Showing posts with label ANTHONY NEIL SMITH. Show all posts
Showing posts with label ANTHONY NEIL SMITH. Show all posts

Monday, January 23, 2012

Dead Men, Compulsive Gamblers, Lousy P.I.s, and Corrupt Deputies



DEAD MAN: BLOOD MESA- James Reasoner
This is the fifth book in the very exciting Dead Man series created by Lee Goldberg. I’ve enjoyed the previous volumes, but this time out is a must-read due to the presence of writer’s writer James Reasoner. If Reasoner’s name is on the cover, I’ll read it; it’s just that simple. Blood Mesa finds our hero Matt Cahill (on a quest to find and destroy the evil Mr. Dark) in the middle of an archeological dig on a sinister mesa in Arizona. But the archeology students have no idea they’re about to uncover an ancient evil, tied mysteriously to Mr. Dark, that will bring out the corruption in their souls and force Matt to take extreme action to contain the situation. Reasoner really ratchets up the action in this novella—by the time you’re twenty or so pages in, things heat up and don’t cool down again until the staggering end.



THE GAMBLERS- Martin Stanley
Kandinsky is a hardcore gambling addict and loser who owes far more than he can repay to loan shark. He’s a guy who’s screwed from the get-go. But when he overhears a plan to rob a drug dealer, he convinces himself and his friends—who are even bigger losers than him—that they can pull off a miracle. THE GAMBLERS is a sprawling, complicated novel with lots of intriguing characters, a great sense of humor, and a beautifully constructed sense of impending doom. The large cast are all tied together in really clever ways that you wouldn’t suspect, and as each of their personal sagas play out, and wind closer together, you’re left slightly amazed that Stanley is able to pull it off. It’s a very well-structured novel, but Stanley’s real strength is the depth and believability of his characters.



TO THE DEVIL, MY REGARDS- Victor Gischler & Anthony Neil Smith
Two of the best crime fiction writers of this generation, Gischler and Smith deliver a solid, fast-paced novella that mostly lives up to everything you’d expect from such a pairing. Z.Z. DelPresto is a P.I. who is, frankly, not very good at his job—hired to keep tabs on a wealthy wife, he almost immediately falls into bed with the wife’s sexy but under-age daughter, and when the girl winds up murdered DelPresto is the prime suspect. In a mad scramble to clear his name and find the real killer, DelPresto gets the crap beat out of him a few times, almost accidentally uncovers deeper secrets, and generally explodes whatever expectations you might have about the P.I. hero. This is a re-release on Kindle of a novella Gischler and Smith wrote back in ’01, and you can see inklings of the things both writers would later use to greater effect—which is to say: as good as this novella is, both writers are far, far better now than they were then. Still, this is a very solid piece of work, with a breakneck pace, some real laugh-out-loud moments, and great characters.



YELLOW MEDICINE- Anthony Neil Smith
And speaking of Anthony Neil Smith… YELLOW MEDICINE is the first book in the story of self-destructive, corrupt-but-complex, loser-hero Deputy Billy Lafitte. After irrevocably messing up his life in Louisiana, Billy is now a cop in a back-water burg in Minnesota. In a short period of time, he’s managed to establish himself as King of the Hill, controlling the county’s criminal element by force, intimidation, and shady dealings. But it’s a precarious perch he’s on, and when sexy Drew (bass player in a psycho-billy band) needs his help pulling her boyfriend out of a bad situation, Billy’s position starts to crumble. His past begins to catch up to him, and next thing he knows, he’s caught up in an epic struggle against backwoods meth cookers, a government agent who wants desperately to bring him down, and… wait for it… Islamic terrorists. Billy is an absolute gem of a character, so real you want to punch him in the face with every crap decision he makes, and yet still hope against hope that he can somehow prevail as his situation gets steadily worse and worse. This is vintage Smith, right here.

