Showing posts with label dave robicheaux. Show all posts
Showing posts with label dave robicheaux. Show all posts

Sunday, July 3, 2011

Forever young or aging (un)gracefully: what to do with series detectives?

Thanks to fellow reviewer and prolific crime reader Maxine Clarke (of Petrona and EuroCrime fame), I read an interesting Wall Street Journal over the weekend about the ways in which various crime fiction authors had dealt with (or not) the issue of an aging detective when their popular series' ended up running for decades. You can read Alexandra Alter's article, "The (Really) Long Goodbye", in full here.

It's a topic that has intrigued me for a while, and was brought home to me again recently when I read THE TROUBLED MAN by Henning Mankell, a book that is all about his popular detective Kurt Wallander getting older and looking back on his life and what he has done (interestingly, Alter overlooks this book in her article). When I interviewed Mankell for an article in the New Zealand Listener earlier this year, he told me:

"In all of the Wallander stories there has been questions - why is this? How come this happened? And every one of these questions has been connected to a story, a case you might say, that Wallander must solve - with one exception. That is the last novel, THE TROUBLED MAN - where he himself is the question and the case. That is why I wrote it actually, because I felt there was a book missing, and that’s where he was his own case. Where he in a way tried to find out about himself, his own life."

And also:

"And that had really to do with something, his age... I think when you come up to the 60s there are for most people a need to turn around a little and look at what you did with your life, what happened in your life, and for many people that can be quite scary. Because many people have [frittered] away a lot of their lives, they haven’t done anything really with their dreams that they should have done... So this is also a story about getting old... I really wanted to write about the scary thing of getting a bit older, because that is what Wallander and I have in common, we have the same age."

Personally, as much as I love certain detectives and crime fiction characters, and would love to see them go on and on and on, I think it adds something to series if the character ages and evolves. It's part of life, and different things are important to us at different ages, and stages, of our lives. So I think it's great for literature (and I very much include crime fiction in that phrase, although some critics may disagree) to address that.

For me, the best crime fiction is about much more than it's plot, and even the best characters will get less interesting if they don't evolve over time. The best crime fiction addresses issues about people, and perhaps even about society, and aging is a part of that, and allows the author to address (hopefully in a subtle or subtextual way, raising issues rather than hammering us over the head with them) different things that concern not only their characters, but us as readers. I'm still (only) 32, but I can certainly appreciate this, and I'm sure many older readers might do so, even more.

One of my favourite books of 2010 was THE GLASS RAINBOW, by the incomparable James Lee Burke (Alter did mention this book in her article). In it, Dave Robicheaux (played by aging actor Tommy Lee Jones in In The Electric Mist, pictured above), like Burke himself, is in his early 70s, and along with the murky gumbo of violence and other issues he finds himself entangled with during the book, Robicheaux and his elderly hulk of a sidekick Clete Purcel, also deal with things like aging and mortality. And I personally felt this added to the book. I like what Burke says in Alter's article:

"Mr. Burke, whose books have sold 20 million copies, says he ages his characters as a matter of artistic principle. "Not to do so would be aesthetically dishonest," says Mr. Burke, 74, who sells Robicheaux-themed hats and T-shirts on his website. "You'd be rigging the game."

And of course, Agatha Christie kills off Poirot in his last case (sorry for the spoiler, for those who haven't read it). However not all authors want to age their characters, and I can understand the struggle; not only are there the commercial factors to take into account (it's a brave move to age then 'retire' a bestselling character like Rebus, for example), but I imagine some authors see their characters in a certain way, as do their readers, and aging - with everything that brings to the table, if you treat it realistically - simply wouldn't work for the character and stories they want to write (or read). And if you age them, then at some point you'd have to end them, and not every author can be like Michael Connelly and create a second high quality series (eg his Mickey Haller novels) that likewise satisfies critics and fans as their main character (Harry Bosch) ages. It's a risk, aging your series character, and I can understand that not everyone would be willing to take it.

Some writers start aging their characters, and then change their mind. As Alter says in her WSJ article:

"Patricia Cornwell, who has been writing about forensic expert Dr. Kay Scarpetta for more than 20 years, said she decided to stop Scarpetta from aging further when both she and her character turned 50 five years ago. "People don't want to read about her when she's 80," she said.

