Showing posts with label thrillers. Show all posts
Showing posts with label thrillers. Show all posts

Saturday, December 24, 2016

Monster Game

So the first evening of my Winter Holiday started last night, with some naval gazing.

Annually I look forward to the Business Shutdown during the Christmas and New Year Holiday. It is a chance to unwind my mind, get away from fixing problems and the ringing phone; giving me a pause to enjoy sharing time with the family, catching up with my reading and writing, but most crucially to reflect and take stock of events in this plane of existence, placing them into some form of context, with my own life. I also consider how I have changed progressing through life as I age. One must always consider how the overcoming of obstacles changes us; so we should pick our challenges and obstacles carefully, for they alter us, as well as the direction of the path we find ourselves on.

Last night was a late one, as I was trapped in deep thought with my cognition encouraged by some Dark Rum and Ginger Beer infused with fresh Limes.

When I got home, traversing atrocious weather with Storm Barbara [making driving conditions troubling]; the family had to make a decision about what we would do over the Holiday. With my beloved Father-in-Law Gerard Keogh in serious ill health and hospitalised in Dublin, we have decided as a family to head across the Irish Sea to not only spend time with him; but also to take some pressure off my Brother-in-Law and Sister-in-Law who look after him. Mr Gerard Keogh is well into his Nineties now; a gentleman as well as a fighter, for he keeps overcoming the adversities that age brings to us all. I admire those who fight adversity and battle the Monsters in our midst, especially those who confront failing health.
My own Father Dr Syed Karim’s health is not so good either; though he is a tad younger [in his mid-eighties]. In consequence we have decided to have my parents over for Christmas Dinner tomorrow, before the family pack up and head to Ireland.

The current health of my Father and Father-in-Law rests heavily upon my mind; for something I am writing is related to these two most misunderstood men. I would like my writing project completed as soon as practicable, so I can read some of it to them. As ever, time is not on my side as the speed of my own writing [which competes against my business, family and book reviewing obligations]; when striated against their declining health - troubles me. Though despite the mental faculties of both Karim and Keogh senior [which are in decline with the ravages of age]; I still wish to sit with them, and read something from my mind that I feel has some significance; namely resonating their legacy and influence on the reality I have uncovered about them, from my own dark imagination and from some long lost secrets of Post-World War Two Europe.

I am reminded of the legacy that the lives of our elders had, by some words from an early track by Pink Floyd, entitled Free Four from their 1972 Album Obscured by Clouds [originally commissioned by Film Director Barbet Schroeder].

The memories of a man in his old age,
Are the deeds of a man in his prime.

I also thought of this old Pink Floyd song [earlier in the year], when I read Andrew Gross’ The One Man for its narrative details the wartime adventures of an elderly American [with failing health] as he is cajoled by his daughter to retell what he did during  World War II. Curiously, my own current writing project delves into the early lives of my own Father, the mysterious Dr Karim and the enigmatic Mr Keogh [my French-Irish Father-in-Law], and the significance of their own deeds, in a dangerous Post-World War II Europe; deeds now lost in time, and held in my imagination, and their failing memories.

Andrew Gross’ The One Man, like the most interesting of narratives indicated to me that the trick is not to reveal where the seams between fact, merge into fiction, as the tale is retold or reimagined. In Gross’ narrative, he fictionalised the life of his own Father-in-Law, who incidentally managed to see some of the completed manuscript for The One Man, but never saw its publication for he tragically passed away just weeks before the book hit the bookstands, earlier this year.

So last night, we made the necessary arrangements for the whole family to travel to Dublin, like we have done over the years traversing the Irish Sea by Ferry. The memories that the children have of those journeys, as do Muriel and I; remain special like many of the deeds from our past.

I have a deep love for Ireland, first visiting the Emerald Isle back in the 1980s, as I worked in the Middle East, as a Petroleum Chemist surveying and inspecting bulk liquid and gaseous cargoes [as Iran vs Iraq War One, was closing]. I learned a little about life offshore and at sea during that time, working six-weeks on, and three-weeks off on a rota. I incidentally read a lot of books while stationed in the Arabian Gulf, as Mariners are often well-read folk, with time on their hands. Seafarers are also a most superstitious bunch. You’ll never find a 13 Tank, on a Chemical or Crude Oil Vessel.

The memories of a particular Chief Officer [from my time in the Middle East] came back to me last night, as I enjoyed some Dark Rum. His name eludes me as it is lost in the depths of my memory, but I can still picture his face; now just an image from days now passed. He was the XO on a regular vessel which loaded 300,000 Tonnes of Celanese grade Methanol from Jubail [Kingdom of Saudi Arabia] for Japan on a dedicated route, back and fro traversing the Arabian Gulf, Indian Ocean and the Pacific. I spent much time on that vessel, during which the XO introduced me to a drink he called ‘The Perfect Storm’ [which is referred to in America as ‘A Dark and Stormy Night’]. The drink is one part Dark Rum to three parts Ginger Beer, with fresh Lime in a chilled glass filled with ice.

While supervising the custody transfer and loading process or cargo operations, we would pass the time drinking Rum and he would tell me tales of the mysteries of the sea, like the Monsters such as The Kraken. He was a walking library on the legends and mysteries of the sea, and I would be fascinated listening to him; for like many of us, we fear what we term Monsters, and the Monstrous; which for me consist of the Horrors of this World, this Existence, with the knowledge that when it comes to Monsters, they are indeed Legion. Some even wear our own skin, and hide among our number.

So after writing away last night while knocking back the Dark Kraken Rum as I celebrated the start of my Winter Holiday; the theme of Monsters kept encroaching upon my thoughts [and writing] as did the upcoming journey to Ireland with memories of days now passed; my time as a Maritime Chemist, as well as the time spent with my family in Ireland when the children were young, all came back to me – especially the MONSTER GAME.

I used to enjoy playing with our Children, Sophia, Alexander and Miriam when they were young while we visited relatives and friends in Ireland. Life was less complex in those days when the responsibilities I shouldered were not as onerous as they are today. I introduced our Children as well as their Nephews Jeffery and Richard [my Godson], as well as Niece Jillian, and their friends, young Conor and Ciara to my MONSTER GAME.

