Re-Kindling Interest: Different Strokes: How I (Gulp!) Wrote, Directed, and Starred in an X-Rated Movie by Lawrence Block writing as John Warren Wells

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

In 1973, at the height of the mainstream pornography heyday, with films even now considered classics of the style (Deep Throat, The Devil in Miss Jones) playing alongside other Hollywood fare, author Lawrence Block was hired to write a similar film that would have "a real script and a good cast and wide distribution." (Something author Terry Southern predicted in his novel Blue Movie.) The film was to be titled Different Strokes, but things didn't quite work out and it was never made.

But, as part of the deal, Block had arranged with his publisher to document the production in a book that would also include the screenplay and interviews — "for some subsidiary income [since] I wasn't going to be getting much actual cash for [the script]" — and publish it under Block's sexual-behaviors pseudonym, John Warren Wells.

Neither saw a reason why they couldn't go ahead with that part.

The result, Different Strokes: How I (Gulp!) Wrote, Directed, and Starred in an X-Rated Movie, is almost entirely fiction. (Some of it based on actual events that occurred before the production was cancelled.) But, according to Block's afterword in Different Strokes, "that was easy enough. It was fiction, and I'd been writing fiction for years. I liked fiction. You weren't tied down by facts."

And if there's something Lawrence Block is great at, it's fiction. I've been a fan of his for a couple of decades now, and Different Strokes has the same voice, humor, and skill at characterization and storytelling that have made him a best-seller since the 1980s.

His work from before that period is generally of the same quality; it has just been hard to acquire due to its often being hidden under a variety of pseudonyms. But now that Block has begun digitally releasing back-catalog works like Different Strokes: How I (Gulp!) Wrote, Directed, and Starred in an X-Rated Movie — and giving some away on Orange Wednesdays at his blog — it's going to be much easier to find a high-quality Lawrence Block book to read whenever I want one.

Re-Kindling Interest: Via Dolorosa by Ronald Malfi (literary psychological horror)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

"Whatever doesn't kill you makes you stronger, he knew. But he also knew that whatever doesn't kill you sometimes only maims you and weakens you and makes you angrier and colder than you ever thought possible. Not for the first time, he acknowledged that, sometimes, it was probably better just to have it kill you." —from Via Dolorosa

Nick D'Nofrio was a lieutenant in the Iraq war, where he saved the life of one of his men. Now he's a newly married man, paying for his honeymoon at a resort hotel on Hilton Head Island by painting a mural on their wall.

But Nick can't get away from his past, especially not with the father of the man whose life Nick saved working as the hotel's bell captain — he got him the painting gig — and his injured right hand acting up whenever he tries to do any painting.

Nick is on a downward spiral, and he won't let his wife be a support. He chooses instead to spend inordinate amounts of time in the company of a Spanish photographer who only wants details on his war experiences and any photos he has or knows about. This shakes up Nick's marriage at a time when what he most needs is stability.

I'm quite pleased to see that author Ronald Malfi has allowed Via Dolorosa to be rereleased as an e-book. I read it when it first came out in hardcover in 2007, and I was very impressed by Malfi's examination of humanity's darkness, the horrors that we inflict upon each other, most often without intending to.

Malfi's first novel, the gothic horror tale The Fall of Never, was about the negative effects of family. Its followup, The Nature of Monsters, was a departure from the genre, a sort of modernized Great Gatsby that focused on how much we'll take from the people we believe are our friends. Via Dolorosa combines elements of both styles, with Malfi turning his keen eye on marriage and how one person's emotional baggage (specifically the horrors of war) can sour the experience for both parties.

This is a dark, sad, and depressing novel but a very rewarding one. The often dreamlike quality of the prose suits this novel told from the perspective of a troubled protagonist who spends the majority of his time deep inside his own head.

But Via Dolorosa retains a modicum of hope through Nick's constant struggle for escape, in whatever form it avails itself. Whether through the guise of a Spanish photographer or in the shadows of the pointedly named Club Potemkin, or even just at the bottom of a bottle of Red Truck, Nick's continual pursuit of a way out rescues his story from utter bleakness.