Thriller writer Lee Child dutifully aged his laconic, violent drifter Jack Reacher for the first several books, then realized his character would soon be too old to plausibly dispense head-butts and elbow strikes to a room full of villains. So Mr. Child stopped the clock. "I'm going to play his age down a little bit and make the reader assume he's stuck in his mid-40s," says Mr. Child, who recently finished book 16."

Others like Robert B. Parker have decades-long series where the character is near frozen in time, and while the world changes around them, their hero stays forever young. I believe Parker may have even changed Spenser's background in the later books, updating the wars in which he fought to explain his static age.

What do you think about aging detectives, or not? Do your favourite authors age their characters? Are your favourite detectives getting older, or not? Do you care, either way? Would you rather see an evolution of issues (perhaps with a decline of physical skills), or a detective hero who stays forever young?

I'm not sure myself. I loved THE GLASS RAINBOW, and enjoyed the way Mankell aged Wallander in THE TROUBLED MAN, but then, if I'm honest, I might want a MacGyver or Magnum PI remake to focus on the young, action-packed, characters I remember from the '80s, rather than older version.

Something to ponder anyway. I'd love to read your thoughts about this issue.

Tuesday, January 11, 2011

Reflecting on 2010: The 9mm interview series

I realise I've somewhat missed or am rather late on the very end of 2010/very start of 2011 boat when it comes to doing that New Year-ish reflecting and then prognosticating on last year and the year ahead, respectively - given my four week semi-hiatus from Crime Watch over the festive season. However, I've decided to still (belatedly) join in the fun.

So today I'm looking back on one of the additions to Crime Watch in 2010: the 9mm quickfire author interview series. Hopefully you have been enjoying reading more about some famous and not-yet-so-famous crime and thriller writers, and their varied responses to the same 9mm questions they each get asked. For me it has certainly been a fun series, and has encouraged me to interview even more authors than I get the chance to speak with due to newspaper or magazine articles.

If Crime Watch readers have been enjoying, and continue to enjoy the series, I will certainly look to continue and build it even further in 2011. The series started with a bang back in late March 2010 with my 9mm interview with one of the world's biggest-selling crime writers, Lee Child, who kicked things off by saying that John D. MacDonald's Travis McGee was his all-time favourite recurring crime fiction character. McGee, incidentally, has been tabbed to be played by none other than Leonardo DiCaprio in an upcoming film adaptation.

Over the eight months from late March to November 2010, a further 43 interviewees 'stared down the barrel' of the 9mm. So that's not too bad a strike-rate, at more than one interview per week, on average. Overall I felt the series also did fairly well in terms of one of my other goals (of mixing up the big-name international bestsellers with local authors and lesser-knowns from New Zealand and overseas). I would like to say thank you to all the authors who've generously given their time to be part of the series, and answered all the 9mm questions, no matter how random they may have seemed at times.

The 44 published 9mm interviews thusfar are:
  1. Lee Child
  2. Paddy Richardson
  3. Jack Kerley
  4. Paul Cleave
  5. Margot Kinberg
  6. Vanda Symon
  7. Dennis Palumbo
  8. Andrew Grant
  9. Rob Kitchin
  10. Linwood Barclay
  11. Lou Allin
  12. Declan Burke
  13. Craig Russell
  14. Joan Druett
  15. Martin Edwards
  16. Shamini Flint
  17. Gregg Hurwitz
  18. C. George Muller
  19. John Connolly
  20. Roy Vaughan
  21. Mark Billingham
  22. Stuart MacBride
  23. Michael Koryta
  24. David Carnoy
  25. Stella Duffy
  26. Faye Kellerman
  27. Alix Bosco
  28. PD James
  29. Mark Gimenez
  30. Lisa Unger
  31. Peter James
  32. Leighton Gage
  33. Sophie Hannah
  34. Cat Connor
  35. Michael Robotham
  36. Val McDermid
  37. Rick Mofina
  38. Joyce Yarrow
  39. James Lee Burke
  40. Donna Malane
  41. RJ Ellory
  42. Simon Kernick
  43. Michael Connelly
  44. Yvonne E. Walus