MONSTER GAME was something I would play to amuse the Children, but it also had a more serious aspect, something that I hoped would stimulate them and give them the confidence to overcome even the most insurmountable of odds. As worthy as this all sounds, I wanted to prepare their developing minds for the dangers of this world, all in the context and safety of a game; and one that like Life, contains a Monster.

For MONSTER GAME, I would construct an obstacle-course of sorts in the garden, made [or rather improvised] from Toys, Ladders, Tools, Skipping Ropes, Swings, Bikes, pretend “Land-Mines”, Quicksand, Paddling Pools, Sand Pit, Tightropes and much, much else, all laid-out into a giant maze.


The Rules for MONSTER GAME were simple -

[a] You had to overcome the obstacle-course to reach the finish line in the quickest time, touching the wall marked ‘THE END’

[b] You had to do this with a Monster pursuing you, and of course I was the Monster, and gave them all a weighted head-start depending upon their age.

If the Monster caught up with them before they could touch the wall marked ‘the end’, they would lose to the Monster.

We used to have great fun, and even when exhausted, I would smile when I heard ‘Come on Uncle Ali, play another MONSTER GAME’ from Richard my Godson. Richard would be amused, when I told him that he is special, having a Godfather who was an atheist, but a resourceful one, and one who would watch over him like Don Corleone, so if anyone messed with him, they would have to fear the wrath of the Atheist Godfather as my reach is wide and long, as I know many, many people.

Occasionally my Godson Richard would recall those times when he was an infant; and remind me of the fun of the MONSTER GAME. I look back at that time [close to two decades ago] with affection, and how I enjoyed watching the Children overcome the hurdles, the obstacles and maze, racing to the end and touching the wall, before the Monster caught them. For me the MONSTER GAME is about the reality of our existence, and our ability to overcome the obstacles in our path, both physically as well as mentally with an awareness that time is always a factor, and that there is always a monster behind us; one who will destroy us if we fall. But MONSTER GAME is forgiving, as long as you pick yourself up after a fall and keep running, for to succeed in MONSTER GAME, is to never give in, for there is always hope when we are resilient and resourceful.

As an analogy, MONSTER GAME for me is preparation for life; for there are obstacles in our lives, moments where our situation appears hopeless, the odds in our success being long, and of course there are indeed Monsters waiting for us; many wearing our skins.

Unlike the children who played MONSTER GAME with me close to two decades ago in Dublin; many children are not so fortunate to practise survival skills in a cognitive and physical game. For some children, there is no dry-run, for the MONSTER GAME is real for them, so while some manage to succeed, others do not, for the ‘real world’ MONSTER GAME has consequences, as we see in the Children from the ranks of the Bullied, the Brutalised and Abused, the ones born into Poverty and those trapped in War Zones like Aleppo, who play MONSTER GAME for real.

This year we as a family will be donating to Save the Children, and I would urge you to please consider donating whatever you can afford to assist Children who have to play MONSTER GAME for real.

More Information about the work of Save the Children and how to donate is available here

So as the Karims prepare to travel to Ireland, to be with the Keoghs, may we wish you all a very Merry Christmas, and let’s hope we can overcome the Monsters that may appear in our path as 2017 arrives.

When I wondered why I wrote this piece? I recalled Graham Greene explaining why some of us feel compelled to transcribe our thoughts onto paper -

 “Writing is a form of therapy; sometimes I wonder how all those who do not write, compose, or paint can manage to escape the madness, melancholia, the panic and fear which is inherent in a human situation.”
Sláinte to my writing and reading friends; for many of us, the transcribed thoughts of ourselves and others, are ways that some of us deploy to retain our sanity. 

Monster Game © 2016 A Karim




Wednesday, July 22, 2015

The Parallax View


“If you begin to understand what you are without trying to change it, then what you are undergoes a transformation.” 
Jiddu Krishnamurti

‘Self-Awareness’ increases as we age, and is most evident in those that ‘think’ and contemplate their place in this shared reality, and therefore can cope better than those that live like dust particles in the Brownian Motion tube, unthinking and buffeted by the random wind we term fate.

Today, something happened in my lunch hour that illustrated the causal link between what I saw [and considered] about to happen to me, and my reaction to what appeared on my ‘Event Horizon’. What I saw, and interpreted through the prism of my consciousness was wrong, totally wrong. The stimulus of the approaching ‘event’, was filtered through my consciousness, and as I got ready to confront what I perceived to be trouble and braced myself for what I perceived to be danger, I understood why I made this miscalculation. It was much later when I ruminated over the incident, and became ‘self-aware’, I realized I had viewed the upcoming event through a parallax view. The conclusion I came to as I saw events unfurl in front of me, was wrong, but most crucially I understood why I had seen things through a parallax, because I understood myself – with due consideration of my frame of mind and frame of reference - that was specific to that situation, and the context of my thinking at that exact time.

So before I detail the incident, let’s take a look at my frame of reference, what my mind was engaged with, grappling with - when the incident kicked off, because from that I realized I viewed the event through a parallax.

I am living under a great deal of stress currently, and I think [with all due modesty] I’m managing it well, though it is hard on the mind. Specifically, I have our children scattered around the world, my wife is away looking after her elderly father, while my own elderly parents take some of my time; being the eldest son, and the one who lives closest by.

The business I co-founded over a decade ago is going like a freight train, which is great, but takes a huge slug of my time to manage as I’m not involved in the distribution of Baked Beans and Toilet Rolls, but problematical and heavily regulated products.

I have agreed to work, in a senior role and in a pro-bono capacity on a major event this autumn [Fall], and the time is getting closer, and expectations high. When I ponder in my dark moments why I agreed, back in 2012 in a bar in St Louis, MO to carry out this role, I realise I did so, as a way of saying thanks to the people who have given me so much pleasure over the years at these events. Coupled to that, I have been asked to be a proposed speaker at an upcoming TED TALK; something that is as prestigious as it is time consuming.

I also sit on two Boards, chair a working group, am a Company Secretary, and a Fellow of three Institutes, and a literary judge for The Crime Writers Association, Assistant Editor at www.shotsmag.co.uk - so I am basically a busy bloke.

How I cope, is a combination of a very understanding family, hyper organisation and my obsession with crime, mystery and thrillers which is my method of coping with reality and life, as this short BBC TV interview from World Book Night in 2011, indicates.