Re-Kindling Interest: Horrorween by Al Sarrantonio (Halloween horror, Orangefield series)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

Orangefield is a strange little town. As Detective Bill Grant said in The Baby, a lot of "weird shit" happens around Halloween, in one way or another involving the participation of Samhain, the lord of the dead. A children's-horror author, a five-year-old boy, an older girl named Wizard, a Halloween historian, and a pumpkin tender are all connected by visits from Samhain. Horrorween chronicles a series of events that comes to a head on Halloween, when people will die, others will redeem themselves, and Samhain with either succeed or fail.

Horrorween is primarily composed of three early Orangefield stories -- the short story "Hornets," the novella The Pumpkin Boy, and the short novel Orangefield -- tied together with narrative glue to form a novel that is a surprisingly cohesive read.

Sarrantonio combines the horror and innocence of Halloween in a way no one has since Ray Bradbury. Horrorween, unlike the vast majority of modern horror novels, is subtle, not beating the reader senseless with shock after shock but developing a sustained level of tension. When Sarrantonio delivers the final blow, it's almost a relief.

And his horrors are truly shocking events that anyone can relate to -- not based on what Stephen King called "the gross-out." Don't get me wrong: some of my favorite horror authors are gross-out artists, but it's refreshing to encounter horror of the old school that seeks to truly terrify, yet is otherwise basically PG-rated.

Though Sarrantonio has a very accessible style, his storylines manage to be unpredictable and not easily summarized because to describe the action would either be unhelpfully vague or would give something away. And that would be a shame because Horrorween offers such a terrific ride for lovers of Halloween and light horror fiction.

For more Halloween recommendations, check out my 2009 Halloween feature.

Re-Kindling Interest: The Boar by Joe R. Lansdale (young adult novella)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

Author Joe R. Lansdale's March 2012 novel Edge of Dark Water is his latest venture into the young-adult field. But those readers who can't wait to see what he does with this type of material can check out this one in the meantime.

Inspired by the more adult subject matter covered in the young-adult novels by authors like Gary Paulsen and Robert Cormier, a young Joe R. Lansdale set out to write his own YA entry, using his particular style while telling a simple, straightforward story. The Boar was the result.

Unfortunately, it proved to be impossible to sell until a limited Subterranean Press edition. Night Shade Books released it in an affordable trade hardcover a few years ago, and now it's finally available as an e-book, hopefully allowing even more people to read this terrific little novella.

The story follows the coming of age during the summer of 1933 of 15-year-old Richard Harold Dale ("Ricky" to his friend Abraham, who shares this adventure). When Ricky's father goes off to make money for the family the only way he can — by wrestling at fairs, just like Lansdale's own father — Ricky is left man of the house. Out hunting, he runs across the legendary boar that terrorizes the Sabine River Bottoms: Old Satan, the Devil Boar with a hoofprint the size of a man's hand.

After the boar kills Ricky's dog and attacks his family — including his pregnant mother — he vows to take his family's protection into his own hands and kill Old Satan once and for all — even though local sage Uncle Pharaoh says he's crazy to try. But first, he'll need some training and something larger than a .22....

The American South — as depicted in The Boar, at least — is a place where stubbornness doesn't get you smacked, and where adults respect the ambitions of teenagers. (When Ricky tells his father he wants to be a writer, nothing whatsoever is said about "something to fall back on." But then again, this isn't your typical Lansdale novel; he is best known for portraying the much darker side of humanity in his extreme horror stories (see The Drive-In and High Cotton for examples).

You'll find no such over-the-top evil characters here (unless you count a boar called Old Satan, that is), only a young boy on a quest to call himself a man and kill himself a boar. Lansdale makes the characters individuals and, although the plot definitely rides the line of believability, I never doubted it for a moment.

The Boar also has that unmistakable Lansdale voice coming through the page, that down-home delivery that makes his skill with dialect effortlessly ring true and has made his public readings so popular. This is an ideal choice for readers wanting an exciting nostalgic experience — or wanting to introduce the new generation to the terrific storytelling of Joe R. Lansdale.

This review is an updated and revised version of the one that originally appeared in The Green Man Review in 2005. Reprinted with permission.

Re-Kindling Interest: Dark Side of the Morgue by Raymond Benson (The Rock 'n' Roll Detective's Greatest Hits)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

A blonde wearing sunglasses and a big, floppy hat has been killing members of Chicago's prog-rock scene (known locally as "Chicagoprog"), and Zach Garriott (guitarist and vocalist for the seminal bands North Side and Red Skyez, but gone solo since 1980) wants Spike Berenger's help finding the suspect — he's on the list. The trouble is, the main suspect is Sylvia Favero, and she's been dead since 1970.

