More shots in the dark, and a round-up of the usual crime suspects at Off the Cuff

(All photos by your humble blogkeeper)

Over at Off the Cuff, Dietrich Kalteis and Martin J. Frankson talk about crime fiction influences. They get to the usual suspects (Chandler, Hammett, and so on), but not before the discussion takes an interesting detour or two. Their exhange takes up a question I asked a while back in a post called "End of story, or what ever happened to plot?"  Read theirs, read mine, and discuss.

Dietrich again illustrates the post with one of my noir photographs (above/right), this one from especially close to home. And here's another recent shot of mine, not noir, but weird all the same, I think:

© Peter Rozovsky 2015

Brian Williams, Jon Stewart, and the society of the spectacle

All photos by your humble
blog keeper/spectacle
maker, Peter Rozovsky

It is fitting that Guy Debord's The Society of the Spectacle should be available free of charge online; I would hardly expect such a text to adhere to the bourgeois concept of property rights.  I thought of Debord's work, and decided to consult it for the first time, because of the outpouring of social media agony over Jon Stewart's decision to leave The Daily Show. ("... sometimes it's more important to step back and reconfigure a conversation than continue the same conversation because you know how to do it," Stewart was quoted as saying. Reconfigure a conversation. Jesus. I prefer one commenter's speculation that Stewart might have been pissed he did not get David Letterman's job.)

The mourning for Stewart naturally included hosannas and lamentations for Stephen Colbert as not just a satirist, but an essential alternative voice, a position not easy to reconcile with his having left Comedy Central to take what I suspect is an eight-figure job with a vast media conglomerate. And then there's that other entertainer, Brian Williams, whose garbled recollections of Iraq, whether deliberate or not, gave rise to predictable public airings of ethical concern and inquiries into the workings of human memory — serious stuff.

I don't know if I'll be able to accept Debord's explanation for the weird ritual/spectacle aspect of so much public life; phrases like modern conditions of production make my cheek muscles go slack and my eyelids get heavy. But Debord was surely right that in a society where those conditions prevail, "life is presented as an immense accumulation of spectacles."

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There is no contradiction in being attracted to the spectacle aspect of Debord's Situationist thought even if one is dubious of his Marxist rhetoric. At least there was no such contradiction for Jean-Patrick Manchette.

Over at Dietrich Kalteis' Off the Cuff, Dietrich, Martin J. Frankson, and David Swinson make spectacles of themselves talking about good guys and keeping them just bad enough to hold a reader's interest. Once again, Dietrich illustrates the chat with one of my photos, this time of the noose-like apparition you'll see here at top right. Shadows play weird tricks where I live.

© Peter Rozovsky 2015

Westlake, Kalteis, Frankson, Morganti and me, plus a question for readers

Dietrich Kalteis and Martin J, Frankson are back with another Off the Cuff discussion, this time with Canadian novelist Charlotte Morganti, hashing out a matter dear to my heart: setting as character in crime fiction. Once again, Dietrich illustrates the discussion with one of my nourish photos (left), whose setting is right here in South Philadelphia.

Elsewhere, here's Donald Westlake, interviewed by Al Nussbaum in 1974, from the Westlake nonfiction collection The Getaway Car:

"I have felt for some time, with growing conviction. that there weren't any stories around to be written. I haven't been able to do a Richard Stark novel in a year and a half, the comedy caper is dead, story lines are drying up like African cattle.  Storylines reflect, refer to and attempt to deal with their period of history, and that's why they become old and obsolete and used up. Another reason is that the same story gets done and done and done and done, and suddenly one day nobody wants to read or hear that story again."

1974 marked the beginning of Westlake's 23-year hiatus from the Parker novels he wrote under the name Richard Stark. It was also the year of Jimmy the Kid, the worst of his comic caper Dortmunder books, Westlake's writing of which began to grow more sporadic around the same time. Instead, he concentrated on standalone novels for the next few years, though he eventually returned to both Parker and Dortmunder. So 1974 obviously marked a kind of crisis for Westlake. Now here's your question: Was Westlake's crisis merely personally, or was 1974 indeed a crisis year for crime fiction? Was his gloomy pronouncement accurate?

© Peter Rozovsky 2015

Bad guys and good pictures at Off the Cuff

Photo by Peter Rozovsky in some
big city not far north of here.

"Is it just my nature?" asks Linda L. Richards. "Why am I suspicious of everyone?"

Linda talks about good guys, bad guys, and unreliable narrators as part of the latest discussion at Dietrich Kalteis' Off the Cuff site. But can you believe her?

Fellow author Sam Wiebe joins the discussion, hosted by Kalteis and Martin J. Frankson.

Once again, Kalteis, a fan of photography, illustrates his virtual roundtable with one of my noirish shots (above right). So go on over, feed your head, and feast your eyes.
© Peter Rozovsky 2015

More pics, plus a couple of novelists sitting around talking

All photos by Peter Rozovsky

Those two good guys, Dietrich Kalteis and Belfast's own Martin J. Frankson, talk about bad guys in the 13th installment of  Kalteis' Off the Cuff discussions. Once again, Dietrich illustrates the noirish palaver with a photo by your formerly humble blogkeeper photographer, shot right here in Philadelphia a couple of weeks ago (right). 

