1) I asked Eoin Colfer at Bouchercon 2011 why the characters in his "young adult" Artemis Fowl books, even the non-human characters, were achievers — rich geniuses, elite police officers, and so on — while the characters in his "adult" crime fiction — the story "Taking on P.J.," the new novel Plugged — are lower on the social ladder: bouncers, shady doctors, low-level hoods. Simple, Colfer said: The Fowl stories are fantasy, the crime stories meant to be believable. What do you think of his answer? Are gritty characters synonymous with greater believability?
2) Colin Cotterill, a fellow member with Colfer of my “WHAT'S SO FUNNY ABOUT MURDER?” panel at Bouchercon, mentioned off-stage that he'd been part of a crime-fiction event in Germany staged in an operating theater — appropriate for the author of a series whose protagonist is the chief and only coroner in Laos. What's the oddest setting for a reading or lecture that you know of?
3) Mickey Spillane's 2007 novel Dead Street, discussed here yesterday, is full of amusing references to the sexual, social, and political mores of Spillane's 1950s:
"Bettie just stood there smiling in her see-through nightie, her untrimmed delta a refreshing pleasure in these days of bizarre pubic buzz cuts."Who but Spillane could make pubic hair an object of nostalgia?
© Peter Rozovsky 2011