A TOWER Rose Up In Brooklyn

I first heard about TOWER at the Baltimore Bouchercon, when I met Reed Farrel Coleman (right) walking around wearing a ‘TOWER’ t-shirt. ‘What’s that?’ says I. ‘A collaboration with Ken Bruen,’ says he, ‘out next year with Busted Flush.’ ‘Christ on a motorised mangle,’ says I, ‘that’s genius.’
  Sir Kenneth of Bruen has been writing twisted noir pastiches with Jason Starr for a few years now, of course, over at Hard Case Crime, but TOWER sounds like a different prospect entirely. Quoth David Thompson at Busted Flush:

“Born into a rough Brooklyn neighbourhood, outsiders in their own families, Nick and Todd forge a lifelong bond that persists in the face of crushing loss, blood, and betrayal. Low-level wiseguys with little ambition and even less of a future, the friends become major players in the potential destruction of an international crime syndicate that stretches from the cargo area at Kennedy Airport to the streets of New York, Belfast, and Boston, to the alleyways of Mexican border towns. Their paths are littered with the bodies of undercover cops, snitches, lovers, and stone-cold killers.
  “In the tradition of THE LONG GOODBYE, MYSTIC RIVER, and THE DEPARTED, TOWER is a powerful meditation on friendship, fate, and fatality. A twice-told tale done in the unique format of parallel narratives that intersect at deadly crossroads, TOWER is like a beautifully crafted knife to the heart.
  “Imagine a Brooklyn rabbi / poet — Reed Farrel Coleman — collaborating with a mad Celt from the West of Ireland — Ken Bruen — to produce a novel unlike anything you’ve ever encountered. A ferocious blast of gut-wrenching passion that blends the fierce granite of Galway and the streetwise rap of Brooklyn. Fasten your seat belts, this is an experience that is as incendiary as it is heart-shriven.”

  Sold! TOWER is due next autumn. Stay tooned for further details …

Reed Farrel Coleman: Rebel Without A Pause

David Thompson of the Busted Flush Press gets in touch to give us a sneak preview of their forthcoming reprint of THE JAMES DEANS, the cover art of which is only sumptuous (it also features a foreword from Michael Connelly). It follows on from their reprint of WALKING THE PERFECT SQUARE, about which George Pelecanos had this to say:

“Reed Farrel Coleman is one of the more original voices to emerge from the crime fiction field in the last ten years. For the uninitiated, WALKING THE PERFECT SQUARE is the place to start.” – George Pelecanos

  Which is very nice indeed. I read THE JAMES DEANS last year, in Croatia, on a day of lowering skies and fine mist that made it pointless to go sight-seeing, and yet was perfect for sitting out on a veranda on a swing-seat with coffee, cigarettes and strong reading to hand. I read it in the proverbial one sitting, and put it down a little dazed. I meant to write it up for the blog when I got back from Croatia, but on the couple of tries I made, it seemed beyond me.
  It’s a Moe Prager novel, a private eye story set in 1983. Prager is an ex-NYPD cop turned private eye, albeit of the reluctant variety. The plot, which begins with the murder of a young political intern, has plenty of twists and turns, and the style is pleasingly aware of, without being deferential to, its sense of history and its place in the lineage of Hammett, Chandler, Macdonald et al.
  All of which would have made THE JAMES DEANS eminently readable. What made it compulsive, however, was the voice of Moe Prager. This was Coleman’s third novel, I think, and yet he had slipped inside the skin of his character in a way that is very difficult to achieve and impossible to fake. It’s not that Moe is gratifyingly human, although he is, because there are no superhuman feats of endurance and / or soaking up of punishment. It’s not that he is the vulnerable Everyman, doing his best in shitty circumstances, because he is, and there’s very little by way of artificial Eureka! moments and savant-like puzzle-solving. For me, what made Moe Prager such a compelling character was his realism. It’s a difficult thing to describe, and perhaps I was identifying too much with the character, but Coleman has the ability to synchronise Prager’s heartbeat with your own, so that you pulse and twitch and shudder as he does.
  Yes, THE JAMES DEANS is a crime fiction novel, and a superb example of same, and a terrific private eye tale that was nominated for the Edgar and Gumshoe awards. But Moe Prager could just as easily have been an accountant, or an Alaskan park ranger, or a road-sweeper, and his story would have been a fascinating one. At the end of the day, novels are about people and the consequences of how they live their lives. Some writers can make you feel that they have inhabited their characters to a degree associated with demonic possession, but Reed Farrel Coleman’s gift is to graft that sensation onto the reader, so that he or she feels they’re wearing the character like skin.
  In the interests of openness, transparency and accountability, I should mention that Reed Farrel Coleman was gracious enough to read and blurb THE BIG O, and in very generous terms too, simply on the basis that we had a mutual friend in Ken Bruen. At the time I thought it was a lovely gesture, and indicative of how hospitable the crime fiction community is; but what made his blurb so powerful to yours truly was that, after reading THE JAMES DEANS, I already knew he was so far ahead of the posse that there was no favour he could require of me in return.
  A nice guy, then, and a terrific writer, one of the finest of his generation. If you haven’t read THE JAMES DEANS yet, do yourself a favour and do so. It’s how books are supposed to be.

“It’s The Pictures That Got Small.”

David Thompson of Busted Flush Press gets in touch to give us an early squint at the funky new cover art for their U.S. publication of LONDON BOULEVARD, Ken Bruen’s take on Sunset Boulevard, a detail of which (click on the pic) appears to feature Sir Kenneth of Bruen in a dust-up with one of his crime-writing brethren. Could it be – no! – Benny Blanco? Erm, no. Quote David:

“I could not be more excited to announce the U.S. publication of three crime novels by one of today’s greatest crime writers, Ken Bruen. Originally intended to be revealed at the upcoming NoirCon in Philadelphia, my personal favourite of Ken’s stand-alones, LONDON BOULEVARD, will now be released later this summer. With a new introduction by Academy Award-winning screenwriter William Monahan (The Departed), this new edition of L.B. will feature special bonus material, including “best of Ken Bruen” lists by some of today’s top crime talent, and much more. Following later this year will be THE HACKMAN BLUES (with an introduction by Ray Banks), and DISPATCHING BAUDELAIRE (intro by poet/crime writer Pat Mullan). The amazingly talented Jeff Wong -- who designed the Crippen & Landru Ross Macdonald anthology, THE ARCHER FILES -- pays homage to the original SUNSET BOULEVARD film poster with his darkly comic portrayal of “hero” Mitchell breaking the arm of a car-window washer over his leg ... a scene from the beginning of the book. Look closely and you’ll see Mitchell looks remarkably like Bruen himself and the poor vagrant bears an eerie resemblance to fellow crime writer Jason Starr (and Ken’s co-author of three Hard Case Crime novels). There’s even talk of a film version of LONDON BOULEVARD in the works, so keep your ears open for more news later in 2008!”

Hmmmm, a movie version of a po-mo novel about the po-mo movie about movies. This could get interesting … Incidentally, over at Jason Starr’s interweb emporium, he mentions that there’s a script written and optioned for the first Bruen-Starr collaboration. Hollywood or BUST? Our money’s on BUST ...