An active imagination and an addiction to reading [and watching] crime, mystery and thrillers can also have an effect on your cognition that you need to aware of. One such effect is a heightened sense of awareness, which some would call paranoia. Excessive reading about the dark side of human nature has consequences. I find it allows me to cope with life, a distraction to keep my consciousness occupied, trapped, engaged and away from rumination and dark thoughts about our ‘existence’; something that troubles many of us manifesting itself as ‘existential angst’

The problem is that all this “living in my head”, has another side-effect, which when all things are considered, is actually useful – the heightened sense of awareness, and therefore becoming actively ‘self-aware’ coupled with an understanding on how disingenuous can be our ability to ‘rationalise’ our actions, “as to” the situation we find ourselves in – and therefore justifying our actions, in the theatre of life, and the ashes of our death.

Today’s Event Horizon
Today, I woke with a troubled mind as I have much going on externally, as well as internally in my mind. My ruminations create stress, which I try my very best to channel in a positive manner. Over the years, I have found as uncomfortable as it is to grapple with the stress created by a troubled mind, the ruminations of my consciousness often result in finding solution[s] to what is troubling me. I find it very useful in problem solving and in business, especially as the ruminations are often prompted by reading detective novels.  I also find the act of writing helps ease the existential angst that are my thoughts, once committed onto paper like here, here, here and expanded upon as my world view here, I feel a weight lift.
Anyway, with a very busy and troubling start to the day, I went to Tesco, a local supermarket to get my lunch, a Tuna and Cucumber sandwich and some Cranberry juice. On the way back to my car, as I unlocked the door, I heard a shout.
“Hey, You!” I ignored the shouting as I unlocked my car door.
“Hey, You!” He shouted again, louder and as I turned my head, he was running toward me. He was a big bloke, mid-twenties all skinhead and muscle with a face molded into an ugly grimace.


“Hey, You!” He shouted again. People were looking over as he raced toward me. I realized I was at an event horizon, something was going to happen. Due to my stressed mind, I threw my Tuna Sandwich and bottle of Cranberry Juice into the car, shut the door, and braced myself. In that split second, I had thought he was some thug, and perhaps was bringing trouble to my door. Due to my troubled mind, circled with worries and stress, I had decided, fuck it, if he wanted a fight, he’d get one. With many onlookers, I realized I would have witnesses so I turned toward him and made myself rigid and braced for an attack. I recalled my youth, and the fights and thought if he throws a punch, I will not only defend myself and though I’m a middle-aged businessman, and my stamina is not what it used to be, I knew I could take him down, I just needed him to throw the first punch, and then I’d knock him down, hard. The act of defending myself would be helpful, a cognitive release; like an archer pulling back a bow and releasing all that kinetic energy with a solid defensive blow, so I felt my arms tense, muscles locked and eyes ready.

“What’s you problem?” I said cautiously as he approached.
“Not mine, yours”, he said pointing at my rear tyre.
With one eye on the big bloke, and the other on the tyre, I saw a sliver glint.
“I noticed the nail in your tyre, and when I saw you approach your car…” His face was no longer coated with the visage of aggression, but with a warm smile. “I’d get that looked at sooner than later” he continued.

I thanked the man profusely, and realised that I had viewed the incident in parallax, allowing my stressed mind, and my paranoia fuelled by reading crime / thriller fiction to totally misinterpret the situation I saw unfurl in front of my eyes.

As I sat waiting at ATS for my tyre to be checked, I thought of how treacherous our cognition can become, given the right situation and circumstance.

I also thought of Warren Beatty, and Alan J Pakula, and I felt a calmness spread over me as I again understood myself, and the problems and stress that circled me like wild horses started to dissipate.

I also felt a wave of déjà vu, as if this had happened to me before, as Membrane Theory postulates. Either way, at least I thought through and analysed my actions, and therefore helped understand myself.

“Greater in battle, than the man who would conquer a thousand-thousand men,
is he who would conquer just one — himself.
Gautama Buddha




Thursday, October 11, 2012

MORALLY CHALLENGED HEROES



Last Friday I met up with my writing Colleagues Liz Hand, Lou Berney, Chris F Holm and Seth Harwood, in Cleveland for our Bouchercon Panel, a discussion on “Morality in the Crime Fiction Hero / Anti-Hero.” Considering there were three other excellent panels, as well as key-note event with Toastmaster John Connolly in conversation with fellow bestselling novelist Karin Slaughter, we were very surprised at the turnout. It was standing room only, and for those who attended, we wish to thank you. As ‘morality in crime-fiction’ is a very broad and interesting topic, we had far more questions than time’, so I thought it might be fun to publish my notes and questions that we raised, as well as the ones we didn’t have time to debate. These points both those discussed and those not, should provoke thought. This is the pleasure of reading, it engages the mind and makes us think about life and reality, and the prism of crime fiction, an excellent way of viewing matters in an existential light. And we all know it rains on the just and unjust alike.

I would urge you to explore the panelist’s work, though Wallace Stroby emailed me that afternoon, with an apology as he was taken sick and therefore unable to participate. In honour of Clint Eastwood, who played the amoral Dirty Harry, we left Wallace’s chair empty………

Elizabeth Hand In the 1970s, Elizabeth Hand flunked out of college and became involved in the nascent punk scenes in DC and NYC. From 1979 to 1986 she worked at the Smithsonian Institution's National Air & Space Museum, and eventually received a BS in cultural anthropology. She is the author of eleven novels and four collections of short fiction. Her work has received numerous honors, including the Shirley Jackson Award, World Fantasy Award, and Nebula Award, and her novels have been New York Times and Washington Post Notable Books.  A regular contributor to the Washington Post, LA Times, Salon, and The Magazine of Fantasy and Science Fiction, among others, Hand divides her time between the Maine coast and North London.

Her novel Available Dark [2012] is a foray into crime fiction and a sequel to her highly regarded 2007 Novel Generation Loss, which received the inaugural Shirley Jackson Award for best work of psychological suspense.   Both books feature her antihero Cassandra [Cass] Neary who she describes “as your prototypical amoral speedfreak crankhead kleptomaniac murderous rage-filled alcoholic bisexual heavily tattooed American female photographer.” Perfect for our panel on amoral heroes!

