Showing posts with label Court Merrigan. Show all posts
Showing posts with label Court Merrigan. Show all posts

Thursday, September 29, 2016

LAST WORD an anthology edited by Liam Sweeny

Hi folks,

Gonna share a couple of stories I had last year in my friend Liam Sweeny's anthology titled LAST WORD. Liam asked for a suggestion of a charitable cause to donate the proceeds to and I recommended Nation Inside (www.nationinside.org) a great organization that unites national efforts to pass prison reform measures. Besides yours truly, there are stories from Jack Getze, Paul D. Brazill, David Jaggers, Steve Weddle, Court Merrigan, Todd Robinson, Angel Luis Colon, Tess Makovesky, Christopher Pimental and Gareth Spark, all fantastic noir and crime writers.

Consider picking up either a paperback or ebook copy and get both a fantastic read and an opportunity to help effect change in our prison systems.



My contribution...


Well, here it is—my annual Mother’s Day post. In reality, this won’t be an “annual” post unless I do one next year since this is the very first one. I plan to do one next year, though. If I remember...

And… I’m aware that it’s late, but I thought that appropriate, since I always forget it until about a week later, despite a loving wife (Mary) who considers it her mission in life to let me know about things like this. The only problem is, she always lets me know the day before. Like I’m expected to remember it that long!

To make up for not sending a card on time, I decided to send Mom more than just one of those syrupy Hallmark cards. This year, I sent her a cassette tape of the movie, “It’s a Wonderful Life” starring that irrepressible boyish Jimmy Stewart from my private collection. (This is the movie where he isn’t dressed up like a giant rabbit, in which he’s also irrepressible and boyish.)

Then, the second I got home from mailing it to her, I realized I’d made a grievous mistake. I hadn’t sent her the movie I thought I had. It dawned on me that I’d sent her an entirely different movie. To be exact, my copy of the classic film noir, College Girls Having Monkey Sex, Part XIV. If you haven’t seen it, it’s the one where the coed from Vassar has her boobs pointed in opposite directions and her co-star ends up with whiplash trying to treat them equally and stay on his mark. (“Mark” for you non-theater majors is the piece of tape the director places on the floor to show the actor where to stand.)

Oops.

The reason I realized my faux pas, was that when I got home I thought I might want to watch a few minutes of it and couldn’t locate it and then remembered I’d labeled it… you guessed it… It’s a Wonderful Life… in the unlikely event Mary went through my collection looking for a something to watch.

I ran all the way back to the post office in hopes I could talk the mail guy into letting me have my package back, but it seems they have rules against that kind of thing. You can guess how that turned out, if you’ve ever had to deal with the United Nazi States of Mail Carriers. Guy treated me like I was the Unibomber. I called him “Cliff” and “Newman” but he didn’t get it.

I was in a sweat when I found it had already been shipped, but then I remembered Mom didn’t have a cassette player. Or a VCR. Or, even a TV. She’d sold her TV when The Ed Sullivan Show went off the air a few years ago.

The luck of the Irish!

Realizing I better do something more than send her a tape she couldn’t watch, I asked Mary if we could take her out to dinner.

“When?” she said. “On Father’s Day? That’s the next holiday.”

I laughed. (That’s it. I just laughed) Then, I said, “Of course not, silly. This weekend.”

“Only if you don’t use that name in the restaurant that you always do,” she said.

I agreed and called Mom to give her the good news. “We’d like to take you out to dinner for your big day,” I said. “Where would you like to go?”

 “Would this be an early Mother’s Day for 2011 or the late one for 2010?”

I laughed. (That’s it. I just laughed. I’ve been trained by Mary.) Then I said, “Of course not, silly. The second one. 2010. The battery in my calendar died.”

Golden Corral was her first choice, but I talked her out of that. “They’re closed,” I lied. “There was a big pileup of people on walkers and the health department closed them until they widen the ramp. Thirty-six people suffered aluminum whiplash. There are herds of lawyers everywhere and you couldn't get in even if it was open.”

She sounded skeptical, but then said her second choice was Red Lobster. This, to a guy who’s lived in New Orleans half his life and has actually eaten real seafood was like the chef at Ruth’s Chris Steak House grabbing a square hamburger down at Wendy’s on his day off, but hey, it was my mom and it was her day. I looked forward to gazing at their menu with pictures of the nine-pound lobsters on the menu and them seeing the actual three-ounce one they served. To be fair, the actual meal is the same size as the picture when you put them up next to each other.

She decided to drive down from where she lived in South Bend to our home in Ft. Wayne, a true adventure for the other drivers on the highway since she’s 88 and drives older than her actual age. You’ve heard that saying? “(Blank) drives like old people fuck? Slow and jerky.” That’s Mom. If you ever see those long lines on winding country roads where there are 117 cars trailing behind the John Deere tractor, it was Mom who taught that tractor driver how to navigate our rural byways. I suggested she might want to start out the night before to get to our place on time, but she didn’t think that was all that funny.

“You’re not too old to get a spanking, Mr. Smartmouth,” she said. Well, yes, I am, Mom. I have gray hair and arthritis and can remember when phones had dials. Besides, how are you going to catch me? I can crawl faster than you can walk. I didn’t say anything like that to her, of course. After all, she’s my mom and deserves respect. Besides, as long as I knew I could outrun her that was enough. I didn’t have to rub it in.

Before she hung up, she said, “You’re not going to use that name you always do in restaurants, are you? Because if you do, I’m not coming.”

