Gate 76 just picked up a couple more nice reviews. It goes on sale tomorrow, June 1, 2018. You can pre-order through the links below.
There aren’t many books that I put down in the middle of reading, just so I can say out loud, “DAMN, can this author write!”, but Gate 76 is one of them… chock-full of interesting characters… but in believable, relatable ways. (His depictions enabled me to immediately envision the characters… because I’ve encountered those same people, and his words describing them rang completely true.) And, when an author imbues even the minor characters with enough life and story to make them real? You’ve got the makings of a damn good story on your hands… I’m generally not big on doing year-end favorites lists… but if I decide to do one for 2018, Gate 76 will definitely find a place there. And, Mr. Diamond’s next work, whatever it might be, can’t come out soon enough. —GlamKitty, theliteratekitty.blogspot.com
Writing from Ferguson’s point of view, Author Andrew Diamond’s first person, present-tense narration is a breath of fresh air in a genre where the narrative voices are all too homogenous. Not since Thom Jones’ The Pugilist At Rest has a writer so eloquently incorporated the physical and mental toll of boxing in a protagonist’s life journey. As PIs go, Ferguson is as world weary as you might expect, but much funnier… The Bottom Line: One of the year’s best thrillers. —BestThrillers.com
Here’s a nice bit of news. Kirkus Reviews calls Gate 76 “A consummate thriller with some of the best characterization you’ll see all year.”
And we got a star too!
C.S. Lewis’ allegory opens with the narrator, presumably a middle-aged Englishman, walking through the rainy streets of a city at dusk. He happens upon a line of bickering people waiting for a bus and, almost by accident, he’s in the queue, and then aboard the bus, not knowing where it’s bound.
As the bus ascends, he gets a broad view of his vast, gloomy country, with its houses spread miles apart as its inhabitants try to distance themselves ever further from their neighbors.
The bus eventually rises to a lush, sunlit country in which the substance of all things, from the grass to the water to the animals, is so hard and weighty that the passengers on the bus are mere ghosts by comparison.
Bright spirits approach the passengers one by one, each assigned to a specific individual, and try to convince the ghosts to accompany them on the difficult journey over the mountains to a land of joy and love. The one condition is that they can’t take anything with them.
One by one, the ghosts refuse. The proud ones cannot give up their important roles in the world below. The wounded and the wronged cling to their wounds as an identity that defines their entire being. The ones who exercised power refuse to go forward without the guarantee that their power will be preserved or restored.
The bright spirits cannot give the ghosts a sense of the joy that awaits them because the ghosts are so attached to their own misery that they can’t conceive of joy. Unaware of the limits of their understanding, the ghosts cling to their identities as a last possession, and fear that once they’re stripped of that, they’ll become nothing.
The spirits argue, to no avail, that once the ghosts relinquish those last vestiges of self, they actually become more substantial, and the journey over the mountains becomes easier, though they acknowledge that the beginning of the journey is always painful, in different ways for different people. One ghost, a woman who was admired and beautiful in the world below, cannot bear the shame of being transparent, of being “seen through” in this new world. The spirit explains that surrendering to her shame is the first step toward becoming a more substantial being.
“Don’t you remember on earth–there were things too hot to touch with your finger but you could drink them all right? Shame is like that. If you will accept it–if you will drink the cup to the bottom–you will find it very nourishing: but try to do anything else with it and it scalds.”
The ghosts are more interested in complaining about their place in the world below than in listening to what awaits in the world above. One of Spirits, offering joy and freedom to an unreceptive ghost, expresses his frustration: “Friend,” said the Spirit, “Could you, only for a moment, fix your mind on something not yourself?”
The story is in some ways like an abridged and inverted version of Dante’s Inferno. The setting is heaven instead of hell, and instead of seeing the punishment inflicted on the damned, we see the mindsets and attitudes that lead to their misery. None of these ghosts did anything particularly horrible. They look like our neighbors, our families, and ourselves. They’re manipulative or sulking or spiteful or proud. They’re selfish and inflexible. They lack empathy. They’re full of petty grievances, and their smothering “love” for others is merely a desire to possess and control.