A FEW COMMENTS AND OBSERVATIONS:

  • In a tight race, Dave Robicheaux is the crime writer's crime fighter, so to speak, being mentioned specifically EIGHT times in the series when authors were asked their favourite recurring crime fiction hero. Many interviewees couldn't restrict themselves to one choice - meaning more than 30 different recurring characters were noted as favourites, even though Robicheaux (8), Poirot (7), Philip Marlowe (7), Sherlock Holmes (6), Harry Bosch (5), Travis McGee (4), Inspector Morse (4) and Kinsey Millhone (3) were each mentioned several times.
  • Interestingly, the four characters that were mentioned nearly as much as Robicheaux were the four semi-finalists in Jen Forbus's 'World's Favourite Detective' poll of crime fiction readers, reviewers and bloggers in early 2010 (Bosch winning over Marlowe in the final, Holmes and Poirot made the semis). So it seems there is quite the consensus between writers and keen readers, except that writers rate the likes of Robicheaux and McGee higher (Robicheaux was knocked out early-ish on, in something of an upset).
  • The 44 crime fiction author interviewees had a varied array of 'first memorable books', from crime and mystery fiction to all-time classics, and lesser-known kids books. THE ADVENTURES OF SHERLOCK HOLMES, BLACK BEAUTY, TO KILL A MOCKINGBIRD and THE WIND IN THE WILLOWS were in fact the only specific books to get multiple mentions (two each). As an aside, PD James and Val McDermid both picked WIND IN THE WILLOWS, whicle Michael Connelly and Mark Gimenez each picked TO KILL A MOCKINGBIRD.
  • However, Enid Blyton was the most popular/memorable 'first author', with five mentions for her Secret Seven and Famous Five series. Agatha Christie novels got three mentions, Hardy Boys novels two, and RL Stevenson novels two.
  • After having an 18 to seven male to female split early on , this has balanced out a bit more to 27 to 17 in the latter part of 2010- with ten of the last 19 interviewees being female.
  • 'Her' entry in the 9mm series was, I understand, perhaps the first published interview pseudonymed New Zealand thriller writer Alix Bosco ever gave. Bosco of course went on to win the 2010 Ngaio Marsh Award for Best Crime Novel, and was also interviewed (by the same email via her publisher/agent technique) for some newspaper and magazine articles.
  • 12 New Zealand crime and thriller writers have been featured.
  • Although I could perhaps get some other similarly large 'name' internationally bestselling and award-winning authors to be part of the series in future (ie some more that are on the same level, so to speak), I don't think I could actually get any authors that are blatantly bigger 'stars' in the crime writing world than some of those included already (PD James, Val McDermid, Michael Connelly, James Lee Burke, Lee Child etc). Not bad for a series on a little blog in remote New Zealand.

So, that's a bit of a 2010 wrap-up for the 9mm series. What do you think of the series so far? Who have been your favourite interviewees? Who would you like to see interviewed in the coming year? Comments and feedback greatly appreciated.

Sunday, December 26, 2010

Currently reading: THE NEON RAIN by James Lee Burke

Greetings from Vietnam. Along with all my reviewing etc for various newspapers, magazines, and websites, and the odd Reading Challenge or two, I've decided that over the next few months I'm going to do a bit of an 'Origins' series, looking at the debut books of popular and longstanding detectives or crime fiction characters. To go back and read the first books in long series. To look at how these characters were first introduced, described, etc - often before the authors had any idea they would end up being a series character (or at least such a long-running or popular one).

So while I'm travelling here in Vietnam, and having finished PHNOM PENH EXPRESS by Johan Smits (good) and BANGKOK HAUNTS by John Burdett (great), I'm now reading THE NEON RAIN by James Lee Burke, which introduces Cajun detective Dave Robicheaux. Unsurprisingly, it's terrific.
I will post more about this on my return to New Zealand in the New Year. In the meantime, have you read any of the Dave Robicheaux novels? What do you think of him as a character, a detective? Who are some of your favourite longstanding detectives? What other 'origins' books should I have in my series. Comments appreciated.