Dark Side of the Morgue is author Raymond Benson's second Spike Berenger novel. This Kindle edition (called The Rock 'n' Roll Detective's Greatest Hits) contains it and the other two, A Hard Day's Death and On the Threshold of a Death for less than the price of one of the original paperback editions.

P.I. Spike Berenger used to be in a progressive rock band called The Fixers, but they didn't last long (though they still have some devoted fans). Now Berenger and his partner Rudy Bishop run Rockin' Security, a service for the music industry. Berenger also has his private investigator's license because it sometimes helps with business. Suzanne Prescott, a former Goth devotee now into Transcendental Meditation (T.M.) and martial arts, is his investigation partner.

Berenger, a little bored with his current caseload involving Iggy Pop's dogs and Debbie Harry's landlord, decides to take the case, partly because he's friends and former colleagues with many of the participants. Here, Benson's knowledge of the prog-rock industry serves him well (he wrote The Pocket Guide to Jethro Tull and is himself a composer and songwriter).

After a long exposition introducing character relationships and band histories, Benson's feel for the high points brings authenticity to the story and never feels just like some guy trying to write a rock novel. (A Chicagoprog "family tree" at the front of the book is great for reference, and the table of contents is actually a "track listing" of song titles.)

Dark Side of the Morgue is funny, disturbing, and filled with deep knowledge of the music industry and abnormal psychology, all combined to make a really terrific read that I wanted to pick up whenever I had a free moment. It is assembled from P.I./thriller tropes we've seen many times before, but Benson has put them together in a way that feels fresh and original, and results in the reader responding to them as if they were brand new.

My only real complaint is that protagonist Spike Berenger is the least interesting person in the book. But Berenger's transparency allows the supporting characters to truly shine (for example, in how Prescott's T.M. skills actually figure into the plot instead of being just an interesting character quirk). Benson obviously spent a great deal of time developing his musicians' relationships and histories, and the hard work pays off as Dark Side of the Morgue is an engrossing read that is as much for rock fans as it is for fans of conventional P.I. novels.

Re-Kindling Interest: The Words by Douglas Clegg (novella)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

The new ebook explosion has been great for the novella. Previously only to be found in limited editions in the small press or in anthologies, this former bastard of the literary world has finally found a form in which it can thrive.

This is not only good for the authors but also for readers who may have missed out on hidden gems like this one (originally published in Four Dark Nights).

Douglas Clegg's The Words is a real stunner. In fewer than a hundred pages, Clegg creates a mythology, ages it, and sets its destiny in motion via two teenage boys, Dash and Mark, and their poorly chosen selections of reading materials.

Once Dash initiates the events, only Mark can stop them, but he can't for the life of him remember the words Dash begged him not to forget. Oh, he can remember the names that started it all, but those foreign-sounding words continue to escape him.

Clegg creates real tension, even during the flashback scenes used to explain the history and lead up to the present. Using the novella form to its utmost, The Words could have been told no other way, and I'm glad to see that it may finally find the audience that missed it the first time around.

Re-Kindling Interest: The Big Blow by Joe R. Lansdale (historical novella)

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

I've long been a fan of author Joe R. Lansdale's work, and I'll be the first to shout his talents from the rooftops. But even I was impressed when I read The Big Blow when it came around in rotation on the Free Stories section of the his website.

This novella just may be a perfect story. Set during the Galveston hurricane of 1900, it offers action, sex, violence, cleansing, redemption, and a small dose of history, peopled with typically Lansdalean characters.

Centering around a boxing match between John McBride and "Lil" Arthur Johnson (later to be called Jack), it's a real action piece, flying past like a roundhouse punch. The characters and setting feel impressively realistic, and the plot is entirely believable.

Having enjoyed it so much the first time, I read The Big Blow again with relish when it was released in the author's collection Mad Dog Summer and Other Stories. It was even better the second time around, and I'm excited to see it available once again as a reasonably priced download. I'm not much for re-reading, but The Big Blow is one that I look forward to revisiting repeatedly.