“No, Mom, I’m not. I’m grown up, now.” Jesus! What do she and Mary do? Get together and compare notes?

She gets here, only two and a half hours past her ETA, and we all climb in the car and head for the gastronomical delights only available at national chains.

We get to the Red Lobster and I’m anticipating something on my plate that looks like a medium jumbo shrimp that they’re going to try to pawn off as a Maine lobster and we all go in. This takes awhile as we’re proceeding at Mom’s pace which is about as fast as the last day of school.

“We should hurry, Mom,” I said. “They close in only six hours.”

Mary gives me a dirty look. So does Mom, who says, “You’re not too big to get a spanking.” I consider showing her my driver’s license to show her my age as she’s obviously forgotten, but I don’t. It’s Mother’s Day. Well, not really—that was last week, but we’re operating on the theme of Mother’s Day and I want to remain true to the spirit.

I hustle ahead of them and give our name to the hostess.

When I come back, Mom says, “How long?” and Mary says, “You didn’t give them that name, did you?”

“Twenty minutes,” I say to Mom, and to Mary I just give a pained look, as if to say, “How could you even think I’d do that?”

We pass the time listening to Mom complain about the present government and ask to see a menu so she can make her choice, which is always the same. The lobster/shrimp combo. I think she just wants to check to make sure they haven’t taken either off the menu. Although, if they ran out of one, they could just serve the one that was left and tell the diner it was the missing one. Who would know?

Then, she lays a bomb on me. “I love that movie, you sent me,” she said. “I’m going over to your sister Ann’s house to watch it when I get back home.”

And then, our table is announced over the loudspeaker.

 “Donner, party of three.”

I get two dirty looks from the women I’m with.

“That’s us,” I say.

I love Mother’s Day!
***
BAD NEWS

I’m afraid I have some bad news. Let me take that back. I have some terrible news. Bad news is when your wife says she’s leaving you for the water softener man. This is far worse than that. This is on the level of news that she’s leaving you for the guy who lives down by the river in his refrigerator carton… and not taking the kids with her…

Okay. Ready? Sitting down? Here goes…

It’s official. Once again, I didn’t win the Pulitzer Prize for Literature. How many times must I taste the bitter truth that time is running out? Once a year, I guess, until I run out…

And, what beat me out this year? The Orphan Master's Son by Adam Johnson. You’re kidding, right? 

Here’s the description:

An exquisitely crafted novel that carries the reader on an adventuresome journey into the depths of totalitarian North Korea and into the most intimate spaces of the human heart.

It’s a book set in North Korea? Who the hell nominated this? Dennis Rodman? Who even reads books set in North Korea? Even North Koreans don’t read books set in North Korea. Well, that’s not exactly their fault—they aren’t allowed to by that sweet little cherub, Dear Leader. Speaking of cherubs, I woke up this morning with a sweet little cherub in my skivvies… Or was that a chub? 

Whatever. They both look the same.

I suspect it won because of the author’s name. He’s named after two American presidents. Jingoism at its worst.

I should have known I wouldn’t win once again after last year when they couldn’t find a single book to give the award to. There were only five million books published last year (even taking out the four million self-published autobiographies that really suck swamp water, that still leaves a million books, give or take a few hundred thousand.).

How can you not give one single book the award? Even the year the Miss America contestants were all dogs, they still gave the award to someone. Bert Parks took it himself one year. That was the year there weren’t any brunettes from Mississippi and Georgia. But, hey—they still awarded it to somebody.

I’ve had it. I’m taking serious action. I’ve just composed a strongly-worded letter to all the judges of next year’s Pulitzer committee, notifying them that I’m officially withdrawing any and all of my books from consideration. I’m sending it via Overnight Delivery, Certified Mail. That means it won’t arrive in their mail boxes until August, 2015 but I have no control over that. They’ll at least be aware of my sentiments.

And, as it happens, I’m outlining a new novel that fits all of their crappy requirements. It’s set in (some obscure country which I haven’t decided yet, but one with lots of consonants and only one vowel) and it’s about the Mayor of Cracktown. It’s about this guy who lives in a village with the Entering and Leaving signs on the same pole, and in this little shack with a bunch of farm animals of various religious persuasions living inside with him. He has no money (always a requirement of these kinds of books and which immediately makes him a genius). He has a major fight with the garda who have discovered he’s far exceeded the legal quota of farm animals allowed in a domicile, one of which he claims shouldn’t count as it’s a very pretty Merino ewe to whom he’s pledged his troth. He’s not sure what a “troth” is but it’s in a lot of Dickens’ books he read as a kid so he knows it’s important to pledge his.

In this book, I devote a lot of pages to his internalizing, which seems to be high on the list of stuff these Pulitzer folks look for. There’s one really dazzling scene where he ponders how clichés came about and fantasizes about their origins. Like that delightful phrase “blind alley” (which, I, for one can never hear too many times.). He ruminates and ponders and rumes some more and comes to the conclusion that it originally denoted a place where German shepherds congregated en masse, waiting to be hired by the seeing-challenged (PC term for blind people) and veterans with PTSD. This riveting scene takes up 26 pages, which is guaranteed to manipulate them even more than a teenaged boy’s chub during bathroom time. And, in much the same way.