Wednesday, August 4, 2010

Philosopher of Crime: my feature on James Lee Burke



As I mentioned earlier, the Weekend Herald (New Zealand's biggest newspaper) have now kindly allowed me to republish any articles I have or will write for them, online. So today I am sharing my 1500-word feature on mystery writing maestro James Lee Burke, which was in the features section of the Canvas magazine (the glossy lifestyle supplement) in last weekend's edition.


PHILOSOPHER OF CRIME
James Lee Burke talks to CRAIG SISTERSON about artistry in crime writing, speaking for those with no voice, and the central issue of modern times

ANY TRUE artist, whatever their creative medium, needs both humility and vanity, says legendary American novelist James Lee Burke. “Humility is not a virtue in a writer, it is an absolute necessity,” he adds, his mild Southern accent reverberating down the phone line from his “property that tries to be a ranch” just outside Missoula, Montana. Burke and his wife of fifty years, Pearl, now split their time between Missoula and New Iberia in Louisiana, the lush setting of Burke’s evocative and award-winning crime novels starring aging detective Dave Robicheaux.

Burke’s eighteenth and latest Robicheaux novel, The Glass Rainbow (released in New Zealand next week), is ostensibly the reason for our interview, but just like his rich and layered tales themselves, my conversation with Burke ends up being a bit deeper and more philosophical, and laced with history, politics, social commentary, and literary references. Throughout, the 73-year-old laughs easily and often, almost explosively at times. He is unfailing polite, yet not at all stuffy or formal. He answers the phone with a jovial “Is this New Zealand calling?” then tells me to call him “Jim”. Down-to-earth and humble, his soft-spoken manner and measured cadence belie some strident opinions when it comes to several things he cares deeply about, including the environment, “people of humble origin”, and the purpose and importance of art.

The humility a writer must have is just recognition that their artistic talent is a gift, says Burke. “All good art has its origins I believe in some source outside oneself. And every good artist knows that the gift comes from somewhere else, and it’s there for a reason, and that’s to make the world a better place.” The greatest enemy of art is self-absorption and ego, continues Burke. Arrogance and pride are “a cancer”, and if an artist “begins to think of himself as someone who in effect went out and acquired the talent” rather than appreciating it for the gift it is, then they are heading for a fall. However, an artist must have faith in their talent, and feel compelled to share something important with the wider world. “It’s a kind of vanity,” says Burke. “George Orwell once said writers write because they want to set history straight. And that’s the emotion the writer feels, as though he is seeing reality in a perfectly accurate way, and he feels an obsession to communicate his vision.”

Some may question a crime writer, even one as acclaimed as Burke, talking about art and making the world a better place. But anyone who’s read his novels knows that they have a fair bit more to say, beneath the page-turning action, than your typical easy-reading ‘airport thriller’. “I don’t make much distinction between genres,” he says. “I think literary art is literary art, or it’s not. Writing is either good or bad.”

Burke wanted to be a writer from an early age. Born in Houston and growing up on the Texas-Louisiana Gulf Coast, the first books he remembers reading and really loving were crime novels; The Hardy Boys series. It was the “adventure, the mystery, and being able to identify with young boys who were solving great crimes” that held such great appeal, he recalls with a fond chuckle. Burke shared a youthful passion for words and storytelling with his first cousin Andre DuBus, and I hear a note of pride in his voice as he notes they both ended up being writers all of their lives. While Burke has published 30 more books since his 1965 debut Half of Paradise (which took several years to find a publisher), won two Edgar Awards (the ‘Oscars’ of crime writing), had his fourth novel The Lost Get Back Boogie rejected a record 111 times over nine years then get nominated for a Pulitzer Prize, and last year the Mystery Writers of America Grand Master Award, his late cousin was pretty talented too. Dubus is considered one of the best American short story writers of the 20th century.

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'The story, the great drama, is around us all the time, it's always there. It's a matter of seeing it.'

