Nostalgia City Mysteries

By Mark S. Bacon

Category Archives: suspense novel

New in mystery and suspense; holiday gift suggestions

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Books are thoughtful holiday gifts.  Click on the book covers for buying options.   Prices on books in all formats are subject to change at the discretion of the store or website where they are purchased.

Martini Shot (An Eddie Collins Mystery Book 4)
Clive Rosengren
Coffeetown Press  November 2018
204 pages
Kindle $2.99   Trade paperback $13.99

Eddie Collins, private eye and part-time Hollywood actor, is hired by ageing actor, Sam Roth, to locate his disowned son, Jack Callahan. Roth hopes to reconcile their relationship before his “Martini Shot” last scene of the day, as he is in his 90s.

While working the Roth case, Eddie receives a letter from his daughter’s adoptive parents, that she would like to meet him and find out more about her mom. In spite of his uncertainty, Eddie agrees to meet her. What will this relationship lead to in the future and what will all parties make of it? Only time will tell.

Eddie locates Callahan, leading to a father and son meeting. However, he later gets a call from Roth, informing him that his son has been found, bludgeoned to death. Sam asks Eddie to find out what has happened to Jack. Eddie investigates Jack’s life, hoping to find clues to the murder. Little does he know that upon discovering the murderer, his own life will hang in the balance.

This is the fourth in the Eddie Collins series.  It is preceded by Murder Unscripted, Red Desert and Velvet on a Tuesday Afternoon.

* * *

Clive Rosengren is a recovering actor. His career spanned more than forty years, eighteen of them pounding many of the same streets as his fictional sleuth Eddie Collins. He appeared on stages at the Great Lakes Shakespeare Festival, the Guthrie Theater, and the Oregon Shakespeare Festival, among others. Movie credits include Ed Wood, Soapdish, Cobb, and Bugsy. Among numerous television credits are Seinfeld, Home Improvement, and Cheers, where he played the only person to throw Sam Malone out of his own bar. He lives in southern Oregon’s Rogue Valley, safe and secure from the hurly-burly of Hollywood.  The first two books in the series were finalists for the Shamus Awards, sponsored by the Private Eye Writers of America.

 

The Reversible Mask, an Elizabethan Spy Novel
Loretta Goldberg
Made Global Publishing   December 2018

449 pages
Kindle $4.99   Trade paperback $19.84

Summer 1566. A glittering royal progress approaches Oxford. A golden age of prosperity, scientific advances, exploration and artistic magnificence. Elizabeth I’s Protestant government has much to celebrate.

But one young Catholic courtier isn’t cheering.

Conflicting passions—patriotism and religion—wage war in his heart. On this day, religion wins. Sir Edward Latham throws away his title, kin, and country to serve Catholic monarchs abroad.

But his wandering doesn’t quiet his soul, and when Europe’s religious wars threaten his beloved England and his family, patriotism prevails. Latham switches sides and becomes a double agent for Queen Elizabeth. Life turns complicated and dangerous as he balances protecting country and queen, while entreating both sides for peace.

Intrigue, lust, and war combine in this debut historical novel.

* * *

An Australian-American, Loretta Goldberg earned a BA in English literature, musicology and history at the University of Melbourne. After teaching English for a year, she came to the US on a Fulbright scholarship to study piano. She earned an MA in music performance at Hunter College, New York.  She built a financial services practice, which she sold recently to focus on writing. She’s written articles on financial planning, arts reviews and political satire.

 

The Blue
Nancy Bilyeau
Endeavour Quill
430 pages
Kindle $3.99    Trade paperback  $15.58

In eighteenth century London, porcelain is the most seductive of commodities. Fortunes are made and lost upon it. Kings do battle with knights and knaves for possession of the finest pieces and the secrets of their manufacture.

For Genevieve Planché, an English-born descendant of Huguenot refugees, porcelain holds far less allure; she wants to be an artist, a painter of international repute, but nobody takes the idea of a female artist seriously in London. If only she could reach Venice.

When Genevieve meets the charming Sir Gabriel Courtenay, he offers her an opportunity she can’t refuse; if she learns the secrets of porcelain manufacture, he will send her to Venice. But in particular, she must learn the secrets of the colour blue.

The ensuing events take Genevieve deep into England’s emerging industrial heartlands, where not only does she learn about porcelain, but also about the art of industrial espionage.

She also learns much about love.

With the heart and spirit of her Huguenot ancestors, Genevieve faces her challenges head on, but how much is she willing to suffer in pursuit and protection of the colour blue?

* * *

Nancy Bilyeau has worked on the staffs of InStyleDuJourRolling StoneEntertainment Weekly, and Good Housekeeping. She is currently the deputy editor of the Center on Media, Crime and Justice at City University of New York and a regular contributor to Town & CountryPurist, and The Vintage News.