One of the indoor farm animals will be a dog. His only function is to be in the book so I can use his picture on the cover and on the Intergnat. You and I know it’s just a frickin’ mutt, but people on the Intergnat have assigned a mystical aura to dogs and cats. You know, those critters that eat their own poop, cough up furballs and lick themselves all day long. We know that mostly they’re glorified door mats, but people get all weepy about them and giggly and attribute them with the same wisdom they do old Indian guys crying over some trash on Highway 10. THEY SELL BOOKS. And influence Pulitzer judges…

The protagonist will be a creepy loner who, in real life, people would take a wide berth around when they see him with his sign begging for work outside Target, but instantly make into a wise man simply because there’s a whole book centered around him and we see he thinks about pithy stuff like blind alleys. If he was so frickin’ wise why ain’t he a plumber’s assistant or a governor or something?

My protagonist is also an orphan. And a master. And the son of a dog. This makes it a sure winner.
Yes, I could easily win next year, which makes my protest even more meaningful. I know what it takes after studying these things for hours days weeks. It’s important to know who’s handing out the hardware. The judges are elderly folks who braid the hair in their noses (the women) and meet at Golden Corral to discuss the nominated books. The men on the committee treat the books nominated the same way they do the fine wines they own. They don’t open them. That would destroy their value and besides, who has to actually read the nominated book? They can learn all they want to from the glorious Intergnat. The men also have lush bushes in their noses, but they use them differently than the women (most of the women…). They weave them cleverly around their noggins kind of like the comb-overs aging sportscasters do. Along with a few well-placed strands from the ear hairs.

This is the real secret as to why my book never gets nominated. I labored for years thinking they actually read the books. Don’t laugh—I bet you know at least one person in your own circle who thought the same thing. So maybe you knew, but are you willing to say that all of your friends wear those helmets and rode the short bus to h.s. and took all A.P. classes? So—cut me a break here.

The trick to getting on these judges’ radar is to effectively utilize the Intergnat. Most of us writers have been sold a bill of goods about what the ‘Gnat does. Social media doesn’t sell books. It doesn’t sell squat. It doesn’t sell books—it sells social media. No one cares about your stupid book on social media. They pretend to… so you’ll buy their stupid book. Writers who can’t sell books have one problem—they write crappy books. Yakking about them all day long on social media sells three books total. That’s it. And that’s to trolls who are burning to write one-star reviews on it. When social media sells books, let me know. Otherwise, lay down by your dish with your butt-licking dog.

But, Pulitzer Prize judges do look at the Intergnat. All day long. It’s why they don’t have time to actually read the books themselves. Too busy Facebooking each other or Twittering about “that wonderful book about North Korea Dennis Rodman likes so well.” Think about this. 1. Dennis Rodman picture with Dear Leader was on the “Gnat” one million, three hundred thousand and sixty-nine times last year. 2. A book set in North Korea won the Pulitzer. Make the connection, dummy! This ain’t nuclear physics!

So, if I weren’t about to withdraw from consideration, here’s what I’d do. Get me a babe to do my networking for me. As my pretend girlfriend, Lo Hai Qu so eloquently pointed out—“Blogbitches rule, blogdicks drool.” Okay. I accept that. If I was going to remain involved in the competition, I’d be on my knees beseeching my pal, Anonymous 9 (Blogbitch Supreme) if she’d please help this lowly Blogdick (me) out.

But I won’t. You can relax, 9. I’m out of all this. I just hope you nice folks “twit” and “face” my new book all over the Intergnat. I have but one goal for next year. That all the UPS drivers who deliver my books are forced to buy trusses.

(I hope you know this was all in fun, folks. Although, if I have to say this, it takes all the force away…) I do love the Intergnat and I truly do love the folks on here. True that. And they do sell books. Books on how to use the Intergnat to sell books…)

As John Goodman once said, “See ya in the funny papers.”

Blue skies,
Les


Friday, May 8, 2015

INTERVIEW WITH COURT MERRIGAN ON ELECTRIC LIT

Hi folks,

Just had an interview with Court Merrigan on Electric Lit I'm sharing below. Hope you enjoy it!