Re-Kindling Interest: True Detective, True Crime, and The Million-Dollar Wound by Max Allan Collins (Nathan Heller series of historical private eye novels)

This is one of a series of reviews focusing on out-of-print novels that have become available again via a variety of e-book formats.

Though they've been out of print for most of the last decade, I was happy to learn that Amazon's new mystery imprint, Thomas & Mercer (named for the cross streets where the offices are located) would be reprinting all of author Max Allan Collins's Nathan Heller novels. Now they're available in trade paperback and e-book formats.

Recently, the first book in the series, the Shamus Award–winning True Detective, was promotionally priced at $0.99 and shot to #1 on the Kindle charts. As of this writing, it's still at the reasonable $1.99: an easy impulse buy.

True Detective is a stunning mix of fact and fiction. The setting is 1930s Chicago, and Collins paints the city of that time with a bold brush. Nathan Heller is a city cop who gets roped into a messy situation by his fellow officers. When he ends up killing a man with the same gun Heller's father used to commit suicide, Nathan's own, that's the last straw that leads to Heller's quitting the force, despite the efforts of the higher-ups to get him to reconsider.

But working as the president of your own detective agency (called "A-1" so it will appear first in the telephone directory) is by no means boring — not when your best friend is Eliot Ness and you have connections to Frank Nitti, Al Capone, mayor Anton Cermak, Walter Winchell, George Raft, and a young future actor who goes by the name "Dutch" Reagan. (Gangster John Looney, whom Collins would feature in Road to Perdition fifteen years later, even shows up.)

Collins took five years to research the place and time, and this, combined with his immense storytelling skill, make True Detective an immersive experience. The World's Fair comes alive in his hands, as do the characters, who have never seemed so real (even in The Untouchables) as when they are dealing with the fictional Nathan Heller.

The Nate Heller series continues with True Crime, also the second book in the "Frank Nitti Trilogy." Taking place just months after the events in its predecessor, True Crime centers around the famous killing of gangster John Dillinger in front of Chicago's Biograph Theater. (Manhattan Melodrama was the picture that he, a girlfriend, and the famous "Lady in Red" had just seen.)

Nate has just begun a relationship with renowned feather/bubble dancer, Sally Rand, when a man comes into his office asking Heller to find his wife. How this connects with Dillinger, and how Heller then gets mixed up with Pretty Boy Floyd, Baby Face Nelson, Ma Barker and her boys, and J. Edgar Hoover is a narrative of historic proportions.

True Crime was originally meant to be part of True Detective, but Collins realized that what was supposed to be a novel was slowly turning into an epic, and that cutting the entire Dillinger plot was what was needed. So, when the editor who bought the first asked if Collins had ideas for a sequel, he had an instant answer.

The accuracy of Collins' details and the amount of research done to get the facts right (sources are named in the back) are an example of the dedication Collins has to his craft. That he is able to whip up a plot that uses these facts, but does not rely on them for a crutch, while inserting a fictional character into the midst of the fracas, is nothing short of remarkable.

Collins sends Heller off to war in The Million-Dollar Wound, the third in the series to be nominated for a Shamus Award. (Note: The title refers to a war wound that gets a soldier sent home, but doesn't kill him.)

A little male pride, some misplaced patriotism, and a few drinks too many land Heller, too old for the draft, in the Marine enlistment office in 1942, right alongside best friend and ex-boxer Barney Ross. Far too soon after, they find themselves smack dab in the middle of Guadalcanal Island, surrounded by "Japs" and fighting death in both its projectile and contagious forms.

An especially bad case of malaria finds an amnesiac Heller back in the States with a fuzzy memory but a thriving investigation practice, and a request to testify against Frank Nitti, now in control of the territory left vacant by Al Capone's prison sentence. The story quickly flashes back to 1939. Those used to the linear narratives of the first two novels in the series, and their relative chronological proximity to each other, may be thrown by The Million-Dollar Wound, which takes place nine, then six, then ten years after the events in True Crime.

The Million-Dollar Wound was Max Allan Collins's most complex novel, both emotionally and narratively, up to that point. The weight of the combat experience weighs heavily on Heller's mind throughout the remainder of the novel, especially the bad dreams he has involving a fellow Marine's death by "friendly fire." Did Heller fire the fatal shot? He can't remember. This lends a gravity to this third entry that only enhances the reading, offering a deeper sense of character through Heller's reaction to the truth.