She earned a BA at the University of Michigan. The Crown, her  first novel and an Oprah pick, was published in 2012; the sequel, The Chalice, followed in 2013 and the third in the trilogy, The Tapestry, was published in 2015. This is her fourth novel.

 

Join Eddie Collins, actor-turned PI, on a back-lot tour with laughs, deaths and Hollywood tales

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Murder Unscripted
Clive Rosengren
Coffee Town Press, Oct. 2017
240 pages
$5.95Kindle  $13.41 Trade paper

Passing by the famous Hollywood sign in the hills above tinsel town, Eddie Collins drives his Olds Cutlass though an uncharacteristically rainy Southern California afternoon.  “As the wipers droned back and forth like two annoying metronomes, I began to feel an emptiness oozing into me.”

He’s just learned that his ex-wife, movie actress Elaine Weddington, died in her trailer at Americana Pictures, a bottle of medicine lying next to her.  Accident or murder?  Although it’s been more than eight years since they split, as her career started to take off and Collins’ acting opportunities flattened out, he harbors good memories.

Weddington was in the middle of filming Flames of Desire and her death puts the movie’s future in jeopardy.  Since Americana Pictures had taken out a completion bond to protect the studio’s investment, the bond company hires a private investigator: Eddie Collins.

As his acting jobs became more hit or miss, he opened Collins Investigations to keep him “sane and solvent.”  Since he had worked for the bond company before, he is hired to look into the murder at the Flames of Desire set, regardless of his connection to Weddington.

Mixing crime and the movie biz, author Clive Rosengren starts his Eddie Collins mystery series with the Weddington case in Murder Unscripted.  Two other novels are in print, another is due out later this year and the author is working on book #5.  A Hollywood actor himself for many years, Rosengren knows his way around a movie set and treats readers to insider tidbits that make the story all the more realistic. 

After the rain, Rosengren says, “patches of water on the street…reflected the light like movie streets invariably do.  One never sees a dry street at night in the movies, even during the sweltering heat of the summer.”

A second murder complicates the case.  Collins is led all over the movie lot and outside to dingy bars as he questions, Sam Goldman, the studio head, along with movie stars, assistant directors and various hangers on, most with secrets that aren’t in the PI’s script.

The story progresses in a relaxed, comfortable style with Collins sharing reminiscences of films and actors of the past as he tries to establish the whereabouts of various suspects at the times the murders were committed.  Rosengren fills the book with Collins’ light-hearted observations that kept me smiling. 

“A lot of people stand around at a movie set.  The most popular place is the craft [catering] services tables.  Munchies abound, the bill of fare running the gamut from squeaky-clean to double-bypass.”

Collins is occasionally reminded of scenes from old movies.

“…I saw a bearded old man who looked like Walter Huston peering at me through the window.  His beady little eyes followed every move I made.  The spines of the cacti must be protecting his own Treasure of the Sierra Madre.  Since I didn’t look like either Bogie or Tim Holt, he probably couldn’t figure out who the hell I was.”

Collins is 41, unmarried, tall and describes himself in Hollywood terms as a cowboy type.  He’s not a full-time shamus and an early chapter shows him dressed in western duds, acting in a TV commercial for Chubby’s Chicken.  After Collins and a partner have gone through 17 on-camera takes, including biting into the chicken, we learn the necessity of an actor’s spit bag. 

The PI side of Collins’ life is complete with a secretary loaded with moxie, a small office and tiny attached apartment, a fondness for Jim Beam and beer chasers and an occasional eye for attractive women.

“She always dressed in richly colored blouses that gave the faint suggestion of a woman who didn’t mind staying out late.”

Rosengren has an enviable knack for phrasing:

“She looked as uncomfortable as Gidget sitting in the middle of an Elk’s convention.”

“As lonely as an Orange County Democrat” referring to one of California’s few right-wing enclaves.

Searching for a wandering dog, Collins observes: 

“There was no sign of Clyde, other than what he had deposited on the lawn.”

Collins has such a smooth, somehow familiar narrative voice—a term usually applied to authors, but I’m applying to the first person point of view character here—he sounds like someone you would like to know.

Just as life is a journey, not a destination, you read Rosengren to follow Collins’  intriguing, at times idiosyncratic—and wholly entertaining—life as he pokes around his Hollywood haunts in search of the truth.   Naturally, he ultimately solves the murders, but getting there is the most fun.  Then, of course,  you crave another case with Eddie.

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Book prices vary depending on the day and the bookstore or website.

Gosh, is profanity the right word?

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Obscenity and profanity in mystery novels

Second of two parts

Swear words, no matter how the hell you look at them, can be a challenge for mystery writers.  Use foul language and you risk alienating or offending some readers.  Studiously avoid profanity and your dialog, especially in scenes of stress, could sound implausible.