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Burke has also lived a full and fascinating life away from the page; a life he says has truly enriched his writing. “Everything I was doing all the time in some way I thought of as translating into my art,” he says. “When I was a social worker in Los Angeles, I knew that all these people I was seeing - convicts, street people, migrant farm workers, skid row derelicts - were all going to become players later in my work. I learned an enormous amount about the other America, one that we don’t recognise. It was the same in other jobs.” For Burke those other jobs included working as a landman for the Sinclair Oil Company, as a pipeliner, land surveyor, newspaper reporter, college English professor, clerk for the Louisiana Employment Service, and instructor in the US Job Corps. “The story, the great drama, is around us all the time, it’s always there. It’s a matter of seeing it.”

You could say there are three main threads running through Burke’s various careers: working on the land (as an oil man and surveyor); working with words (as a journalist, English professor, and novelist); and working with those less fortunate (his social work and employment-related roles). Fans of his crime novels will notice clear similarities with issues and themes consistently highlighted through his writing, especially when it comes to man’s relationship with land and resources, and the stark reality of life for those at the lower end of the economic and social spectrum. When I ask Burke whether he consciously incorporated such issues into his storytelling, or whether they just naturally emerged given his background, he doesn’t hesitate. “It was always a conscious attempt to give voice to those who have none,” he says. “I believe that’s what the artist does. He tries to give voice to those who have none.”

Burke’s love for the land is also clear from both his writing and life away from the page. “Where we live in the Northern Rockies is just as good as the earth gets,” he says. “Much of it is like the earth was on the first day of creation, it’s just beautiful.” He is a keen outdoorsman, particularly enjoying fly-fishing. With his novels, Burke is renowned for a masterful touch for his Louisiana, Texas, and Montana settings. While other crime writers try to immediately grab readers’ attention with action-based hooks, in The Glass Rainbow Burke takes the entire first page to describe a room in a Mississippi river town, complete with ventilated storm shutters “slatted with a pink glow, as soft and filtered and cool in color as the spring sunrise can be”.

From there, Burke’s latest book evolves into an intricate tale involving a series of depraved murders, a convict-turned celebrity writer, some old-money Louisiana families with plenty of skeletons in their closets, and hired mercenaries. Septuagenarian investigator Dave Robicheaux (picture a slightly warmer and more connected but no less tough version of Clint Eastwood’s aging hero in Gran Torino) has his hands full trying to dig for the truth, keep his hulking sidekick Clete Purcel out of jail, protect his enamoured daughter Alafair from two older men with murky motives, and deal with nagging visions of his own mortality.

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'And every good artist knows that the gift comes from somewhere else, and it's there for a reason, and that's to make the world a better place.'

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Reviews of Burke’s writing often contain words like lyrical, evocative, lush, and sensuous. The page-turning plots and compelling characters, such as Robicheaux, Clete, and strong-willed Alafair (named after Burke’s own daughter, who has herself become an acclaimed mystery novelist) are also impressive, but almost secondary. When I ask what in particular is so special about the regions where he sets his books, Burke notes “the past is always visible” in such places, which are “emblematic of the larger story”. Moreover, “Louisiana is at the centre, in a peculiar way, as is Montana, with the central issue of the 20th and the early 21st century, and that is energy and minerals”. For art to survive, it has to represent a larger story than a regional one, says Burke, and the era we’re in is all about the use and pursuit of natural resources. “It’s been the issue since 1914, and that’s a larger story. I think we’re in some denial about that. You guys went into Gallipoli in 1915 and that was the issue. The Kiwis that the British used for cannon fodder in the Dardanelles, the issue was natural resources. It was oil.” More recently, this central issue has led to the creation of “an antagonism between Christendom and the Islamic World that is going to be with us for decades”.

For decades James Lee Burke has been touching on such larger issues through the prism of crime fiction. As an artist, he’s had something important to say, and found a way to say it that has entranced readers around the globe. And like a true artist, he is grateful for his gift. “Most people fight with their job, but to me writing is just the perfect life, always has been. I can’t think of a better life.”

The Glass Rainbow (Orion, $38.99)


This feature article was first published in the Canvas magazine of the Weekend Herald on Saturday 31 July 2010, and is reprinted here with permission.

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So what do you think of my feature article on James Lee Burke? Of the Weekend Herald allowing me to share my past and future features for them, with you all her on Crime Watch? Have you read any of Burke's Robicheux novels? Or his other acclaimed works? Can crime writing be artistic? Thoughts and comments welcome.