Says Kalteis: "I love dialogue and there’s nothing better than some foulmouthed bad guy to lend color to the page."

Kalteis knows something about writing bad guys. Here's part of what I wrote last year about his novel Ride the Lightning:

"What I like best is that it sustains a breakneck pace without sacrificing character to action, or action to character. Kalteis made me care about his cast of lowlifes, screw-ups, and marginals without stopping the action too often for endearing moments of humanity or self-conscious wit. What these characters show of themselves, they show in the act of doing what they do."

Here are all the Off the Cuffs, at http://dietrichkalteis.blogspot.ca/. Here, too, are some more recent photos.

 © Peter Rozovsky 2014

Sights and sounds of crime fiction

Sarah Weinman. Photo by Peter Rozovsky

Erik Arneson has uploaded three podcasts (Parts 1, 2, and 3) of the Noir at the Bar readings for which I was MC at Noircon 2014. Readers include Duane Swierczynski, Sarah Weinman, Jonathan Woods, Jon McGoran, and Arneson himself, who weighs in with a killer cat story.

Erik Arneson. Photo
by Peter Rozovsky

I introduced the authors and shot pictures of them as they read.

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Photo by Peter Rozovsky

Over at the Off the Cuff Web site, meanwhile, Dietrich Kalteis and Martin J. Frankson get crowded, bringing in authors Samantha J. Wright and Sam Wiebe for a discussion of short stories and debut novels.  Once again, Dietrich illustrates the post with one of my shadowy shots, this one a late-afternoon view outside an exhibition hall at Bouchercon 2014 in Long Beach.
© Peter Rozovsky 2014

Detectives Beyond Borders goes back Off the Cuff, with pictures

I'm up once again at Dietrich Kalteis' Off the Cuff, one of my noirish photos illustrating Dietrich's discussion with Martin J. Frankson and their guest, author-filmmaker Glynis Whiting, of how writers do their thing.

Above and right is the photo in question, and here (at left I think) is one of Dietrich that I took at Bouchercon 2014 in Long Beach. The rest are a few shots from Southern California, with signs of habitation by humans and earlier creatures. All photo by Peter Rozovsky, your humble blogkeeper.

© Peter Rozovsky 2014

Detectives Beyond Borders around the world, in the news, and on the Web

I am pleased to have been quoted at length in the Irish Examiner's review of Akashic Books' upcoming Belfast Noir volume of  crime stories. The piece appears under the entirely appropriate headline "`Belfast Noir': Move over Scandinavia, the Irish are the real thrillers ...," and it calls me "an international authority on crime-writing, whose blog ‘Detectives Beyond Borders’ has for many years been the last word on all things noir." Grateful thanks to my Irish peeps, and don't go accusing them of committing blarney. 

Stuart Neville, author
and member of my
Belfast Noir panel.
Photos by your formerly
humble blogkeeper.

I'll discuss Belfast Noir next week at Bouchercon in Long Beach. The panel is called "Belfast Noir: Stories of Mayhem and Murder from Northern Ireland," and it happens at 11:30 a.m., Friday, Nov. 14. I'm not saying I'll buy a pint of Guinness for everyone who shows up, but there's only one way for you to find out.

Paul Charles, also part 
of the Belfast Noir panel
 at Bouchercon.

Over at Dietrich Kalteis' Off the Cuff, which has published a number of my noir photos, I put down my camera to join Dietrich and co-host Martin Frankson for a chat about crime-fiction conferences. Dietrich and Martin talk a bit about how how authors might approach conventions from a business point of view. I talk fun, including a link to the story of the wandering bridesmaids of Bouchercon 2009.

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I took the two author photos at Noircon 2014, the most fun one can have without leaving Philadelphia. Here are two more photos, from the event's concluding program at Port Richmond Books, just before the pierogi-fueled piss-up.

© Peter Rozovsky 2014

Off the Cuff on names, plus why the hell am I flying to Bouchercon (when I could go by train)?

(Trees early in the morning in Fullerton, Calif., December 2013.
Photo by Peter Rozovsky, your humble blogkeeper)

I've been reading Max Allan Collins' Quarry novels, which makes Dietrich Kalteis and Martin J. Frankson's latest Off the Cuff post especially timely: It's about character names in crime fiction. "For example," writes Frankson:

"is it credible to have a twenty-year-old Edith or Beryl or Victor? It’s possible, but those names may be unknown in certain demographics. Similarly, how many fifty-year-olds are named Kanye or Jadyn? If one really wants to name a character as such, a bit of backstory behind the mismatching name-to-age might be interesting in the story."

I would add any name ending in -ee to that latter group, along with Jen, and all the world's non-Irish Brendans.

The photo, reproduced above, with which Dietrich illustrates the discussion, is also timely. I've been posting about Bouchercon 2014, which takes place next month in Long Beach, Calif., about 25 miles west and south of Fullerton, where I took that photo of palm trees at sunrise last year.