Monday, October 31, 2011

No Rules: ANTHONY NEIL SMITH




In the last few years, Anthony Neil Smith has emerged as one of the most unique and unpredictable voices in dark, twisted crime fiction. His books include PSYCHOSOMATIC, HOGDOGGIN', CHOKE ON YOUR LIES, YELLOW MEDICINE, and THE DRUMMER. His newest, ALL THE YOUNG WARRIORS, will be one of the first releases from the brand-new publisher, Blasted Heath.

His books are beautifully sleazy sometimes, with expertly constructed, labyrinthine plots, and I can tell you without hesitation that he is one of the finest writers on the scene these days. I'm very honored to have him here at Psycho-Noir.

Please welcome ANTHONY NEIL SMITH, with a few choice words about the boob tube...


TV IS GOOD. SO SHUT UP, YOU SNOBS.

Here’s the thing: I get bored with movies. While I love good, stylish, over-the-top directors and such, I get so bored with the stuff I’m “supposed” to like as a crime fan. I don’t know why. I just...get so bored.

But not so much with good TV. I love TV. Not just crime stuff, but nearly all of it. I really cringe whenever I hear some snob from the literary set sniff and say, “I neh-vah watch TV. We don’t even oooown one.” Fuck you, you disconnected, self-congratulatory fuck.

I watch crap reality shows. I watch all the good stuff like Louie and Archer and The Wire. I watch cooking shows. I watch sitcoms like The Middle and Modern Family (you’re supposed to like Family, but the other is off-limits, apparently). And I watch some crime shows. But the deal is that the best crime shows are few, far between, and the most popular ones suck.

I actually thought Criminal Minds was not-half-bad the three or four times I watched it, but I don’t need to see every episode. There’s no need to follow the character arcs. There’s no real cohesive story, just cases of the week. Same with CSINCISLAL&O.

And while I really loved The Wire (another snob fave), I actually preferred The Shield, which was thrilling, pulpy, and when it was all done, it felt like a real fucking novel. The last ep was perhaps the finest ending to a series I’ve ever, ever, ever seen. Perfectly pitched.

Also, let’s just say The Wire had two really amazing seasons (Three and Four), but, well...man I loved those two seasons.

(You know what else I love to watch that’s not “crimey”? The Amazing Race.)

Some other shows that never worked for me: Torchwood, Terriers, Chicago Code, NYPD Blue, on and on and on...

The best crime television series of all time: Cracker. And let’s all forget that they tried an American version of that, please. Robbie Coltrane’s portrayal of “Fitz” is one of the best things ever put on TV, bar none. A far genius like Nero Wolfe (hey, sounds familiar), Fitz has a bad marriage (cheats a lot), bad habits (smokes, gambles, drinks, lies) and is smart enough to know he’s in the wrong but still justify his behavior in infuriatingly complex yet logical ways. He can make his wife feel like she’s the one responsible for his awfulness. He can talk a timid policewoman into bed because, well, he knows how to push the right mental buttons. He only takes police work to make some extra dough, but then becomes an animal. He loves the chase. He loves baiting the cops. He’s the real modern Sherlock Holmes (not that prissy high-tech new BBC series)—smarter than everyone around him, and still a huge mess. I’ve never seen a better TV show. And it’s a tough one to re-watch because of that. I like the memories I have of it. No need to go back and mess around with them by having another run.

Really, as a guy who loves novels—reading and writing them—more than any other form of entertainment, it seems to me the closest equivalent to that experience is a really good TV series. Why the hell do people think a feature film can do justice to all those fucking pages? The pacing is all wrong. The characters are never deep enough. The story has to be hacked to the lowest common denominator. Why not adapt more novels as TV series and leave the features to screenwriters who understand that they’re kind of going for the feel of a short story or novella instead? At least, that’s my two cents.

Other shows you won’t believe I like: Kitchen Nightmares, Hoarders, Work of Art (The Search for the Next Great Artist), Good Morning America, Top Gear (UK), Teen Mom, Judge Judy...

Don’t judge me.