The reviews keep coming in and I'm stoked. Here's one that one of my favorite writers, Dana King, just published on his blog, One Bite at a Time.
A humble
writer, with much to be humble about
2013
was a good year. Kudos for Grind Joint included:
Woody Haut
named it one of the fifteen best noir reads in the LA Review of books.
Spinetingler
Magazine cited it as among the best crime fiction of 2013
Thanks to
everyone who helped to make 2013 such a great year here at OBAAT, from posters
to interviewees to commenters.
True noir is hard to find. By “true noir,” I mean the
classic story of a person who is not necessarily bad, but can be nudged in that
direction, either through opportunity, or forced by events. This person makes
decisions that go sour, though the options at the time ranged from bad to
worse; the die was cast with the first unfortunate choice. The stories are
engrossing because readers can’t help but wonder what they would do in the same
situation, and are relieved at the end because they didn’t have to do it.
Today we have plenty of neo-noir and “thrillers.” Too much
neo-noir consists of bad people reveling in their own depravity. Bad things
happen, and they’re often okay with it. The “protagonist” may, or may not, face
consequences. Readers rarely empathize, because the reader would never be in
circumstances remotely similar; too many unconscionable decisions were made in
the backstory. The stories are often more schadenfreude than noir.
Modern thrillers often have protagonists with noir
potential, but the opportunity is lost when the protagonist invariably chooses
the option most likely to make the situation worse at every opportunity.
Readers wonder what they would do for a while, until—if you’re like me—they
start to root against the protagonist because he/she’s too dumb to be allowed
to reproduce.
The Bitch is true noir.
Jake is a two-time loser. Another felony conviction will
mark him a habitual criminal, which carries an automatic life sentence. (The
“bitch” referred to in the title.) He learned to cut hair in prison and found
he had a talent for it. He’s gone straight, married a woman who accepts his
past and loves him for his present and future, and whose family has done the
same. Jake and Paris have saved enough money to open their own shop in a few
weeks; Paris is pregnant.
Enter Walker Joy, Jake’s old cellmate. Walker saved Jake’s
life once in the joint, and he’s calling in the marker. Walker has not gone
straight, lost some diamonds, and needs the help of master burglar Jake to make
things right. Jake is torn, and doesn’t have as many options as he at first
thinks.
What happens next put me in mind of the classic A Simple
Plan. Decisions are forced on Jake that continue to escalate the situation.
He chooses as best he can from limited options, all foul. Every decision is
framed by the fact he can never cut his losses and turn himself in; The Bitch
looms. Only his conscience acts as a governor on his behavior; the law’s
position is set in stone, no matter what else he does.
Les Edgerton has written a story that is effective on
multiple levels. Time and again the reader will see a new crisis and realize
almost simultaneously with Jake what has to be done, cringing as it happens,
not knowing what else could be done and still avoid The Bitch, which will cost
him Paris and his child forever.
As if the engrossing personal situation isn’t enough,
Edgerton weaves social commentary into the story without ever preaching about
it. Habitual Offender laws have become commonplace, society’s way of dealing
with people who just don’t seem to get the message. I had no problem with
them—when properly applied—until I read The Bitch and realized a
two-time loser has no reason not to go all the way once an act worthy of Strike
Three has been committed. He’s already getting the maximum sentence; anything
else he does to evade capture is without risk.
The Bitch is a fascinating
story of how close any of us might be to the edge, where a single event could
change our lives forever for the worse. True, few of us are twice-convicted
felons, but it’s only the scale of Jake’s misfortune that differs. We’re all
one phone call--chance meeting, lost job, medical emergency, car crash, random
act of violence—away from a situation where every option is a bad one, and the
most likely favorable outcome is to slow the rate at which your life circles
the toilet while hoping for a miracle.
Read The Bitch. If it doesn’t affect you on multiple
levels, read it again. You weren’t paying attention the first time.
Thanks, Dana! He made a prescient observation when he compared it to Scott Smith's A SIMPLE PLAN. That's how this novel came to be, actually. Some years ago, my then-agent Jimmy Vines asked me to write a novel along the lines of Smith's book and this was the result. I'm so glad he didn't ask me to write one along the lines of LITTLE WOMEN... That would have been difficult...
If the folks here are looking for some great noir and/or thrillers, check out any of Dana's books--they're superb!
Blue skies,
Les
P.S. This morning, along with seeing this review, I received an email from the great Ken Bruen who had just read THE BITCH and THE RAPIST and, while I hadn't asked him for a blurb--I sent him these two books (via an intro from mutual buddy Larry DeVore) and simply because I just wanted to get on his radar because I respect him so much as a writer--here's what he wrote:
Dear Les
Thank you so much for the books and the superb novels.
You sure have lived the life and have a nice light touch in describing it.
I loved the novels.
Here is my blurb
Les Edgerton is the reincarnation of our beloved Eddie Bunker.
The
writing is as tough and tender as Bunker with that wonderful sense of
dry humour that underpins even the most violent of scenes.
This guy can write and like a focused Bukowski.
Make no mistake, here is the real deal.
The books cry out for movie deals.
Warmest wishes
Ken
If you catch me this morning, you'll see me with a grin from ear to ear that I can't wipe off!
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