A fearless ex-con and writer of 18 published books, Les Edgerton has seen the elephant, friends, and he’s not going to varnish it for our sakes.
Court Merrigan: You say you’re holding out for a deal from Big Publishing. But you’ve already published eighteen books. What gives?
Les Edgerton: It’s the only real way to get work in front of people, other than a few thousand at the most. I’ve had legacy deals before and there’s no comparison. Look, the only books legitimate reviewers will look at for the most part are from the big presses. The NY Times isn’t going to look at books from Exciting Books, Ltd., no matter what the quality might be. Barnes & Noble and the other national brick-and-mortar stores aren’t going to carry books by Midnight Nifty Noir Books, no matter how good they are. Just ain’t gonna happen.
My desire right now was heightened via a discussion Joe Lansdale and I had recently where he told me flat-out (after reading my books) that I was “underpublished.” I’ve known that for a long time, but just never pushed that hard to get ‘em there.
CM: Is that why you really want a big publisher to buy your memoir, then? To reach as many folks as possible?
LE: That’s a big part of it. It’s also a case of reaching the right readers. For example, the reviewers for the respected publications such as the NY Times, Paris Review, Washington Post, et al.
That’s the area I think independent publishers should band together and go after. Convincing those publications to review books by their quality, not by their publisher. What might help change is if the independent publishers and writers began to make their voices heard by the Times, Post, et al. If, along with the Amazon and Goodreads reviews, folks took it upon themselves to send a letter or an email to those publications that—hey, this is a book you should look at—I’ll bet that after they got even a few hundred of such letters their ears may perk up. A kind of grass-roots campaign focused like this I think might prove effective. If, say, some of the better indies included a brief note on the back page, urging readers who liked the book to write to these folks and urge them to consider reviewing them and provide their email and snail mail addresses to make it easy to do so, I wonder if they would begin to make a difference? I think they would. However, a big part of the problem is the lack of mass market distribution. It’s hard to blame a reviewer who knows that no matter what she says, people are going to find it difficult to get a copy of the book in a bookstore.
There’s another advantage to being published by a traditional press that very few talk about or even acknowledge, and that’s the fact that your chances are good that your work will be soundly and professionally edited. And even traditional publishing isn’t what it used to be with editing, by and large.
And there are still agents around who do serious editing. I had a personal experience to such a throw-back agent with my friend Janet Reid. A few years ago, she graciously provided me fantastic notes on my novel, The Bitch. Her edits completely transformed it and she wasn’t even my agent—just my friend.
Here’s what used to happen in publishing: I sent a novel in to my old agent Jimmy Vines that he loved. I’d rewritten it—by “rewrite” I mean a total, page one to The End that changed entire sections—eight times. In my mind, it was finished. Perfect. Well, ol’ Jimmy had me rewrite it for him… six more times. The editor who signed me for RH, Scott Moyers, then had me do six more rewrites.
All that said, I still have hope. It’s why I’m holding out my memoir for one of the big boys. I’ve also got an ace in my sleeve. The president of HBO read it a few years ago and wanted it instantly for his network for a movie. He called it “a Permanent Midnight but with balls.”
CM: So why write crime fiction? I take it you don’t don’t agree with those who say the genre is a touch limiting?
It’s just… writing. I really don’t pay attention to genre.
LE: I wasn’t aware it was limiting. It’s just… writing. I really don’t pay attention to genre. I agree with Nabokov who only recognized two genres—good writing and bad writing. Plus, I don’t just write crime novels. I write mainstream fiction, coming-of-age novels, existential and philosophical novels, YA’s, all kinds of stuff. Not to mention books on baseball, humor and black humor, craft books, etc.
I’ve always tried to follow one precept: I write the book I wish someone else had written but hadn’t… so I have to write it to get to read it.
CM: You know whereof you speak when it comes to crime. You did hard time as a young man. Care to tell us about it?
LE: Sure, Court. I did a couple of years on a 2-5 bit at Pendleton in Indiana. When I was incarcerated there, then-President Johnson commissioned a national panel to study prisons to determine which were the worst. A bunch of us were in the day room watching the only TV in the place when Johnson broke into the program and announced that his study had determined, categorically, that Pendleton was “the single worst prison in the U.S.” We all began cheering and hooting wildly, as if our team had just won the Super Bowl.
I went through eight riots during my years there, not counting the one that had happened the day before I arrived, even though I paid for the consequences of that one, also. The inmates had burned everything combustible, including all the mattresses, pillows, and blankets. The superintendant was pissed and he told the inmates that since they’d burned everything they’d have to live without it. He wouldn’t issue mattresses, pillows, any of that stuff. I woke up in the morning with my toes turned blue underneath the snow that came in the windows during the night.
A bunch of guys came down with pneumonia and several died. Don’t know how many. In the movies, they show prisons with all these great communication systems–somebody farts in the cell house two cellblocks over and in six minutes, everyone knows it—but in a real prison, somebody can die in the tier above you and you might not know it for a couple of months.
CM: How did your prison time affect you? What do you know that we who’ve never been inside don’t?
LE: What straights don’t know about the joint would fill a bunch of books. In fact, if folks watched that silly MSNBC program where they go inside joints, they’d think most guys inside were either weight-lifters or psychos. The weight-lifting part always cracks me up. Criminals are basically… lazy. It’s one of the reason we rob places. We don’t want a 9-5. We don’t even want to fetch our own beers while watching the tube. As for pressing iron, way too much work.
Getting busted now and then is the price you pay for a kind of freedom insurance salesmen will never experience.
Mostly, it was just boring as hell. I saw a lot of bad, bad shit, but I saw a lot of bad shit on the bricks. It was just the price you said for being an outlaw. Getting busted now and then is the price you pay for a kind of freedom insurance salesmen will never experience.
I will say the food truly sucks and you’ve got to be “on” all the time and can’t ever relax. You never ever know when the guy you’re just sitting there rapping with, decides to go all medieval.
CM: How did you cope with the boredom? Did they have a library or something?
LE: Yeah, Pendleton’s “library” consisted of about 20 copies of Zane Grey novels and maybe a dozen other books which were a snooze and intended for a third-grade level. When I go down to visit as I used to do a couple of times a year, I take a bunch of my novels I’ve already read and donate them.
As to coping with boredom, I ran a few games to keep semi-busy. Had an on-going crap game, had a loan business, did a lot of drugs and moved some drugs. Even with that though, there was a lot of time just sitting around the cell, naming your toes and teaching your trouser worm tricks… I wrote a lot, as well. Problem is, when I left they confiscated all my notebooks so I’m missing a few novels I wrote.
CM: So you wouldn’t say you were “reformed” by your incarceration?
LE: Well, I never had a “coming to Jesus” moment and still haven’t. I didn’t actually stop doing criminal acts when I got out. I just stopped getting caught.
That’s fairly easy to do. The only way I got caught before was because my rappies got caught and snitched me out. So, I just worked by myself. I can say that now as the statute of limitations has run out on most of the stuff I did.
Plus, when I was in, it was when they still believed in rehabilitation. I learned a great trade—cutting hair—and when I got out, I literally had dozens and dozens of job offers. The first week on the bricks I took home $500. That was good money in 1968. Very few of us who’d been through barber school went back.
CM: How much of your prison experience has made it into your fiction?
LE: Not as much as people think. It was only two years of my life. I always kind of looked down at those people who do something like spend a couple of years in the service and some war and that becomes their entire life—all they write about or think about.