Many of them sunk unwittingly into misery, like the grumbling old woman, whose downward trajectory through life is described thus:
“…it begins with a grumbling mood, and yourself still distinct from it: perhaps criticizing it. And yourself, in a dark hour, may will that mood, embrace it. Ye can repent and come out of it again. But there may come a day when you can do that no longer. Then there will be no you left to criticize the mood, nor even to enjoy it, but just the grumble itself going on forever.”
Others have followed a similar descent, so slow and subtle they can’t recognize their own misery. One of the Spirits describes an example:
“The sensualist, I’ll allow ye, begins by pursuing a real pleasure, though a small one… But the time comes on when, though the pleasure becomes less and less and the craving fiercer and fiercer, and though he knows that joy can never come that way, yet he prefers to joy the mere fondling of unappeasable lust and would not have it taken from him.”
The narrator watches as, one by one, the ghosts refuse the offer of joy and board the bus back to hell. And here again Lewis inverts Dante. In The Inferno, the souls know they’re suffering, their suffering is inflicted from without by a being substantially greater than them (the devil) against whom they are powerless. Hell has no exit, and their suffering is eternal.
In The Great Divorce, the inhabitants of the underworld are free to go anytime. They can and do board that bus to heaven, but they choose again and again to return to gloomy world below, to the role and the self and the life they’ve so identified with that they cannot let it go. Their hardships and troubles are self-inflicted, and they don’t know they’re suffering.
“There is always something they insist on keeping even at the price of misery,” one of the Spirits remarks. “There is always something they prefer to joy.”
Unlike the exotic world of extreme torture that Dante paints, Lewis’ hell looks a lot like the world we live in now.
A mysterious woman fleeing an unknown terror holds the clues to a crime that captivates the nation’s attention. After she boards the wrong plane at San Francisco International and disappears into the heart of the country, a troubled detective with a violent past must track her down before the people she’s running from can silence her for good.
You can read the first chapter at https://adiamond.me/books/gate-76-chapter-one/.
I read a lot of classic crime fiction, and when I go back to the best writers in the genre, I consistently find that they pack more substance, insight, and emotional weight into 200 pages than today’s bestselling authors can get into 500 pages. And yet, a handful of authors manage to consistently sell millions of copies of books about uninteresting characters doing far-fetched things described in prose that is not compelling and sometimes not even convincing. Why is this?
The computer scientist Edsger Dijkstra once wrote a parable about two programmers who were both assigned to write a new software program. One programmer set to work immediately writing code. The other spent weeks thinking about the design of the program and the fundamental problems it had to solve before he typed a single line of code.
Both completed their work in nine months, and both programs did what they were supposed to do. When it came time for the programmers’ annual job reviews, their managers looked at the code they had written. The manager of the programmer who had started writing code immediately found a huge, sprawling code base with tens of thousands of lines of code. It was so complex, he could barely make sense of it. But he knew it worked, because people were using it.
When the manager of the other programmer looked at his employee’s code, he found just a few thousand lines of concise easy-to-read code that laid out with crystal clarity the problems the program needed to address, and then very neatly solved them.
The first programmer’s manager said to his employee, “I can tell by what I’ve read that you’ve solved a very difficult and complicated problem. That fact that the software works as well as it does is amazing. I can’t believe you cranked out eighty thousand lines of code in just nine months. You’re getting a raise.”
The second programmer’s manager said, “Your code is so surprisingly simple and clear, it shows that the underlying problem couldn’t have been very complex. The fact that the software works as well as it does just proves you were working on a simple problem all along. I can’t believe it took you nine months to write five thousand lines of code. You’re fired.”
This is how the software world sometimes works, and this is how the publishing world seems to work, especially in bestselling mystery and thriller fiction.
To write a good 200 page book, you first have to write a middling 50o page book. Then you have to distill that and pare it down. It’s not just a process of cutting unnecessary sentences. It’s often a process of conveying three chapters worth of information in a single scene, which has to come across as natural and fluid while advancing the story, developing themes, and conveying facts, emotions, and insights to reader.
Unfortunately, many established authors, knowing they have a dedicated readership, crank out the 500 page version and stop there. A good editor should push them either to have 500 pages of substance, or to cut the book down to where it’s nothing but substance (say, 200 pages?), so it will have more impact. But the writers and editors don’t have to, so they don’t put in the extra work. Readers happily accept the pale and flabby works of [I won’t say who] and have no idea how much deeper and more powerful are the works of the masters like Dorothy Hughes, Elliott Chaze, Patricia Highsmith, Charles Williams, and Jim Thompson.
