recent past. It's a thriller on a human scale, and you'll be stunned by its plausibility and gripped by its suspense.

In 1961, Lawrence Block was living in New York and earning a living writing Midcentury Erotica and crime fiction. He'd just sold his first book under his own name, Grifter's Game, to Gold Medal Books. (They insisted on calling it Mona, but the original title's been restored by Hard Case Crime.) His agent got him an assignment to write a tie-in paperback novel for Belmont Books, linked to the TV series Markham, starring Ray Milland. The book turned out well, and the young writer's agent felt it was too good to be a Belmont tie-in. Knox Burger agreed, and Block changed the name of the hero from Roy Markham to Ed London, and Gold Medal published the book as Death Pulls a Doublecross. (Another unfortunate title; you'll find the book in the Classic Crime Library with the author's original title, Coward's Kiss.) But that left Block owing Belmont a book. You Could Call It Murder is what he wrote for them, and it turned out fairly nicely as well, but his agent sent it to Belmont all the same, where they published it as Markham: The Case of the Pornographic Photos. (By the time it came out--surprise surprise--the TV series was canceled.)

"Ed London is the kind of private investigator you call to clean up the mess when your mistress turns up dead. But after he dumps a body in Central Park, it appears this case is still alive and kicking. Seems that the dead girl was in possession of something special that some very shady characters want back. Now Ed, along with his actress friend Maddy, will have to crack the case before he ends up dead himself. But there's more than a murder here; there's missing jewels, Israeli intelligence, Nazi spies, and a host of double-dealing, backstabbing thieves." Coward's Kiss started life as a tie-in novel for Belmont Books, linked to the TV series Markham, starring Ray Milland. When a very young Lawrence Block turned in the book, his agent sent it instead to Knox Burger at Gold Medal, who shared the agent's enthusiasm. Block rewrote the book, changing Roy to Ed and Markham to London, and Gold Medal published the book with the unfortunate title of Death Pulls a Doublecross. After fulfilling his assignment by writing another book for Belmont (You Could Call It Murder, Classic Crime Library #12) Block tried to write a second Ed London novel, but somehow never managed it. He did write three magazine novelettes with London, and you can find them in One Night Stands and Lost Weekends, a collection of his earliest pulp work. The legendary Anthony Boucher gave the book a nice review in the New York Times Book Review, and if Lawrence Block had the sense to hang on to things, we'd reproduce it here. But he doesn't, so you'll have to take our word for it.

There's no glass slipper in this fairy tale - just a damsel in distress, a bag of cash, and a whole lot of dead bodies. Reporter Ted Lindsay is trying to forget his ex-wife, and New York City's tough streets are just what the doctor ordered. They're also filled with alluring women, but only one catches Ted's eye. Cinderella Sims is not only beautiful, she's on the run and she needs Ted's help. She's got a bag full of cash and some very angry people staking out her apartment. Before long Ted's forgotten his heartbreak and is launched into the dark streets of crime with Cindy at his side.

A thriller loaded with international intrigue from mystery master Lawrence Block. Struggling folksinger Ellen Cameron can't believe her luck. Not only is the State Department sponsoring her trip to West Berlin, but her agent has arranged for her to tour Ireland. It's just the break she needs. And better yet, she's meeting the friendliest and most interesting people on her trip, from a kind priest on the plane to a handsome American studying abroad. But things - and people - aren't always what they seem, and her European adventure could turn out to be the type of international affair she never imagined. LB says: "This book was originally published by Lancer Books under the pen name Anne Campbell Clarke, a pseudonym I never used before or since. I'd been engaged to write a romantic espionage novel in the tradition of Helen MacInnes, and chose Ireland as a setting, being familiar with the countryside and with the folk music. I had a good time writing it, but of course that's no guarantee you'll have a good time reading it. But I certainly hope you do."

Lawrence Block's new collection assembles seven works of fiction written over a period of sixty years. "Hard Sell," a story ghost-written under Craig Rice's name, appeared in the first issue of Ed McBain's Mystery Magazinein 1960, and features Rice's hard-drinking yet clear-thinking lawyer, John J.Malone. "Dead to the World," which appeared under a one-shot pen name in Alfred Hitchcock's Mystery Magazine, has been lost for years, and the story of how it was lost and found is as interesting as the story itself. The same is true of "Whatever It Takes," written over a quarter of a century ago and never submitted anywhere, because the author filed it away and forgot about it; he came upon it, dusted it off, and sent it to AHMM where it was published. "I Know How to Pick 'Em" was written for Dangerous Women, the George R. R.Martin and Gardner Dozois anthology, and a holdback clause in the contract kept it out of LB's previous collections. "Autumn at the Automat" was also written for an anthology, LB's own In Sunlight or in Shadow, and won an Edgar Allan Poe award as Best Story of the Year."Gym Rat" has never appeared in print; it was ePublished as part of a Center for Fiction project. While readers have suggested the protagonist might return for further appearances, LB is doubtful. Still, he's been mistaken before."Resume Speed," the title novella, was published in hardcover (by the stellar Subterranean Press) and as a Kindle Single (by the author). Subterranean's edition is out of print and hard to come by, and the story now appears in paperback for the first time. While it was written only a couple of years ago, it has its roots in a story the author overheard perhaps 40 years ago.All of the circumstances of its origin, and a good deal more about each of these stories, may be found in LB's foreword.