Lou Berney is an accomplished writer, teacher, and liar. He is the author of WHIPLASH RIVER (William Morrow, 2012) and GUTSHOT STRAIGHT (William Morrow, 2010). GUTSHOT STRAIGHT was nominated for a Barry Award and named by Booklist as one of the best debut crime novels of the year. Often compared to Elmore Leonard with a dash of Carl Hiaason, his short fiction has appeared in publications such as The New Yorker, Ploughshares, and the Pushcart Prize anthology, and he has written feature screenplays and created TV pilots for, among others, Warner Brothers, Paramount, Focus Features, ABC, and Fox. 

Currently he teaches writing at the University of Oklahoma and Oklahoma City University. Berney’s antihero Charles "Shake" Bouchon, is a professional wheel man [aka getaway driver] and is described as “too nice a guy for the life he's led, but not nice enough for any other”

Chris F Holm - was born in Syracuse, New York, the grandson of a cop with a penchant for crime fiction.  It was punk rock and Star Wars, two influences that hold more sway over Holm, than perhaps his wife would like.  But it was books [like many of us] that defined his childhood, from his grandfather’s Wambaugh and Lawrence Sanders paperbacks, to the timeworn pulps picked up secondhand from the library. Apparently, he wrote his first story at the age of six.  It got him sent to the principal’s office and he’d like to think that right then is when he decided to become a writer.


Since then, he’s fared a little better. His stories have appeared in a slew of publications, including Ellery Queen’s Mystery Magazine, Alfred Hitchcock’s Mystery Magazine, Beat to a Pulp, and Thuglit.  His novella “The Hitter” was selected to appear in THE BEST AMERICAN MYSTERY STORIES 2011, edited by Harlan Coben and Otto Penzler. He’s been an Anthony Award nominee, a Derringer Award finalist, and a Spinetingler Award winner.  His Collector novels, DEAD HARVEST [Feb 2012] and THE WRONG GOODBYE [Sept 2012], recast the battle between heaven and hell as Golden Era crime pulp. They feature Sam Thornton a collector of souls from the damned and sends them into eternal misery. So it should have been straightforward to collect the soul of 17-year-old mass murderer Kate MacNeil, but something isn’t right; her soul is too pure. The collection of an innocent soul can throw off the balance of good and evil and spark a chain of events that leads to the end of the world, biblical style – hence the moral / amoral dimension.

Wallace Stroby – I first met Wallace on a late night drinking binge at Bouchercon Las Vegas in 2003, in a bar called ‘The Peppermill’, which was featured in John Ridley’s amoral novel ‘Everyone Smokes in Hell’, and we’ve been bumping into each other at Bouchercons ever since. Stroby is an award-winning journalist and the author of the novels
"Kings of Midnight," "Cold Shot to the Heart," "Gone 'Til November," "The Heartbreak Lounge" and "The Barbed-Wire Kiss.".

A Long Branch, N.J., native, he's a lifelong resident of the Jersey Shore. "The Barbed-Wire Kiss," which The Washington Post called "a scorching first novel ...full of attention to character and memory and, even more, to the neighborhoods of New Jersey," was a finalist for the 2004 Barry Award for Best First Novel.

A graduate of Rutgers University, Stroby was an editor at the Star-Ledger of Newark, Tony Soprano's hometown newspaper, for 13 years. In Stroby’s latest KINGS OF MIDNIGHT, Crissa Stone, the cool-headed professional thief from Stroby's acclaimed COLD SHOT TO THE HEART returns and when reviewed at Kirkus she is described - "Crissa Stone may be crime fiction's best bad girl ever."
Seth HarwoodBoston born but now residing in California, Seth is the author of the Jack Palms novels. In 2005, Seth Harwood began writing his debut novel, Jack Wakes Up. No stranger to the literary scene, Harwood had graduated from the prestigious Iowa Writers' Workshop just a few years earlier and his short stories had been published in numerous literary magazines and anthologies; getting attention from publishers for Jack Wakes Up, however, proved more difficult. So in July of 2006, Seth recorded a podcast of Jack Wakes Up and posted it on his website, SethHarwood.com, for free download. The podcast was a major hit and the Jack Palms Crime Podcast Series was born. Soon JACK WAKES UP was published by Three Rivers Press Paperback Original [Random House]. Since then he has written This is The Life [Jack Palms #2], Czechmate [Jack Palms #3], Triad Death Match [A Jack Palms Novella], A Long Way from Disney [a short story collection], In Broad Daylight [a Jess Harding FBI thriller]. 

The Jack Palms’ novels feature the eponymous anti-hero, former Hollywood one-hit wonder and ex-drug addict now has cleaned up his act, and is sorting his life out, but aspects of his amoral past still lay in his mind, and Palms is described by some as “half-likeable and half-asshole”. Though it is his 2010 novel Young Junius, that is perhaps his most intriguing, taking the 14 year old Junius Posey, who sets to track down his brother’s killer in a rundown area of Cambridge, Massachusetts. Junius ends up a killer, crossing the line but it’s the amorality he’s learned that allows him to sort out the dangers around him.

Seth teachs English and writing at CCSF [City College San Francisco] and Stanford University, and previously at UMass Boston and the University of Iowa.

Q         Would you agree that the basis of the success of the Crime Fiction /  Mystery Genre is the understanding of ‘Morality’, and the restoration of  order? Unlike in life, in the crime novel we have the ability to solve the problem, punish the guilty and restore order, giving the reader a sense of ‘closure’ / catharsis as satisfaction is often absent in the real world, due to the random nature of reality [where the rain falls on the just, as well as the unjust, in equal measure]?


Q         In some crime novels we often have the good guy, who restores the order  but in order to do so, he has a side-kick [to do the dirty work] so the hero keep his uniform white, eg Bubba works with Patrick and Angie in Dennis Lehane’s PI novels, Robert B Parker’s Spencer has Hawk, Harlan Coben’s Myron Bolitar has Win, Bob Crais’ Elvis Cole has Joe Pike, while        some writers allow their ‘heroes / anti-heroes to do their own dirty work. What are your thoughts on this matter, should the hero clean up his own mess, or have a side-kick? And what do you do in your own writing with this dilemma?

Q         Many critics indicated that the Bond villains were very, very bad because James Bond was a deeply amoral character himself, so his enemies had to be even more grotesque, a bit like the Batman villains [as Bruce Wayne was a psychopath] would you agree that when your character / hero / anti-hero is a bad-ass, then his foes have to be even more evil?

