Thursday, July 20, 2017

Noir at the Salad Bar



by Alan

You probably have favorite sub-genres in crime fiction, but do you venture beyond them in your personal reading, like, for example, from urban noir to village cozy?


I like reading all types of crime fiction; sub-genre doesn’t matter so much as long as the story is good.

I also like to read cookbooks (I probably have about 400 on my shelves. Which is weird, because I rarely cook from a recipe.).

If only there was a way I could read a crime fiction/cooking mash-up.

If only…

If only…

STOP THE PRESSES! THERE IS!!

NOIR AT THE SALAD BAR was released this week from Level Best Books! And I’m *stoqued* that I’ve got a story in it, “Togas and Toques.”

Come on, you’ve got to read this anthology for the title alone!

Here’s the Amazon description:

Noir at the Salad Bar, Culinary Tales with a Bite is a crime fiction anthology featuring gastronomic mysteries. Inside are dark and varied tales with a common theme of food and drink. The contributing writers represent a mix of bestselling authors, brand new voices, and seasoned professionals from the crime writing community. Bon Appétit!

The contributing authors and stories are:
  • “The Lobster Tank” by E.A. Aymar
  • “Smoked” by Michael Bracken
  • “Harvey House Homicide” by Joyce Ann Brown
  • “A Murder of Crows” by Mara Buck
  • “The Hearts of Men” by Karen Cantwell
  • “With Great Relish” by John R. Clark
  • “Buena Vista Sandwich Club” by Frank Collia
  • “Cole Slaughter” by Sheila Connolly
  • “Black Coffee in Bed” by Sharon Daynard
  • “Petunia at the Tip Top” by Jenny Drummey
  • “Consuming Passion” by Martin Edwards
  • “Sleeping Beauty” by Gerald Elias
  • “The Sandman” by John M Floyd
  • “Bases Looted” by Jason Half
  • “Candy” by Isobel Horsburgh
  • “Beef Stew” by E L Johnson
  • “The Curse of the Apertured Apiculturist” by Larry Lefkowitz
  • “A Murder in Montreux” by Michael Allan Mallory
  • “Deadly Dinner” by LD Masterson
  • “Antipastdead” by Lorraine Sharma Nelson
  • “Togas and Toques” by Alan Orloff
  • “Grab-N-Go” by A.B Polomski
  • “Ragbones and the Case of the Christmas Goose” by Rima Perlstein Riedel
  • “Death at the Hands of Le Fée Verte” by Verena Rose
  • “Jane Darrowfield, Professional Busybody” by Barbara Ross
  • “Family Business” by Harriette Sackler
  • “Humble Pie” by Shawn Reilly Simmons
  • “Fed Up” by Louise Taylor
  • “Playing Games” by Elaine Togneri
  • “My Life in Killer Recipes” by Leslie Wheeler



Wednesday, July 19, 2017

All over the Map

by Dietrich Kalteis

You probably have favorite sub-genres in crime fiction, but do you venture beyond them in your personal reading, like, for example, from urban noir to village cozy?

The first thing that draws me into any book is the writer’s voice. And I could read just about anything in any genre if it was written by one of the greats like Bukowski, Burroughs, Hemingway, Kesey, Orwell, Salinger, Steinbeck, Thompson, Twain and more. I’m not even sure how many times I’ve read To Kill a Mockingbird.

Oscar Wilde said, “You are what you read.” If a book doesn’t light me up, I set it aside within a few chapters. Reading somewhere between forty to sixty books a year, I know I can’t read them all, so I want to make every one memorable.

I lean toward reading crime fiction — make mine gritty with some levity on the side. And it’s amazing how many sub-genres there are about as many as Baskin Robbins has ice cream flavors — everything from the locked-room mystery, whodunit, cozy, spoof, caper, historical, hardboiled, police procedural, forensic, legal thriller, psychological thriller and spy story. Then there are regional divisions: Nordic noir, Emerald noir, tartan noir, Euro noir, Mediterranean noir, and so on.

At times I like to let my mind travel and go for a book in a foreign setting, someplace I’ve never been, or in a time gone by. Other times I like to read something set closer to home, so I go for something written by a Canadian author, and there are a lot of really good ones out there, some right on this blog.

Whatever the sub-genre and no matter where the story is set, some voices just resonate for me: Elmore Leonard, Don Winslow, George V Higgins, Robert Crais, Carl Hiaasen, James Crumley, Charles Willeford, George Pelecanos, James Lee Burke, James Ellroy are among my favorites. And while I do have favorites, it’s always a pleasure to discover a talented author I’ve never read before. 

The mood I’m in at any particular time also weighs on what I choose to read. When I feel like a quick read, I might go for something by Robert B. Parker or Richard Stark. And when I feel like something deeper I might pull a James Lee Burke or Cormac McCarthy off the shelf. And when I don’t mind scaring the hell out of myself, I read Stephen King who may be the king of horror, but he’s also written some terrific crime novels like Misery, Mr. Mercedes, Finders Keepers, End of Watch, and Joyland.

Sometimes picking up a book and reading a few chapters is the best way to get to sleep, although if it’s a really good book, it’s almost a guarantee that I’ll just stay up a while longer and keep on reading.

Tuesday, July 18, 2017

As long as it's a series

By R.J. Harlick

You probably have favorite sub-genres in crime fiction, but do you venture beyond them in your personal reading, like, for example, from urban noir to village cozy

I’m afraid I can’t keep up with the myriad of sub-genres and sub-sub-genres that pigeonhole crime fiction into ever smaller categories. I’ve never understood this need to classify mysteries beyond the broad categories of traditional mystery, thriller, cozy, police procedural and amateur sleuth. I once saw a list someone had put together of the various sub-genres and sub-sub-genres of crime fiction. There had to be at least thirty categories. To what end? The only purpose it seemed to serve was to create endless discussion on which books belonged in which categories with little agreement amongst the parties involved.