To put it another way, readers would rather sink into a 500 page mess then contemplate a 200 page gem.
Edsger Dijkstra summed up the problem when he said, “Simplicity is a great virtue, but it requires hard work to achieve it and education to appreciate it. And to make matters worse, complexity sells better.”
In the world of genre fiction, readers tastes have become accustomed to lazy writing and pointless scenes the way children’s tastes become accustomed to processed food. When you give them something fresh, they reject it.
I call this “The Seinfeld Problem.” If you pick up a popular mystery, thriller, or suspense novel that is part of a series, you’ll find lots of scenes where the main character has lunch with a partner or dinner with a date, or has a long argument with a friend over who makes the best meatball subs in town. These scenes don’t advance the plot or enrich the story. They’re supposed to give the reader some insight into the main character, or to make the reader feel more connected.
In series fiction, however, the reader already knows the main character from previous books. The writer doesn’t have to do the difficult and rewarding work of revealing the character through his actions and words. Because that work has already been done, the reader often finds himself just hanging out with the main character, talking about nothing over a long lunch, in just the way Seinfeld and Kramer and Elaine and George hung out and talked about nothing in the show that Seinfeld himself called “a show about nothing.”
Seinfeld got away with it because the characters were interesting and funny, and the viewer understood there would be no plot and none of the characters would change by the end of the story. But mysteries, thrillers, and suspense novels are supposed to have plots, and those plots should keep moving. Stories where the main character changes and grows are always more interesting than stories where he/she doesn’t. But part of the nature of series is that the main character has to be the same from book to book. The main character is the product, and readers expect him to be same in the next book as he was in the last, just like they expect the can of ravioli they’re about to open to taste just like the one they ate yesterday.
As a software engineer, I became accustomed to managers asking, “Why are you still working on that program if it’s not crashing and there are no glaring bugs?” I keep working on it because I see it can be simplified, that a thousand lines can be boiled down to two hundred. Managers don’t always appreciate that, and neither do readers. But if you spend a few months reading the powerful, well-written works of the masters in any genre, and then you return to what passes for “a great read” on the current bestseller lists, you start shaking your head and wondering what’s going on.
What is going on?
John Harlan’s pro football career has ended after another driver hit him in what appeared to be a drunk-driving accident. After his recovery, Harlan is in very good shape by normal standards. He’s in his late twenties, strong, and fit. He just lost that extra bit of quickness that it takes to compete at the highest level of sport, and now that he can’t play football anymore, he’s on the skids with no idea what to do next.
As he drifts about, the insurance investigator who originally looked into the drunk-driving accident tells Harlan he suspects there may be more to the story. Part of the accident may have been deliberate, and while Harlan wasn’t the intended target of that mischief, he certainly was a victim.
John Harlan is a man of low morals and few scruples. He’s bitter, and he thinks he’s entitled to get back some of the money he lost due to the premature end of his career. He decides to blackmail the two people who he thinks were responsible for the “intentional” part of the “accident.”
When it comes to crime, Harlan is a good planner, even though he’s a novice. He takes huge calculated risks, because he’s greedy as hell. His risks pay off, up to a certain point, because of his obsessive planning, which is the focus of much of the narrative. He neglects some little things along the way, like failing to examine parts of his plan from every conceivable angle. He also neglects some big things, like failing to fully understand the nature of the people he’s blackmailing.
What begins as a brutish game of intimidation and force evolves into a subtle and intense battle of strategy and clever tactics by both the blackmailer and his victims. In fact, for much of the book, it’s unclear who the victims will be. Because we see the world through Harlan’s eyes, we become as convinced of his plans as he does, and we don’t see their flaws until they smack him in the face. Then the reader gets smacked in the face too because Harlan can really suck you in. He’s up against some very clever foes, particularly Julia Cannon, who plays a number of roles in turn, and all of them convincingly. She the cheating wife, the femme fatale, the victim, the master, the psychologist, the moralist, and the oracle.