I took the photo from my compartment in the Southwest Chief, at the end of a glorious two-day train ride from Chicago to Los Angeles. So why, given the chance to repeat the trip for Bouchercon, am I willingly subjecting myself to the misery that is American commercial air travel?

(See all Off the Cuff posts.)

© Peter Rozovsky 2014

Three authors in a dark and friendly place

(Photos by Peter Rozovsky, your humble blog keeper)

Once again, Dietrich Kalteis and Martin Frankson discuss aspects of crime writing at Kalteis' Off the Cuff site, this time with fellow author  Robin Spano as a guest. Once again, Kalteis illustrates the discussion with one of my noir photos (above).

This discussion  touches on a number of issues that have come up here at Detectives Beyond Borders, noticeably that off setting a crime story in a historical period other than one's own. So head on over, have a seat at the Friendly Lounge, and join the discussion.

And here are a few more photos.

© Peter Rozovsky 2014

Off the Cuff and on the clock: What makes a noir image noir?

(Clock in Reading Terminal Market. Photo by your humble blogkeeper):

Dietrich Kalteis once again uses one of my noir photographs to illustrate his Off the Cuff conversation with fellow novelist Martin J. Frankson. The photo above is the one he chose, so I thought I'd ask you, dear readers, what makes a noir image noir? Here's why I stuck this one in my noir photos folder on Facebook:

1. It looks good.
2. It's black and white.
3. The suggestion of a ticking clock conveys a hint of anxiety.
4. The cropping of the image enhances feelings of tension and suspense, in part by focusing on just the two numbers. What is going to happen in those five minutes, of which more than one and a half have already elapsed?
5. The image of a clock face is highly familiar but, I hope, still packs a visual punch. That means it carries a rich set of associations.

Your job, readers, is to choose an image that strikes you as noirish and to think about why it does and post your thoughts here. The image can be from a photo, a book cover, a newspaper, online, anywhere. (The real-life suspense behind this photo was whether I would make it to work on time.  I did.)

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Kalteis' chat with Frankson covers character and originality and includes the following:

"(W)hat makes a book original includes:

"Characters with lifestyles and attitudes that have been rarely portrayed before. The alcoholic, divorced middle-aged male detective with a drinking problem was once the most popular character in the genre. It’s still popular, but readers wanted fresh detectives with fresh lifestyles to reflect the times we live in. Along came young female detectives which was a breath of fresh air, but writers now need to look at society and see its diversity in the round. There are very few gay or non-white detectives in modern day crime literature I’ve noticed. I say ‘few’ as opposed to none at all. They do exist, but you have to go looking for them."

Read the entire conversation at Off the Cuff, http://dietrichkalteis.blogspot.ca/2014/08/off-cuff-4.html

© Peter Rozovsky 2014

Discussion by Kalteis and Frankson, photo by Detectives Beyond Borders

(Photo by your humble blogkeeper, Porto, Portugal, 2011)

Dietrich Kalteis, a novelist whose debut I reviewed earlier this year, also has a penchant for verbal mano-a-mano and an eye for atmospheric scenes, and he has chosen to illustrate some of the former with some of the latter. His newish Off the Cuff site pits Kalteis and fellow author Martin J. Frankson in a series of discussions that include the kinds of questions I like to ask and, in its current edition, some thoughts on crime-novel titles that I suspect you will enjoy reading. And now Kalteis, whose Facebook feed regularly includes stunning photography, plans to illustrate his posts with my noirish photos. The current Off the Cuff discussion unfolds under a photo I shot in Porto in 2011 (above/right). So feast your eyes and feed your head.

And read what I had to say about Kalteis' Ride the Lightning: 

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I read Dietrich Kalteis' debut novel, Ride The Lightning, as an uncorrected galley, so no quotations allowed. But trust me: The book is pretty good.

What I like best is that it sustains a breakneck pace without sacrificing character to action, or action to character. Kalteis made me care about his cast of lowlifes, screw-ups, and marginals without stopping the action too often for endearing moments of humanity or self-conscious wit. What these characters show of themselves, they show in the act of doing what they do. 

What they do is grow, develop, and sell drugs; rip each other off; try to stop each other from growing, developing, and selling drugs; and seek revenge. Even the worst of the main characters is good enough at what he does that he earns a reader's respect. He gets kicked around and beaten up and gets his leg caught in an animal trap, all of which he deserves, and his very resilience is admirable. I also like Kalteis' understated nude-beach scenes.

This novel, appropriately for a book under consideration at Detectives Beyond Borders, crosses the U.S.-Canada border, from Seattle to Vancouver, where most of the action happens. So Karl, the bounty hunter who loses his job and has to shift from the U.S. to Canada, muses that he expects less violence as compensation for his reduced income. (Karl states this in a more entertaining fashion, but this was an uncorrected galley, so no quotations allowed.)

I also like characters' references to Medicine Hat, Alberta, as "the Hat," as well as the mostly downmarket setting, not so much because I got to go slumming, but as a reminder that peaceful, low-key Canada has its lowlifes, too. 

© Peter Rozovsky 2014