I read what I like to read regardless of sub-genre or sub-sub-genre.  My key requirements are that the book be well written, that the characters have depth, be engaging and as varied as real people, that the setting has enough colour to draw me into its world and that the story be a well-drawn and credible story with sufficient complexity to keep me guessing until the very end.

While I don’t mind some violence, I do not like violence for violence sake. In my reading life, I have only tossed two books into the garbage. One involved cannibalism with no obvious reason other than to shock the reader and the other was an endless tirade of violence, each scene becoming more graphic, again with no real purpose other than to shock.  

I tend to stay away from serial killer mysteries, primarily because if you’ve read one, you’ve read them all. That’s not to say that I haven’t read some very fine serial killer mysteries, such as the ones by Jo Nesbo.  I’m not a big fan of psychotic killers.  I prefer the villains to be ordinary people, like you or me, who, for whatever cataclysmic reason, have been driven to commit the ultimate sin.

I’m a big fan of series. I like to sink my teeth into a good character and go with that protagonist from book to book until the author runs out of steam, often unfortunately before the last book. I find that the later books of many a best selling author are sometimes not as good as the earlier ones. A series helps my decision making process. Deciding on a next book is easy with a series. Whereas with standalones I am back to the dilemma of what to choose for the next book. For that reason, I rarely read standalones. Put it down to laziness. If an author writes both standalones and series, I will always pick the series.

I like to learn something through my reading, so I will often select a book because it is of a culture or place I know little about.  And at the risk of receiving squawks and raspberries from many of my friends, I will admit I am no big fan of cozies. They are too facile for my taste. Sorry guys.

To give you an idea of the crime fiction I like to read, here is a partial list. Anne Cleeves’ Shetland series and Vera Standhope series, Camila Lackberg’s Hedstrom and Falck series, Barbara Fradkin’s Inspector Green series, Giles Blunt’s Cardinal series, Brenda Chapman’s Stonechild and Rouleau series, Eliot Pattison’s Tibet series, Vicki Cameron’s Molly Smith series, Jo Nesbo’s Harry Hole series, Deborah Crombie’s Kincaid and James series. I’ve also enjoyed John McFetridge’s Montreal series and Howard Shrier’s Jonah Geller series.


I wouldn’t be remiss in adding that I like to write the kind of mysteries I like to read. Next up Purple Palette for Murder available now for pre-order. Check out my website, www.rjharlick.ca, to find out more about the Meg Harris mystery series.

Monday, July 17, 2017

Anything Goes

Terry Shames here: This week’s question is whether we read sub-genres other than our favorite crime novels. The question would be easier for me to answer if it was, “What don’t you read?”

Here’s what I don’t read a lot of:  amateur detective stories—unless, and that’s a big unless, the author makes a really good case for the amateur to step in. I just don’t enjoy the “Oooo, the local baker got killed. Please tell me you aren’t going to investigate.” (Words spoken by a friend, a boyfriend, or a stern cop). I know some people LOVE these. Read them like candy, enjoy suspending their disbelief and spending a couple of hours with a ditzy amateur. And here’s the thing: I’ve read a couple of these that I thought were terrific. So I can’t really even say I don’t read them. I just don’t gravitate toward them.

What it boils down to is that I’ll try pretty much anything (where reading is concerned anyway. I don’t do high places, but I digress). Looking at my TBR pile, I have everything from the most hard-boiled (Don Winslow or Jo Nesbo anyone?) to humorous (Dying for a Dude, Cindy Sample). I have police procedurals (The Gods of Guilt, Michael Connelly), a lovely light mystery (Love & Death in Burgundy, Susan Shea), a historical mystery that I haven’t gotten around to (Mercury’s Rising, Ann Parker), foreign affairs (A Carrion Death, Michael Stanley), ancient times (Hand of Fire, Judith Starkston), zany works of mayhem (Skink: No Surrender, Carl Hiaasen), private eye, stories of intrigue, psychological suspense novels….And so much more.

You get the picture. I am an eclectic reader. That’s true not only in mystery, but in pretty much everything. On my TBR pile I also have a book about the history of Wonder Woman (bought long before the movie came out), books about medical matters, poetry, maps, history, science, biography, mainstream fiction, memoir, travel.


That doesn’t mean that when I start reading a book I’ll finish it. I give a book a few typos, a little formatting glitch, or a little bad editing before I put it down, but with so many books out there, it better be a damn good story for me to keep reading if it has those technical problems. I recently starting reading a book that was pretty good. But the third time the author wrote (and the editor allowed it) “there was an xxxx laying by the side of the road (or wherever),” I couldn’t stand it anymore. The story wasn’t good enough for me not to be thrown out of it by bad grammar. The other things that stop me reading are a suddenly ridiculous plot twist (when I say, “Aww, come on…” you’re toast), unintentionally bad dialogue, unbelievable characters, and careless prose. Oddly, descriptions don’t have to be great for me to keep going if the plot, character, and dialogue are working. Get all of it right, and you have a reader for life! I’m talking about Timothy Hallinan, Lisa Brackmann, Robert Crais, Deborah Crombie, Charles Todd, Catriona McPherson, James Ziskin, for a few examples. These are writers that I know I can trust to tell me a good story and to write it well. Genre-hopping? You bet.