This Frank Nitti trilogy is only the first three novels of this long-running series of "memoirs," which includes the most recent novel, Bye Bye, Baby, wherein Nate Heller investigates the death of Marilyn Monroe. Also upcoming are two collections. Chicago Lightning contains all the Heller short stories produced throughout the last 30 years, previously collected and uncollected. Triple Play contains three Heller novellas written to date: “Dying in the Postwar World,” “Kisses of Death,” and “Strike Zone.”

Re-Kindling Interest: Sineater by Elizabeth Massie

This is one of a series of reviews focusing on out-of-print novels that have become available again via a variety of e-book formats.

Author Elizabeth Massie's debut novel is like nothing I've ever read, and yet it is familiar enough to not be too challenging to the average genre reader. Winner of the Bram Stoker Award for first novel, Sineater utilizes the popular Southern gothic style to expound on a little-known legend in a highly imaginative manner.

When residents of the small town of Ellison die, their friends and family place small meals on the chests of the deceased. Joel Barker's father, Avery, then comes out of the woods -- where he has been relegated to live during the day -- and eats the food, symbolically devouring the sins of the deceased and allowing their souls to ascend to heaven.

Legend has it that peering into the eyes of the "sineater" -- even via a photograph -- will cause the looker to view all of the sin that has been eaten, and subsequently either go crazy or simply die from the shock. Therefore, due to their connection with one who is perceived unclean, all of the Barkers are ostracized from the rest of the town, especially by Ellison's resident spiritual mother: Missy Campbell.

But all this is merely background to understand the core story of Sineater: Joel's coming of age. Joel is an outcast trying to fight his way in, while everyone else, including the other members of his family, are doing their best to keep him out. And someone is invested enough in the Barkers' outcast status to begin a regimen of "punishments."

Luckily for Joel, there are a few townspeople who are brave and caring enough to ignore the rules, but when the punishments become personal, Joel's support system crumbles and causes him to take action. Along the way, he gains insight into some previously unanswered questions and learns a lot about his family and himself in the process. (It is a coming-of-age novel, after all.)

At least a hundred pages too long for the story to support, Sineater keeps the reader involved through the use of present tense. Most often utilized for its sense of immediacy, writing in the present tense is difficult to execute successfully. However, Massie pulls off its use in this novel beautifully and invisibly. I was halfway through the book before I even realized it, which just goes to show how well-suited it is to this author and story.

That, in addition to the fact that the climax is a pulse-pounder that could even make me forget that I was riding the commuter train on my way to work, makes sure that all is forgiven and that Sineater comes highly recommended.

Re-Kindling Interest: A Girl Called Honey, So Willing, and Sin Hellcat by Lawrence Block and Donald E. Westlake (early pseudonymous novels originally by "Sheldon Lord and Alan Marshall" and "Andrew Shaw")

This is one of a series of reviews focusing on out-of-print novels that have become available again via a variety of e-book formats.

This review originally appeared in somewhat different form on The Green Man Review. Copyright 2010. Reprinted with permission.

Authors Lawrence Block and Donald E. Westlake met while both working for Harry Shorten at Midwood writing soft-core sex novels. Block was impressed by a line in one of Westlake's novels written as Alan Marshall, then Westlake overheard a conversation Block had with his agent. Later, they introduced themselves and were friends for fifty years, until Westlake's death at the end of 2008.

These three novels are the only ones Block and Westlake ever collaborated on, two under their respective pseudonyms for Midwood, Sheldon Lord and Alan Marshall, and one as Andrew Shaw. They discussed the prospect in later years of working together again (specifically a Bernie Rhodenbarr/John Dortmunder crossover), but alas, it never came to pass. Luckily, these books are now available for much cheaper than they could be found on the collectors' market.

A Girl Called Honey centers around the semi-innocent Honour Mercy Bane, whose parents kick her out on her sex-loving kiester, causing her to begin selling her ware in a brothel as "Honey." Richie Parsons is a petty thief in the Army who finds it difficult to keep his favorite hobby under wraps in a closely watched barracks.