Though the poor writing in the first few pages of the book may turn you off, stick with it. You’ll start to see the value by the end of the first chapter. This one really comes alive at the end, when a story that has looked like a series of adventures and misadventures starts to take on new layers of depth, darkness, and moral heft. It’s a Jim Thompson-style ending in which a character slowly comes to realize he is imprisoned by the very desires and actions he thought would set him free. Julia Cannon becomes the prophetess and the bearer of wisdom and fate, bequeathing to Harlan a legacy and a future he tries vainly to reject, and exposing in him every flaw she so eloquently enumerated when she chained him to the bed and forced him to listen to what he had so rudely dismissed as “her incessant yakking.”
What she tries repeatedly to drive home to him, and what she does get across loud and clear to the reader, is the hidden cost of crime: that is, the cost to the perpetrators. We get it, and we get her frustration when she says to Harlan, “I was unfaithful to my husband. I realize you have already grasped this, at least as far as its surface aspects are concerned, and there would be no point in attempting to explore it to any depth because eventually we’d run into language connected to emotion, which obviously would have no meaning to you. How would you describe a sunset to a blind mole living on the dark side of the moon?”
The Big Bite was originally published by Dell in 1956. This review is of the 1973 Pocket Books reprint, which sold for 95 cents and includes a full-color two-page ad for True cigarettes between pages 128 and 129. Your best chance to find this title is the Mysterious Press eBook edition of 2012.
Harry Madox has drifted in and out of a number of jobs, and has one failed marriage and some unspecified debts under his belt. When the story opens, he’s just landing a job as a car salesman in 1950’s small-town Texas. He’s not in town long before he meets two women. The young, sweet Gloria Harper brings out the best in him, against his nature and sometimes against his will. And then there’s the boss’ wife, Dolores Harshaw, who has a knack for getting him into and out of trouble.
Madox is one of those guys for whom the straight and narrow just hasn’t worked out. “In this world, you took what you wanted; you didn’t stand around and wait for someone to hand it to you.” He comes up with a pretty good plan to rob to local bank, but his entanglements with Gloria and Dolores complicate everything. I won’t spoil the story; it’s particularly interesting to see how two kindred spirits recognize each other instantly, bring out the worst in each other, and make a mess of things. It’s like watching a train wreck in slow motion.
The jaded and unsentimental Madox gives some priceless descriptions of his even more jaded and unsentimental lover, Dolores Harshaw. Here’s his description of her after the first time they’ve slept together. They’re in her house (Madox’ boss’ house), and she’s been plowing through a bottle of whiskey.
“Moonlight from the window had moved up the bed and now it fell diagonally across her from the waist to the big spread-out breast which rocked a little as she shook the ice in her glass. I thought of a full and slightly bruised peach beginning to spoil a little. She was somewhere between luscious and full-bloom and in another year or so of getting all her exercise lying down and lifting the bottle, she’d probably be blowzy…
“She had a bos’n’s vocabulary. My head felt worse and I wondered why I didn’t get out of there. She was already on the edge of being sloppy drunk, kittenish one minute and belligerent the next. God knows I’ve always had some sort of affinity for gamey babes, but she was beginning to be a little rough even for me. She had a lot of talent, but it was highly specialized and when you began to get up to date in that field you were wasting your time just hanging around for the conversation.”
Dolores Harshaw has some plans for Harry Madox, and she’s a smart one. He knows it too. “The smart thing was to get out of here and let her happen to somebody else.” But he just can’t quite untangle himself.
Overall, this is one of the best noirs I’ve ever read, with steadily-building tension and suspense. Williams writes straightforward prose when the situation calls for it, and can also be witty and insightful. His characters ring true, and he provides good insight into their motivations and weaknesses. Dolores Harshaw may be the best femme fatale in all of crime fiction: seductive, conniving, compelling, manipulative, jealous, ruthless, intelligent, and unhinged.
It’s a shame this book is out of print, but you can find used copies online. “The Hot Spot” is the book’s title under the Black Lizard imprint. It had been published earlier by Gold Medal under the title “Hell Hath No Fury.”
After two rounds with the editor and many drafts, Gate 76 is just about ready for the proofreader. Below are some cover ideas from my lovely and talented wife. Please let me know which cover you prefer and why.
Thanks for taking the time to help out. If you’re curious, you can read the first chapter of Gate 76 here, but don’t look until after you’ve picked a cover!
All of the cloud/plane photos are based on a photo by Adam Birkett on Unsplash.