I was in New York, newly married, living at 110 West 69th Street. I was writing short stories for crime fiction magazines, erotic novels for Midwood and Nightstand, and fielding assignments that my agent steered in my direction. Two of these were from paperback publishers who had acquired the book rights to a TV drama and wanted to hire someone to write a book. First up for me was a show called Markham, which starred Ray Milland. Belmont was to be the publisher, and I had to write the damn book twice. My first effort turned out to be too good to waste its fragrance on Belmont's desert air, and my agent had me change the title and the names of the characters and sold the thing to Gold Medal. So I had to write it again, and I did, and they liked it okay and published it. Next up was Beacon Books, with "Johnny Midnight" as both the book's inspiration and its title. I wrote it, but by the time Beacon was preparing it for publication, the series had been canceled. The publisher saw no reason to pay a licensing fee for a moribund show, and accordingly changed names: Johnny Midnight became Johnny Lane, and his trusty servant morphed from Uki to Ito. And Lawrence Block became Ben Christopher for the occasion. I don't know what kept me from using my own name, the book was crime fiction rather than the erotica that seemed to call for a pen name, but I do remember that my great friend Donald E. Westlake had recently done some sort of tie-in novel and hung the name Ben Christopher on it, telling me it would be his pen name for tie-ins he was anxious to forget. I horned in on the name, and if Don found this irksome he kept it to himself. Someone at Beacon picked the title. STRANGE EMBRACE. Well, there's a lesbian element in the book, and I guess they wanted to play it up, and "strange" was a useful code word toward that end. I could call it something else now that I'm republishing it as part of my Classic Crime Library, but it's had enough transformations over the years. Ray Milland I should add, had no better luck than Edmund O'Brien; his show Markham was canceled after a single season. Belmont evidently didn't get the news in time to act on it, and they dutifully published the book as Markham: The Case of the Pornographic Photos. When I okayed a reissue years later by another publisher I changed the title to You Could Call It Murder--and it's available now with that title, in paperback or ebook, as Classic Crime Library #12. (And the book it was written to replace, which Gold Medal called Death Pulls a Doublecross, is now #13 in the Classic Crime Library with my original title restored: Coward's Kiss.)

Jeff Flanders has a perfectly good life. Until Candace Cain sashays into it and turns it upside-down.Jeff's got a good-looking wife; he loves her and she loves him. He's got a job, swinging a desk at a semi-shady finance company, signing off on usurious loans to losers; he doesn't love it and it doesn't love him, but it's easy work and it pays the bills. Until a girl called Candy applies for a $1000 loan--with no job, no bank account, no security. Nothing but a beautiful face, an awesome body, and all the nerve in the world.He lends her the money himself. That's a mistake. In return, she takes him to bed. That's a bigger one. All she wants in the world is someone who'll keep her in style. All he wants is more Candy. . .CANDY, first published in 1960, is a noir novel of sexual obsession.

From the author...Back in the late 1950s and early 60s, when I was finding myself as a writer and producing a great quantity of books under pen names, some of the books I wrote were as much crime fiction as they were erotica. Indeed, several of those titles by Andrew Shaw and Sheldon Lord have since been republished under my own name by Hard Case Crime and Subterranean Press--and subsequently astonished me by garnering respectful reviews. BORDERLINE, LUCKY AT CARDS, and A DIET OF TREACLE are examples, and so to a degree is my forthcoming Hard Case title, SINNER MAN. A little light editing made them acceptable crime fiction for a contemporary body of readers. FOUR LIVES AT THE CROSSROADS almost made the cut. After Charles Ardai at Hard Case considered it and ultimately decided against it, I decided to shoehorn it into the Collection of Classic Erotica, but reader reactions have since persuaded me that it's really more a crime novel. A dark, savage tale of an armed robbery gone wrong, It's a better fit in the Classic Crime Library. I did some light editing anyway, much of which consisted of reversing the helpful contributions of some unnamed editor at Nightstand Books. So here's FOUR LIVES AT THE CROSSROADS, available for the first time since its initial appearance in 1962. I can but hope you'll enjoy it.

When Joyce Kendall arrives in New York, fresh out of Clifton College in Iowa, she has a job and an apartment waiting for her. The job's as a first reader for Armageddon Publications. The apartment's at 21 Gay Street, and the small Federal-period house is already home to a lesbian couple, Jean Fitzgerald and Terri Leigh, and an out-of-work newspaperman, Pete Galton. The relationships of these four people under one roof add up to a fast-paced story that is not only satisfying fiction but a rare window on Bohemian life in the late 1950s. A drug-fueled rent-party-turned-orgy at the apartment of one Fred Koans is just link to a world some older readers may recall. Gay Street, in the heart of Greenwich Village, runs for only a single block between Christopher Street and Waverly Place. The 1943 movie A Night to Remember portrays 13 Gay Street as the address of the building where most of the action, including a murder, occurs. In 1996, Sheryl Crow made a video on Gay Street for the song "A Change Would Do You Good." 21 Gay Street, a very early Lawrence Block novel, was originally published under the pen name Sheldon Lord. It was never reprinted after its initial publication in 1960 until now.

17-year-old Johnny Wells was a very handsome young man, and you'd have called him a babe magnet, but I'm afraid they didn't have that phrase back in 1961. He decided to capitalize on his looks and the response they earned from women, invested in a haircut and a good wardrobe, moved out of his slum apartment and into a budget hotel, and reinvented himself as a gigolo.