Gone AWOL (he knows they can't get him for desertion if he keeps his uniform), he meets Honey and their relationship progresses from business to pleasure — until his fear of capture makes him more a liability than an asset, and another client tries to make his way into Honey's top spot. Then a single event has universally tragic consequences, with an ending easily as shocking as that of Block's later novel Mona (reprinted as Grifter's Game).

In So Willing, Vince is frustrated. He learned early on the skills to get a girl to go all the way, and he's decided to use them to bag his first virgin. But after numerous disappointing surprises, he discovers that you can't really tell a virgin from a more experienced girl. "Her own statements ... were worse than useless" and her actions, reputation, and appearance can also be misleading. So he decides to take a different approach and gets much more than he expected.

Sin Hellcat focuses on Harvey Christopher, husband to the frigid Helen and current paramour to Jodi, a working girl whom Harv went out with in college and who now makes a good living on her back. They "reminisce" for a while, getting reacquainted with each other's outer selves, until a business associate of Jodi's tries to blackmail Harvey, and Harvey responds in an unexpected way, inadvertently making him the ideal candidate for what comes next.

The three novels are all a lot of fun, especially when read with the knowledge that Block and Westlake alternated chapters. Block began A Girl Called Honey, Westlake began So Willing, and Block won't tell who wrote what in Sin Hellcat — since he was quite proud to discover that their styles mesh remarkably even now.

One gets the impression that the authors got a great deal of amusement from taking off on each other's plot twists and especially from getting rid of characters created by the other when they began to annoy. The books are full of little in-references (one character signs a hotel register as "Andrew Shaw") and throwaway jokes (like calling a town Modnoc; read it backwards) that only add to the entertainment. All in all, Block and Westlake have nothing to be ashamed of with these early novels, and their fans will be glad to see them back in print, if only so that they can generate royalty checks once again.

Re-Kindling Interest: Street Raised by Pearce Hansen

He pulled the straight shooter from his lips, torturing himself with anticipation as he watched a tiny tendril of crack smoke waver from the mouth end of the pipe. The scent of it excited him more than the sight of a naked woman as he watched the crack smoke dissipate into the air, a little piece of Heaven wasted. — from Street Raised

I believe the current e-book wave's greatest benefit is in how it allows books and authors that were neglected the first time around, another chance to get noticed. And I can't think of a single novel that deserves this second chance more than Pearce Hansen's Street Raised.

Originally released by PointBlank Press in 2006, it got terrific blurbs and subsequently great reviews. But it never seemed to find its audience. Now Hansen has released an expanded and improved version in electronic format. According to the author himself, the new edition of Street Raised is "a third longer than the original, with material based on several years of research to make the feral Bay Area of 1984 come fully alive as a character in and of itself."

What follows is my original review:

Few crime fiction writers have actually lived through the same events they put their characters through. For most, writing noir is an opportunity to experience illegal behaviors from a safe distance, things they would never dare to replicate because they don't have to. Pearce Hansen is the rare breed: he has run the same streets and struggled through the same precarious existence his characters do.  For Hansen, writing is a kind of catharsis: it helps keep the nightmares away.

From the bio included with Street Raised, we learn that Hansen was "functionally homeless at a young age," and that he did a lot of self-educating through reading a variety of books: "he counts Thucydides & Spillane, Dostoevski & H.P. Lovecraft, Dickens & Nietzsche among his dear dead friends."

Street Raised is his debut novel, but it is not the work of a beginner. Hansen has been honing craft in short-fiction circles (including the now-defunct Plots With Guns) for ten years, and it shows. The story of Speedy and the aftermath of his release from Pelican Bay State Prison (far too much happens for me to even attempt a summary) displays a sure hand that knows what a good story requires: relatable characters, detailed settings, a clearly defined arc, and a satisfying ending.

It is in the spaces between, though, where Hansen's experiences and innate knack for storytelling shine through: There is no distancing from these people; we get up close and personal with their ways of life. Street Raised is filled with situations that could only be described by one who has seen them happen up close.  That immediacy translates onto the page, resulting in at least one character who is thoroughly disturbing.

But make no mistake, Street Raised is not a memoir; that doesn't suit Hansen's needs here at all.  He simply brings the rawness, the grit, and the upfront humanity to a genre that has, over time, gotten far too glossy.  Hansen's unflinching (and completely engrossing) take will change how you feel about other crime writers.  Kudos to Hansen for writing what is without a doubt the most affecting crime novel of the year.