         At this point the panel were asked “if you were in deep, deep trouble and need to call upon a fictional character to help you out of a jam, who would you call?” Seth Harwood asked “…but what sort of trouble?” At which I replied “consider it a big bloody problem, so big it would take an imaginary character, a real bad-arse to resolve." The panelists spoke about the character they would call, and the audience voted for a winner, and it was Chris Holm’s nomination of Bruce Wayne / Batman that was voted the biggest bad-arse, and the one they would call if mired in a huge problem, beating Patricia Highsmith’s Tom Ripley, Richard Stark’s Parker and Helen Zahavi's Bella.

       At this point, a giant cockroach fell from the ceiling to much consternation from the audience, luckily the Editor-in-Chief of Shots Magazine, and insect-wrangler managed to stamp on it, before it attacked the panel. This was a good time to open up the panel to the audience, for their questions.

            This left the following questions un-debated, but you might find them of interest and may provoke thought.

Q         When writing a amoral hero[s] / anti-hero[s], how hard it is to ensure the reader retains sufficient sympathy with the character[s] so there is a  willingness to continue to read, on. What writing tactics do you deploy with examples to keep the reader engaged even when the lead has some unpleasant character traits? [eg Elmore Leonard deployed humor, Westlake / Stark deployed violence and an efficiency, sense of purpose in the ruthlessness in Parker, Harris gave Lecter some very insightful dialogue and a scary intelligence, Larsson gave Salander autism linked to her backstory and hi-tech skills, Fleming gave Bond an upperclass  perspective, exotic tastes and locations, etc]

Q         I recall being chilled when I read that Adolf Hitler loved dogs, as he was a huge animal lover, this made him [in my opinion] all the more hideous as a monster, seeing that he was ultimately responsible for the deaths of so many innocent humans, but loved animals, so how important is it that we show the good and bad natures of our characters, antagonists and protagonists as the world is no longer black and white but murky grey?

Q         What about the good guys that appear in the genre, how important is to ensure they have dark sides to their nature, and not totally good-two  shoes types, so there is cross-over to the amoral anti-hero? Or is there legitimacy in have all characters with good and bad, and the hero is the one who is least bad?

Q         What happens when a writer / creator feels perhaps their anti-hero has crossed the line between the fantasy world and become a tool for the mentally unstable in the real world? Does the writer creator have a duty to society to keep the amorality behind a line? [Examples being Stephen King withdrawing RAGE, an early book published under his name   Richard Bachman which allegedly was linked to some school kidnappings  / shootings, Stanley Kubrick withdrawing A CLOCKWORK ORANGE in the UK as it allegedly inspired anti-social gang violence as some youths  copied Alex and the Droogs, now available again following Kubrick’s death, and more recently the BATMAN massacre in Denver], so what responsibility does the writer / creator have when walking the morality line?

As a coda to that question / discussion point, I’d bring out the anecdote / dilemma that British Composer Clint Mansell faced when that Norwegian nutter Anders Behring Breivik admitted in having the score from Darren Aronofsky’s REQUIEM FOR A DREAM [based on a novel by Hubert Selby Jnr] ‘Lux Aeterna’ playing on full volume, and on shuffle-repeat on his IPod as he killed the young people on the Norwegian island.


He said at the trial “In addition, I will put my iPod on max volume as a tool to suppress fear if needed. I might just put Lux Aeterna by Clint Mansell on repeat as it is an incredibly powerful song. The combination of these factors (when added on top of intense training, simulation, superior armour and weaponry) basically turns you into an extremely focused and deadly force, a one-man-army.”

Q         Can you go too far in having amoral heroes in novels or cinema of the extreme, for example has anyone here seen the very disturbing ‘A SERBIAN FILM’? [show of hands please], where the lead character is a male ex-porn actor, basically a decent man, forced into some unspeakable acts and acts of extreme sexual violence. I’m never for agreeing with censorship, but that film disturbed me deeply, and is one that I think crosses the line. Have any of you, lines on your own value and moral system that you would not cross, or is any scared cow fair game?


Q         Is there a response to amorality by subversion? When Austrian Michael Haneke wrote and directed ‘FUNNY GAMES’ in 1997 [which was remade for US audiences a decade later], it was deeply shocking. I found it hard to watch. Haneke in an interview said that his film was in direct response to the laughter he heard from a teenage cinema audience when they viewed some of the random and amoral violence and death in Pulp Fiction. The teenage laughter chilled him, so in response, he made FUNNY GAMES, where the two psychopaths that terrorise and torture [and murder] the couple and their young son, are portrayed as charming, well dressed and their madness / amorality masked by their charm and joyful natures. We see that amorality is not funny, and the camera lingers over the violence and no one laughs.

            Other examples of subversion of morality could be Mario Puzo’s The Godfather, where the cops are corrupt while the mob appear to be the good guys in the neighborhood, or in ‘Mute Witness’ by Robert Fish which became Bullitt, or the Dirty Harry Movies the amoral [fascistic] cops are better than the politicians that should be our protectors - Care to comment about the subversion of morality?

Q         There seems to an issue with regard to the treatment of morality when viewed through the looking glass of different cultures, as some ‘things’ maybe palatable in one culture but not in another. A case in point is the amoral ‘hero’ such as Thomas Harris’ 1999 novel “Hannibal” which was lauded by the British / European critics while on the whole unappreciated in Harris’ native America, and Patricia Highsmith whose work especially the Tom Ripley novels were critically acclaimed in Europe but only after her passing did they become more than cult books in her native America, she even left the US for Norfolk and eventually Switzerland? Would you agree that an amoral hero is more accessible to a European sensibility than an American one?

Q         What fictional characters do you consider really special? And why are so many popular characters amoral with often sociopathic tendencies? Can you pick examples from the book world, as well as comics, films and tell us about the ones you most liked and perhaps influenced you eg -

            Examples being Silence of the Lambs with Clarice Starling, and the Dr Moriarty style villain with Dr Hannibal Lecter, Carol O'Connell's Kathleen Mallory, Larsson’s  Lisabeth Salander, Fleming’s James Bond, Richard Stark’s Parker, Highsmith’s Tom Ripley, David Morrell’s John Rambo and there are many more, not just in books, but comics, films eg Batman, Catwoman, The Joker, The Watchmen, Clint Eastwood’s Spaghetti Westerns, Dirty Harry, Bullitt, The Magnificent Seven, Any Tarantino movie, The Dirty Dozen, et al

            We had a lot of fun, and I do hope you explore the panelists’ work, because they plough    the amoral furrow well, because like in life, it rains on the just and unjust in equal measure.