In the memoir I’m trying to market, I left out a ton of things about say my Navy years and a ton of stuff about my hairstyling years and so on. I tell a few highlights, but left most of that stuff out. My childhood was a gas, too. For instance, I’d been bartending and waiting tables in my grandmother’s bar since I was eight, and on my 12th birthday she figured I was old enough to work as a dispatcher for her cab company, so I did. During the first two hours of that gig, I watched one cabbie shoot another cabbie in the throat and kill him—blood all over all of us.
And that wasn’t even the biggest thing to happen that summer.
CM: Eighteen published books over twenty years. Which do you like the best? Is it the best one?
It’s a truly scary place and it required more courage for me to go there than I’ve ever had to draw upon in any of the knife or gun fights I’ve been in…
LE: The Rapist was the most courageous book I’ve ever written. It represents the best advice I’ve ever gotten from anyone. My first mentor, Elaine Hemley, told me the very best writers reach way down deep inside to that dark place we all have but most of us studiously try to avoid exposing—both from others and from ourselves. That’s the place where truth resides and most writers are unable to go there. It’s a truly scary place and it required more courage for me to go there than I’ve ever had to draw upon in any of the knife or gun fights I’ve been in and I’ve been in more than one.
I’m not a rapist by any stretch of the imagination. I’m capable of a lot of sins and crimes and have committed quite a few but that’s just not in my makeup. But I can understand such a person.
I set out to do what Charles Bukowski did in his short story, “Fiend”, which is told from a child molester’s POV, albeit in the third person. What he did in that story was to achieve the very pinnacle of what it means to be a great writer in my view. To show that even the most depraved person on earth still retains a faint spark of humanity. This is what great writing is all about: “Martin’s eyes looked into her eyes and it was a communication between two hells–one hers, the other his.”
And this is what I set out to attempt in The Rapist. And, I wanted to beat Bukowski. So I cast mine in first-person.
I win.
CM: You’re 72 now. Recently, Cynthia Ozick said that young writers ought to wait their turn, as today’s old writers once did: “Aspiration is not the same as ambition. Ambition forgets mortality; old writers never do. Ambition wants a career; aspiration wants a room of one’s own. Ambition feeds on public attention; aspiration is impervious to crowds. Old writers in their youth understood themselves to be apprentices to masters superior in seasoned experience, and were ready to wait their turn in the hierarchy of recognition. In their lone and hardened way of sticking-to-it, they were unwaveringly industrious; networking, the term and the scheme, was unknown to them.” As an “old” writer yourself, does this strike you as hifalutin bullshit, or do you think the young folks ought to politely wait their turn – especially for you?
LE: Cynthia Ozick is a great writer but I suspect she’s had it pretty cushy most of her life. So, I take what she might say with a grain of salt. I disagree that younger writers should “wait their turn.” That’s bullshit. I do think they need to learn to be good writers before they gain success and that’s something different. That takes time in most cases but some learn how quicker than others.
That said, I do think writers would be better off (and there’d be fewer of them) if they had to go through what we once did to get published. My first novel went through 86 rejections before it got accepted. That was pre-internet—you had to snail mail everything and pay postage both ways. I was going to quit on that novel and the 87th house happened to take. It was taken by the University of North Texas Press (which shows where I was at in the submission game as I began alphabetically) and UNT Press had never before published fiction. Nowadays, writers shoot off half dozen or dozen email submission at no cost and without much effort.
CM: You published your first book in 1995, so you’ve no doubt seen a lot of writers snag big publishing deals, some at quite young ages. How do you handle the inevitable feeling of “Why the hell is it happening to them, instead of ME?”
LE: The first book I sent out got published. I should have been published years before that, but I didn’t have a clue how to get about it. Later on, when my second book came out, a collection of stories titled Monday’s Meal, one of the stories included in it I’d written when I was 12 and one when I was 10. Didn’t change a word of either. So, I’d written publishable work as a young kid, but just didn’t know how one got their stuff published. This was before I was even much aware there were things called agents.
Later I signed with Jimmy Vines and then wrote a crime novel and Jimmy took it to auction. Came down to two publishers—St. Martin’s and Random House. SM offered me $50,000 and RH $45,000. I went with Random House. I was on my way. I was one of those “young writers.” I quit cutting hair and became a full-time writer.
Wrong move. Three weeks later, Bertlesmann bought Random House and my book got jettisoned.
Jimmy told me to brush it off. That he’d get my next novel sold for a bunch of money and then we’d resell the R.H. novel for six figures this time. That would have been great except Jimmy got drummed out of the SAR and I was left high and dry.
Most of his writers quickly found other homes. I didn’t. I didn’t know how to do that. I went along agentless for some time and sold some other work, but not with big deals. I should have gone after a top, top agent and I could have then, but I didn’t know who the top agents were and I didn’t know how to glom onto one. Today, inside knowledge like this is all over the place. Back then, it wasn’t. Especially not to a guy living in the Great Flyover who didn’t hang out with other writers at all. I just stayed in my room and wrote.
They like to be known as the person who “discovered” the rising genius, but it doesn’t carry the same cachet for them to be known as the person who published the same guy’s second or third work.
It’s so little about the quality of the work. It’s mostly about a few key individuals in publishing who control the industry. When Jimmy took that novel out to market and the subsequent auction, he felt he had to tell everyone it was my “first” novel. Well, that was a lie. It was my second novel and my first novel and my first story collection were already out, but he didn’t dare tell publishers that. They froth at the mouth to publish a “first novel” but not a writer’s second novel. They like to be known as the person who “discovered” the rising genius, but it doesn’t carry the same cachet for them to be known as the person who published the same guy’s second or third work. Very little of the decisions made are based on actual quality. There are a hundred writers working today that I’m very familiar with their work and it’s as good if not better than most of the so-called bestsellers. You, yourself, Court, are a prime example. A mutual friend of ours—Neil Smith—is another one. I could easily name a hundred apt examples.
This is going to raise all kinds of trolls, I can guarantee you. People who will get pissed and call me everything in the book. No prob. It’s also going to irritate others who won’t respond publicly but when I see ‘em at Bouchercon aren’t gonna buy me a drink. Whatever… I’m just tired of all this false hope that’s always paraded on the Internet by the chattering classes. Most of it ain’t reality.
Here’s what I know for a fact. That the editor of a major thriller imprint was told by his boss that if he signed a book that didn’t net a minimum of $50,000 he’d be fired. A net profit. By the chief editor of a major imprint. Not that he’d get his expense account limit lowered or he’d lose the corner office. Fired. I won’t say who it is, but this isn’t a guy who cares about quality, at least not in my opinion.
I’m not implying that the writers who get the big deals these days are hacks. Many of them are immensely talented. But, for every one who cops a great deal there are twenty others who are just as talented and oftentimes, more so. If a writer thinks it’s about the quality of the work and that life is fair, then the best place for that person is teaching grade school where they still tell kids that crap and the little saps believe ‘em.
CM: I have a second-grader, Les, that I think I’ll keep in the dark a little longer. Maybe until middle school? Thanks, Les.
LE: Thank you, Court. You ask good, tough questions and it’s rewarding when I encounter an interviewer like yourself. It’s what you get when the interviewer is a terrific writer himself.