But gosh darn, now that I’m two columns into this discussion, I discover—thanks to an article by novelist Elizabeth Sims in Writer’s Digest online—that I’ve been using an imprecise word for naughty language.  Even naughty is not quite right.

If you do a Google search for profanity in mystery novels, one of the first results you’ll see is a link to my 2016 column on this subject.  Regardless, I’m not trying to be the Internet’s expert on mystery writers’ swear words.  And before we go further, we need to define terms.

Profanity, as Sims points out, is the word frequently used to denote any objectionable word, but  profanity literally means words prohibited by religious doctrine. In other words, terms that are profane.  Generally this would cover Jesus Christ or God as epithets, but not necessarily f**k, etc.  The term blasphemy comes to mind.

Obscene and obscenity are better, more exact terms to describe most cuss words or coarse language.  Merriam-Webster’s Ninth New Collegiate Dictionary defines obscene this way: “disgusting to the senses: repulsive.” This could be an eye-of-the-beholder situation, depending on the words’ use, but let’s not split hairs.   Sims notes that obscene words often refer to sex.  The f-word is the most objectionable example, she says, and she concludes with understatement,  “Adding mother as a prefix ups the ante.”

Returning to the pros and cons of potentially offensive language, several authors (in addition to John Sandford, mentioned in my previous post) have written reasoned defenses of  “writers who dare to swear,” as mystery writer Christina Larmer puts it.

In a 2015 Huff Post article she wrote:

“Adding profanity is just a natural, fluid part of the writing process. I hear the character’s voice, I spew it out. Sometimes, when I read back through the copy and the language feels jarring or overdone, I remove it, just as I remove clichés and adjectives that don’t work. But I never remove it so my readers can feel more comfortable or content. This ain’t Chicken Soup for the Soul, guys.”

I agree.  Before I’d finished my first mystery, I decided I would use profanity, but  judiciously. Some of my characters are bad people.  They rob and kill for money. They don’t watch their language. They are not likely to say, “Excuse me sir but I believe we may have a slight disagreement. I feel your attitude does not reflect sincerity.”

In addition, when my ex-cop protagonist, Lyle Deming, faces a troublesome situation, I want him to be able to say, “Oh s**t.” Maybe that’s because it’s the way I often react to adversity.  Perhaps writers who don’t swear themselves, don’t have their characters tell anyone to f**k off.  As academics say, this is a sub-topic that warrants further study—but not here.

Then there’s the comparison of violence and inhuman acts vs. obscenities.  Larmer says she’s baffled by people who take exception to profanity but “make absolutely no mention of the fact that in one book, for instance, I leave someone in a dank basement to be devoured by rats.”

“Writers don’t use expletives out of laziness or the puerile desire to shock or because we mislaid the thesaurus,” writes Kathryn Schulz in the June 5, 2011 issue of the New York Review of Books.  “We use them because, sometimes, the four-letter word is the better word—indeed, the best one.”

In contrast, author Mark Henshaw says profanity is usually a sign of weak writing.   Writing on his website in June of 2014 he said,  “Profanity has become so common in modern media that I feel its inclusion almost never adds anything to an artistic work. Profanity has lost its shock value, rendering it useless as a literary device for character development or delivering emotional impact.”

It is common, and it can easily be overdone.  But still.

Some of the best arguments for not using profanity come from writers who penned novels when damn was considered foul language and four-letter words never found their way into polite print. Yet some writers still got the point across.

Here’s how Dashiell Hammett described one of Sam Spade’s explosions,  “He cursed Dundy for five minutes without break, cursed him obscenely, blasphemously, repetitiously in a harsh guttural voice.”

He didn’t even need to call him a bastard; we understood.

One of my favorite writers of the past is Ross Macdonald.  His novels spanned the period when profanity was unacceptable to the early 1970s when many of the restraints came off.

In his 1958 novel, The Doomsters, he used hell 22 times,  damn 13 times, Christ 4 times and Jesus twice.  No other profanity.  In his 1951, The Way Some People Die, he was a little more careful, but no less effective:

“Blaney and Sullivan escorted me to the car. In order to keep their minds occupied, I swore continuously without repeating myself. ”

To conclude, for now:  Mystery writers don’t use obscene language today for shock value as Henshaw indicates. We use it because, like it or not, it’s become a big part of life.  We use swear words occasionally for the same reason we don’t use “forsooth” or “verily.”  We want our dialog to be contemporary and realistic.

Editor’s note:  In the first article in this series I attempted to include a link to the profanity article I wrote two years ago.  Instead, the link simply brought the reader back to the latest article.  It’s been corrected online, but if you read the post in email and missed the earlier article link, here it is: https://baconsmysteries.com/?s=do+you+hate+f**

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