Saturday, September 29, 2012

“It rains on the just and the unjust, alike”



Though personally not religious, there are passages in the Bible that are worth quoting, worth reflecting upon, and sometimes they provide insight, other times they don’t. Whether you recognize the title of this post from Matthew 5:45, or from Alan Moore and Dave Gibbon’s Watchmen, it doesn't really matter. What that line indicates is that when it comes to morality, the consequences of our actions may or may not have repercussions.

This brings me to discuss the topic of Morality as a theme in crime, mystery and thriller fiction, as an entrĂ©e to packing this weekend for my annual trip to Bouchercon [The World Crime and Mystery Convention], which this year is being celebrated in Cleveland Ohio next week. In 2013 it’s being held in Albany NY, then in 2014 in Long Beach CA, and in 2015 it’s in Raleigh NC [where I am heading the Programming for Stacey Cochran]. Bouchercon is the biggest gathering of Crime, Mystery and Thriller readers, writers, reviewers, publishers, editors, bloggers, and enthusiasts in the world. As much as I enjoy my visits to Thrillerfest, Theakston’s Harrogate Crime, Bristol’s Crimefest, and Left Coast Crime [and there are many others], like the new Bloody Scotland – Bouchercon has a special place in my heart. Over the years, I have made many friends at these events, due to my eccentric nature and fascination with the genre.

I recall vividly when I sat at the opening ceremonies at Bouchercon San Francisco in 2010, the moment when the Chair of the convention welcomed us to her home city Rae Helmsworth, and Toastmaster Eddie Muller asked for the lights to be dimmed as he played this montage movie by Serena Bramble


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Anyway, as Serena’s movie played in the darkened room, I sat mesmerized with at least a thousand fellow enthusiasts of the crime, mystery, thriller genre from all over the world. When the sinister vocals of Donovan’s Hurdy Gurdy Man, came on accompanying the clip from David Fincher’s Zodiac, I looked back at the audience and realized everyone appeared hypnotized. Looking back at all the movies featured by Serena, there was one common theme to them all - they all examined ‘morality’ as a theme that drove the narrative. Then again, ‘morality’ is always the theme when it comes to plotting crime-fiction, as we see the battle fought between the righteous against the evil. In some cases it can be simplistic with the good guys wearing white, and being totally righteous while the bad guys show no redeeming features at all. Though in today’s genre, like that of reality, both good and bad can merge to produce various shades and hues, many grey, some darker than others, and sometimes the good guys are only marginally better than the bad guys, or in a work such as Hannibal by Thomas Harris, it becomes hard to distinguish the good guys from the bad. I have written about Harris’ work many times, as the theme of morality is key to all Harris’s work. I consider that it was Harris’ own Southern Baptist upbringing that made him use morality as the backdrop upon which Dr Lecter views the world, as he indicated to Detective Will Graham in his novel Red Dragon

"Tell me, Will. Did you enjoy it? Your first murder? Of course you did. And why shouldn't it feel good? It does to God. Why only last week in Texas, he dropped a whole church roof on the heads of 34 of his worshippers, just as they were groveling for him. He wouldn't begrudge you one Journalist."

Getting back to Bouchercon, with up to 2,000 people attending the convention, there are so many panels, events, parties, meetings to attend, as well as clocking in some bar time; that one can get very perplexed with the choices on offer. Panels run multi-tracks, so planning ahead is essential, though due to Bourcheron’s huge appeal, they are all very well attended. I have Moderated and Participated on many Bouchercon Panels, since my first Bouchercon in Las Vegas in 2003. I’ve moderated some amusing ones, such as ‘Alcohol and Crime Fiction’ in Baltimore in 2008 [pictured at top] when I passed around some Gordon’s Gin during the debate. The same year, I also moderated a panel on Book Reviewing where I was hyped by early reads of Stieg Larsson [pictured below with Rae Helmsworth]. In San Francisco I moderated a Book Reviewing Panel, and one on Translated Crime Fiction. I took at break in Indianapolis in 2009 where I attended, but didn't present, though I caught up last year in St Louis where I moderated two panels, one on PI Fiction and one on Translated Crime Fiction, due to my early championing of The Girl With The Dragon Tattoo.

Next week, at Bouchercon Cleveland, I’m moderating only one panel but it is the topic that this feature relates to – Morality in the genre’s heroes. The panel is on Friday afternoon, and one of five events running at the 1445 – 1535 time slot. All are excellent panels, as well as a feature discussion between two internationally acclaimed writers.

In a surreal twist of fate, it was indeed John Connolly who helped me formulate some of my ideas about the role morality plays in crime-fiction -

You often cite the differences between so-called Golden Age British crime fiction and the American crime fiction of that same period. Would you care to explain?

Are you trying to cause to trouble? [Laughs]

No. But what I'm alluding to here is that the British crime fiction of the early 20th century was very class-conscious, focusing on the mechanics of upper-class society, whereas U.S. crime fiction focused more on the blue-collar world. What are your thoughts on this difference?

Well, in most panel debates and discussion groups, when this theme is explored, people very rarely argue, as there seems to be this happy consensus about things. I think people are often frightened to offend someone, as if you can't say anything bad about people who write mysteries set in the vicarage, or cat mysteries. I am quite happy to say bad things about some of them, as some are simply awful, just as some hard-boiled mysteries are. ...

In terms of my own reading, I've read [Agatha] Christie as well as [Dorothy L.] Sayers, and they are the kind of things that you pick up in a library when you're younger. They are books about class, but more importantly, they are very conservative. These novels are predicated upon belief in "the system" and "the society" that they are set in. So crime is seen as an aberration to the system, and all it takes is someone with a bow tie, bowler hat and perhaps a fancy mustache to come in and sort it out. The hero cuts out the crime like a surgeon operating on a cancerous nodule that needs removing, restoring order to the perfect world. There are, naturally, exceptions to this, but I'm not sure that even those works were prepared to look into the fact that evil is endemic to society, part of the natural order of things.