Thursday, August 8, 2013

MONDAY'S MEAL story collection



Hi folks,

(Warning: This is a long one!)

Recently, Court Merrigan, a writer friend of mine and I were in contact about his master’s thesis in which he was writing a chapter on “country noir.” I recommended my good friend Jane Bradley’s work to him and then thought about some of my own work, which I also suggested he take a look at.

Specifically, my first collection of short stories, titled MONDAY’S MEAL
from the university of North Texas Press, pub. 1997.

 

I consider this probably my best work, along with THE RAPIST and the forthcoming THE BITCH.

The reason I’m talking about it here, is that I know a lot of folks may not be aware of this book and I’m taking this opportunity to make you aware of it. Other than selling copies, I have another, ulterior motive for bringing this book to your attention. A publisher is interested in the reprint rights to it, but when I contacted the editor at UNT, he told me that they wouldn’t release those rights to me until it was completely sold out. Well, since there’s only a very few copies left in the warehouse, I thought I’d let you know and if enough people buy up the remaining copies, it can see new life… and that would make me ecstatic! Plus, I think you’ll find it to be a read you’ll enjoy.

Here’s what the NY Times had to say about Monday’s Meal:

The New York Times
November 16, 1997
By DENISE GESS
The sad wives, passive or violent husbands, parolees, alcoholics and other failures in Leslie H. Edgerton's short-story collection are pretty miserable people. And yet misery does have its uses. Raymond Carver elevated the mournful complaints of the disenfranchised in his work, and Edgerton makes an admirable attempt to do the same. He brings to this task an unerring ear for dialogue and a sure-handed sense of place (particularly New Orleans, where many of the stories are set). Edgerton has affection for even his most despicable characters -- ''boring'' Robert, who pours scalding water over his sleeping wife in ''The Last Fan''; Jake, the musician responsible for his own daughter's death in ''The Jazz Player''; and Tommy in ''I Shoulda Seen a Credit Arranger,'' whose plan to get hold of some money involves severing the arm of a rich socialite -- but he never quite takes the reader past the brink of horrible fascination into a deeper understanding. In the best story, ''My Idea of a Nice Thing,'' a woman named Raye tells us why she drinks: ''My job. I'm a hairdresser. See, you take on all of these other people's personalities and troubles and things, 10 or 12 of 'em a day, and when the end of the day comes, you don't know who you are anymore. It takes three drinks just to sort yourself out again.'' Here Edgerton grants both the reader and Raye the grace of irony, and without his authorial intrusion, we find ourselves caring about her predicament. 

Here’s what some other reviewers had to say:

“Those who enjoy reading Stephen King or watching The Twilight Zone will eat up these unique, often gruesome, at times humorous, short stories.” --School Library Journal

“This collection of short fiction by the author of The Death of Tarpons contains considerable variety of tone, voice, and subject matter, but the majority of the stories fall into two distinct groups. A large number of stories focus on troubled and deeply self-absorbed men who seem surprised to find themselves in failed romantic relationships. A number of other stories focus on marginal Pulp Fiction types who are haunted by personal demons and are drawn to violence. In stories that range in tone from the comic and farcical to the darkly tragic and grim, Edgerton draws memorable portraits of these dangerous and unpredictable characters.” --Library Journal

Leslie H. Edgerton's new collection fully meets John Updike's explanation of why we read short stories: "Each is a glimpse into another country: an occasion for surprise, an excuse for wisdom, and an argument for charity." The country of Edgerton's stories, in geographic terms, is New Orleans and the Texas Gulf Coast. In human terms, Edgerton's territory is peopled by nightclub musicians, cafe owners, teenage delinquents, inmates and ex-cons, the poor and uneducated, the heartless and violent, and a snooty former debutante.

Monday's Meal is a busy collection of twenty-one stories. A handful of these include recurring characters, enhancing the sense throughout the book that Edgerton is writing about a community rather than simply a series of individuals. The character with whom we become best acquainted is Evan, a.k.a. Pete: "Now Pete's not my real name, it's my middle name. Peter, actually. But when your first name's Evan, and you hang out where I do, you want to use something else." Evan/Pete hangs out in the seedier precincts of New Orleans. In "I Shoulda Seen a Credit Arranger" and "Ten Cents a Dance," he gets involved in, respectively, a botched kidnapping and the pursuit of an uninterested prostitute. His ex-wife, the blueblood narrator of "Princess," finds it horrific how he now "hangs out with low-lifes, even street people. God!" Evan/Pete, though, is a street-wise, philosophizing, get-by-as-best-you-can kind of guy who moves through a part of New Orleans never viewed from the tour bus.

Evan/Pete is an amusing character, yet not all of Edgerton's down-and -outers are. "The Jazz Player" portrays an angry young man desperate to release "that intense, throbbing, terrible, last blast of pent-up fury and frustration and guilt and anguish and loss and death." In "The Mockingbird Cafe," one of the strongest stories here for its concision, a black prison escapee endures a white cop's tormenting of him and then sullenly walks away. In "Rubber Band," a kid just released from the reformatory, made cynical and weary of the world, anticipates his own snapping point. While Edgerton can sketch a city hardship scene comparable to Joseph Mitchell's--and several of the stories have the casualness of familiar essays about them--Edgerton establishes the kind of convincing, and wrenching, interiority with his characters achieved by only the most adept fiction writers.
Edgerton does not write exclusively about people living on society's fringe. Sometimes his characters--as in "The Last Fan," about a dullard husband's violent turn, or "Voodoo Love," about a yuppie couple's falling out--are simply headed in that direction. To his credit, Edgerton aims for range in his characters. While suspicion of identity interlopers across ethnic and gender lines is often justified, the smart writer adopts various personae in order to strive for empathy and understanding, rather than appropriation. "My Idea of a Right Thing" exemplifies this purpose in its striking account of a woman's struggle with alcoholism and the (often) predominantly male world of Alcoholics Anonymous. Less dramatic, though no less vivid, "Telemarketing" is the story of a woman dealing with an emotionally distant husband and a pair of needy neighbors as she runs the cafe she owns and longs to have a child.

Even Edgerton's most harrowing stories, such as "Hard Times," about the deadly abandonment of a woman and her children, read effortlessly. The prose throughout is vibrant and precise. At times, the author's sharp ear for colloquial mannerisms tends to turn his speakers into Runyonesque caricatures, as when the high-brow belle in "Princess" exclaims indignantly, "Why, I'd just die!" On the other hand, such dialect adds as much local color as references to the Camellia Cafe or beignets. A case in point: after protesting how he was "bum-rapped on that litigious," the narrator of "Dream Flyer" gripes about the "effrippery" of his jailers for putting him in the same cell with an "orignal-diginal" like the Dream Flyer, who's scheduled to be "exterminated for something he didn't do." In fiction as in life, I suppose, better too much of a good thing than not enough.

Once again, the University of North Texas Press deserves high praise for its commitment to publishing superb contemporary fiction. Leslie H. Edgerton is a writer one should continue to seek out in the literary magazines and on the new-releases shelf.
Studies in Short Fiction, Summer, 1997,  by Peter Donahue, Sam Houston State University
COPYRIGHT 1997 Studies in Short Fiction
COPYRIGHT 2004 Gale Group


On Amazon, it garnered nine reviews, all five stars:

1 of 1 people found the following review helpful
5.0 out of 5 stars Thoughts of Raymond Carver, January 22, 2013
By 
This review is from: Monday's Meal (Paperback)
As I read Les Edgerton's Monday's Meal, I couldn't help but think of one of my favorite American short story writers - Raymond Carver. Les has the same straight forward approach with his characters and stories, but if you read them again, you realize that hidden within one story is another in the background. Raymond Carver was famous for this and it is not easy to do. I gladly and with ease, place Les Edgerton beside Raymond Carver as one of our great American short story writers- no regrets.


2 of 2 people found the following review helpful
5.0 out of 5 stars Great story collection!, August 26, 2011
By 
Oryx (New York, United States) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: Monday's Meal (Paperback)
The stories in Blue Skies are terrific. Edgerton has a style that is deceptively brilliant, both in the language-stringing ordinary words together in new ways-and the way the stories unfold and end on an unusual note.
It's not the kind of book to read all at once. Each story makes you stop and think. They kind of catch a mood or emotion that is hard to define, and some have really stayed with me, in particular, "Hard Times". I highly recommend the collection.
Looking forward to reading his novels.