That is not the only thing I dislike about the Golden Age "cozy." Christie may have some very good qualities, but carefully crafting characters is not one of them, apart from Miss Marple and perhaps [Hercule] Poirot and the odd guy who turns up in The Murder of Roger Ackroyd, which was quite interesting. That wasn't her real concern, as she was in fact writing puzzles, and she was writing books that had the ethos that "bad things happen to bad people." People who die in Christie's and Sayers' novels have been asking for it. The classic example is in Sayers' The Nine Tailors, where the guy who dies in that book dies because of divine retribution, and his death is connected to a vision of a God who only punishes bad people. Therefore, there is no need to become emotionally engaged with the people who die in those novels. ... You shouldn't give a damn about them, but perhaps focus on the puzzle that lies in the center of the book.

In the American crime novels of the same period, the situation is completely different. There is an understanding that people suffer due to no fault of their own, particularly with Ross Macdonald, who was a big influence on my own writing. There is not the same "perfect world" setting, particularly with the books that came out of California in the 1920s and 30s. [California back then] was a dreadfully corrupt place. It was a place of immense wealth, and with that came power, and that brought the law, and with that, justice was predicated upon how much money you had. In that environment, you needed someone from the outside to establish order, because the police were not going to do it -- especially if you were poor, or an immigrant. ... I think that [situation] appealed to me, because it brings a great deal of other things into the frame. There is a sense of indignation at the state of the world, and also of compassion; there is recognition that for evil to triumph, as the political philosopher Edmund Burke said, [all that is necessary is] for good men to stand by and do nothing. There was an understanding in that fiction, that you just had to act. In someone like [Dashiell] Hammett -- he went through an almost 180-degree turn in his political and social viewpoint. Hammett was a strike-breaker for the Pinkertons, but towards the end of his life he got jailed for refusing to name names [during America's "communist scare" of the 1950s]. Hammett took it upon himself to act, as he felt that "the order" as it stood was not satisfactory.

Read More from my 2003 interview with John Connolly from January Magazine

If you are interested to see the panel we've assembled, here’s the details –

MORALLY CHALLENGED HEROES
Date: Friday, October 5, 2012
Time: 2:45 p.m. - 3:35 p.m.
Location: Whitehall Room

The panelists are –

Elizabeth Hand In the 1970s, Elizabeth Hand flunked out of college and became involved in the nascent punk scenes in DC and NYC. From 1979 to 1986 she worked at the Smithsonian Institution's National Air & Space Museum, and eventually received a BS in cultural anthropology. She is the author of eleven novels and four collections of short fiction. Her work has received numerous honors, including the Shirley Jackson Award, World Fantasy Award, and Nebula Award, and her novels have been New York Times and Washington Post Notable Books.  A regular contributor to the Washington Post, LA Times, Salon, and The Magazine of Fantasy and Science Fiction, among others, Hand divides her time between the Maine coast and North London.

Her novel Available Dark [2012] is a foray into crime fiction and a sequel to her highly regarded 2007 Novel Generation Loss, which received the inaugural Shirley Jackson Award for best work of psychological suspense.   Both books feature her antihero Cassandra [Cass] Neary who she describes “as your prototypical amoral speedfreak crankhead kleptomaniac murderous rage-filled alcoholic bisexual heavily tattooed American female photographer.” Perfect for our panel on amoral heroes!

Lou Berney is an accomplished writer, teacher, and liar. He is the author of WHIPLASH RIVER (William Morrow, 2012) and GUTSHOT STRAIGHT (William Morrow, 2010). GUTSHOT STRAIGHT was nominated for a Barry Award and named by Booklist as one of the best debut crime novels of the year. Often compared to Elmore Leonard with a dash of Carl Hiaason, his short fiction has appeared in publications such as The New Yorker, Ploughshares, and the Pushcart Prize anthology, and he has written feature screenplays and created TV pilots for, among others, Warner Brothers, Paramount, Focus Features, ABC, and Fox. Currently he teaches writing at the University of Oklahoma and Oklahoma City University. Berney’s antihero Charles "Shake" Bouchon, is a professional wheel man [aka getaway driver] and is described as “too nice a guy for the life he's led, but not nice enough for any other”

Chris F Holm - was born in Syracuse, New York, the grandson of a cop with a penchant for crime fiction.  It was punk rock and Star Wars, two influences that hold more sway over Holm, than perhaps his wife would like.  But it was books [like many of us] that defined his childhood, from his grandfather’s Wambaugh and Lawrence Sanders paperbacks, to the timeworn pulps picked up secondhand from the library. Apparently, he wrote his first story at the age of six.  It got him sent to the principal’s office and he’d like to think that right then is when he decided to become a writer.

Since then, he’s fared a little better. His stories have appeared in a slew of publications, including Ellery Queen’s Mystery Magazine, Alfred Hitchcock’s Mystery Magazine, Beat to a Pulp, and Thuglit.  His novella “The Hitter” was selected to appear in THE BEST AMERICAN MYSTERY STORIES 2011, edited by Harlan Coben and Otto Penzler. He’s been an Anthony Award nominee, a Derringer Award finalist, and a Spinetingler Award winner.  His Collector novels, DEAD HARVEST [Feb 2012] and THE WRONG GOODBYE [Sept 2012], recast the battle between heaven and hell as Golden Era crime pulp. They feature Sam Thornton a collector of souls from the damned and sends them into eternal misery. So it should have been straightforward to collect the soul of 17-year-old mass murderer Kate MacNeil, but something isn’t right; her soul is too pure. The collection of an innocent soul can throw off the balance of good and evil and spark a chain of events that leads to the end of the world, biblical style – hence the moral / amoral dimension.
Wallace Stroby – I first met Wallace on a late night drinking binge at Bouchercon Las Vegas in 2003, in a bar called ‘The Peppermill’, which was featured in John Ridley’s amoral novel ‘Everyone Smokes in Hell’, and we’ve been bumping into each other at Bouchercons ever since. Stroby is an award-winning journalist and the author of the novels
"Kings of Midnight," "Cold Shot to the Heart," "Gone 'Til November," "The Heartbreak Lounge" and "The Barbed-Wire Kiss.".

A Long Branch, N.J., native, he's a lifelong resident of the Jersey Shore. "The Barbed-Wire Kiss," which The Washington Post called "a scorching first novel ...full of attention to character and memory and, even more, to the neighborhoods of New Jersey," was a finalist for the 2004 Barry Award for Best First Novel.

A graduate of Rutgers University, Stroby was an editor at the Star-Ledger of Newark, Tony Soprano's hometown newspaper, for 13 years. In Stroby’s latest KINGS OF MIDNIGHT, Crissa Stone, the cool-headed professional thief from Stroby's acclaimed COLD SHOT TO THE HEART returns and when reviewed at Kirkus she is described - "Crissa Stone may be crime fiction's best bad girl ever."

Seth HarwoodBoston born but now residing in California, Seth is the author of the Jack Palms novels. In 2005, Seth Harwood began writing his debut novel, Jack Wakes Up. No stranger to the literary scene, Harwood had graduated from the prestigious Iowa Writers' Workshop just a few years earlier and his short stories had been published in numerous literary magazines and anthologies; getting attention from publishers for Jack Wakes Up, however, proved more difficult. So in July of 2006, Seth recorded a podcast of Jack Wakes Up and posted it on his website, SethHarwood.com, for free download. The podcast was a major hit and the Jack Palms Crime Podcast Series was born. Soon JACK WAKES UP was published by Three Rivers Press Paperback Original [Random House]. Since then he has written This is The Life [Jack Palms #2], Czechmate [Jack Palms #3], Triad Death Match [A Jack Palms Novella], A Long Way from Disney [a short story collection], In Broad Daylight [a Jess Harding FBI thriller]. The Jack Palms’ novels feature the eponymous anti-hero, former Hollywood one-hit wonder and ex-drug addict now has cleaned up his act, and is sorting his life out, but aspects of his amoral past still lay in his mind, and Palms is described by some as “half-likeable and half-asshole”. Though it is his 2010 novel Young Junius, that is perhaps his most intriguing, taking the 14 year old Junius Posey, who sets to track down his brother’s killer in a rundown area of Cambridge, Massachusetts. Junius ends up a killer, crossing the line but it’s the amorality he’s learned that allows him to sort out the dangers around him.

Seth teachs English and writing at CCSF [City College San Francisco] and Stanford University, and previously at UMass Boston and the University of Iowa.

Ali Karim [Moderator] – I’m the Assistant Editor at Shots eZine, a contributing editor at January Magazine & The Rap Sheet and I write for Crimespree magazine, Deadly Pleasures, Strand Magazine, and Mystery Readers International and am an associate member of  The Crime Writers Association [CWA], International Thriller Writers [ITW] and the Private Eye Writers of America [PWA]. I contributed to ‘Dissecting Hannibal Lecter’ ed. Benjamin Szumskyj [McFarland Press] a critical examination of the works of Thomas Harris; The Greenwood Encyclopedia of British Crime Fiction [ed. Barry Forshaw] and the Edgar and Anthony Award nominated ITW 100 Thriller Novels ed David Morrell and Hank Hagner [Oceanview Publishing]. At the Anthony Awards held at Bouchercon St Louis, I was presented with the 2011 David Thompson Memorial Award for Special Services to the Crime and Thriller Genre, and am the programming chair for Bouchercon 2015 in Raleigh, North Carolina headed by Stacey Cochran.

We have some interesting topics on the theme of ‘morality in our heroes’ to discuss and I am sure references will be made of Clarice Starling, and the Dr Moriarty style villain / anti-hero Dr Hannibal Lecter, Carol O'Connell's Kathleen Mallory, Larsson’s  Lisabeth Salander, Fleming’s James Bond, Richard Stark’s Parker, Highsmith’s Tom Ripley, David Morrell’s John Rambo as well as Batman, Watchmen, Clint Eastwood’s Spaghetti Westerns, Dirty Harry, Bullitt, The Magnificent Seven, Tarantino movies, The Dirty Dozen, et al

When considering writing about amoral heroes, what happens when a writer / creator feels perhaps their anti-hero has crossed the line between the fantasy world and become a tool for the mentally unstable in the real world? Does the writer creator have a duty to society to keep the amorality behind a line? [Examples being Stephen King withdrawing RAGE, an early book published under his name Richard Bachman which allegedly was linked to some school kidnappings / shootings, Stanley Kubrick withdrawing A CLOCKWORK ORANGE in the UK as it allegedly inspired anti-social gang violence as some youths copied Alex and the Droogs, now available again on DVD following Kubrick’s death, and more recently the BATMAN massacre in Denver], so what responsibility does the writer / creator have when walking the morality line?

Is there a response to amorality by subversion? When Austrian Michael Haneke
wrote and directed ‘FUNNY GAMES’ in 1997 [which was remade for US audiences a decade later], it was deeply shocking. Many found it hard to watch. Haneke in an interview said that his film was in direct response to the laughter he heard from a teenage cinema audience when they viewed some of the random and amoral violence and death in Pulp Fiction. 

The teenage laughter chilled him, so in response, he made FUNNY GAMES, where the two psychopaths that terrorise and torture [and murder] the couple and their young son, are portrayed as charming, well dressed and their madness / amorality masked by their charm and joyful natures. We see that amorality is not funny, and the camera lingers over the violence and no one laughs. Other examples of subversion of morality are Mario Puzo’s The Godfather, where the cops are corrupt while the mob appear to be the good guys in the neighborhood, or in ‘Mute Witness’ by Robert L. Fish which became Bullitt, or the Dirty Harry Movies where amoral [fascistic] cops are better [or less worse] than the politicians that should be our protectors, even James Bond and Batman are psychopaths, hence why their enemies border on the surreal in terms of evil.


So we hope to see some of you at Bouchercon Cleveland, and if you come to the Morality panel on Friday afternoon, make sure you bring a raincoat as it rains on the righteous as well as disingenuous, in equal measure.

And finally as I titled this article from a line that Alan Moore used from Matthew 5:45 for Watchmen, let’s leave the last laugh to Rorschach, telling an anecdote overlaid upon the murder of The Comedienne -

Heard joke once: Man goes to doctor. Says he's depressed. Says life seems harsh and cruel. Says he feels all alone in a threatening world where what lies ahead is vague and uncertain. Doctor says "Treatment is simple. Great clown Pagliacci is in town tonight. Go and see him. That should pick you up." Man bursts into tears. Says "But, doctor...I am Pagliacci."


Good joke. Everybody laugh. Roll on snare drum. Curtains. Fade to black