2 of 2 people found the following review helpful
5.0 out of 5 stars The hard side of life., June 30, 2011
By 
Paul D Brazill (Bydgoszcz, Poland) - See all my reviews
This review is from: Monday's Meal (Paperback)
When it comes to short stories, well, the American's rule the roost, they really do. Flannery O' Connor, Raymond Carver, Stephen King, Dorothy Parker, Charles Bukowski, Richard Ford, Kyle Minor. Loads and loads more.

And you can add Les Edgerton to that list.

Monday's Meal by Leslie H Edgerton was published in 1997 and contains twenty-one tales of dirt realism. Sharp slices of American life. They're set in New Orleans and Texas. Sometimes in bars or behind bars. They're about café owners, hairdressers, nightclub musicians, prisoners, ex-cons, drifters and drinkers.

Monday's Meal opens and closes `Blue Skies' and `Monday's Meal, tales of strained relationships.' But the real meat is sandwiched between them. And Monday's Meal is particularly meaty.

Some favourites: `The Mockingbird Café' is the story of a man in a low-rent bar trying to mind his own business; `Hard Times' is bleak and scary and brilliantly written; `The Last Fan' is a tragic look at a shattered marriage; `My Idea Of A Nice Thing' is a touching and sad story of an alcoholic's crumbling life;'Telemarketing,' is the story of a young couple just trying to get by; `I Shoulda Seen a Credit Arranger,' is a Runyonesque crime story.

And there's plenty more to enjoy in Monday's Meal. Edgerton has a strong and sure grasp of the lives of people who are standing on the edge of a precipice.



3 of 3 people found the following review helpful
5.0 out of 5 stars These stories are classics, April 17, 1999
By 
This review is from: Monday's Meal (Paperback)
When I finished the last story in Monday's Meal I paused, reflected, and then read it right through again from the beginning. Part of the reason for my re-reading was a simple desire to repeat the pleasure; part of it was a desire to understand what made these elegantly constructed stories tick. Just where was I drawn from a realistic beginning into the banishment of the ordinary - the strange, ordinary world that some of these stories inhabit? Just where is the edge in these finely drawn personalities, the edge that leads to the end? One can also learn from these stories. The craft, the amazing economy deserve study, but one can just go along for the ride and enjoy. I would compare some of the plots to Ray Carver's in their structure, but Edgerton has it all over Carver in his depiction of personality. Edgerton's people have depth, they are all different, and the actions flow entirely from their natures. This is a collection not to be missed.


3 of 4 people found the following review helpful
5.0 out of 5 stars Edgerton is the last of the Great American Authors, February 19, 1999
By 
This review is from: Monday's Meal (Paperback)
This collection will grab you by the heart and wrench it right out of your chest. The characters are hauntingly authentic as are the New Orleans and South Texas settings they inhabit. These are deeply troubled individuals coping with other troubled individuals who find solace only in the bottle and the arid soil underneath the soles of their battered Tony Lamas. Edgerton reigns as a supreme American author. A sort of Ray Carver meets Denis Johnson. A literary man who succeeds where the academics fail--he knows plot, he knows story, he knows action! The last of a great breed that includes Hemingway, Mailer and Jim Harrison. It's simple. If you don't read Les Edgerton, you lose.

6 of 6 people found the following review helpful
5.0 out of 5 stars Darkness visible., January 29, 1999
By A Customer
This review is from: Monday's Meal (Paperback)
Edgerton's stories takes us down those side streets or out into the backwoods most of us have passed by. What we meet there are the people we have avoided all our lives. What we find is the human heart, its brightness and dark corners. And we leave and return to the same world we have always known, but it doesn't look the same. Joyously disturbing work, hard to ignore.


3 of 3 people found the following review helpful
5.0 out of 5 stars One of the best collections I have read, January 25, 1999
By A Customer
This review is from: Monday's Meal (Paperback)
'Monday's Meal' is aptly named . These stories are salty and pungent with a hint of bitter chicory. No one serves these morsels, the reader has to dip his fingers into the pot. They might come out burned, or dripping grease, but the tidbit they clutch is never bland. The characters are alive. We know them well, or we know someone who knew them and told us their stories. No one tells them as well as Les Edgerton. Some stories can be gulped down and digested later. Some like 'Hard Times' cannot be gulped. It must be taken in small sips, sometimes days apart. It will take you that long to identify the taste.

3 of 3 people found the following review helpful
5.0 out of 5 stars These are some of the best short stories I've read, January 21, 1999
By A Customer
This review is from: Monday's Meal (Paperback)
"Monday's Meal" is aptly named . These stories are salty and pungent with a hint of bitter chicory. No one serves these morsels, the reader has to dip his fingers into the pot. They might come out burned, or dripping grease, but the tidbit they clutch is never bland. The characters are alive. We know them well, or we know someone who knew them and told us their stories. No one tells them as well as Les Edgerton. Some stories can be gulped down and digested later. Some like "Hard Times" cannot be gulped. It must be taken in small sips, sometimes days apart. It will take you that long to identify the taste.


3 of 3 people found the following review helpful
5.0 out of 5 stars Strong hard hitting prose for deep thinkers., January 10, 1999
By 
Rosy Reader "loves to read" (Kingwood, WV (buried under 8 inches of snow)) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: Monday's Meal (Paperback)
Monday's Meal is a collection of hard hitting short stories. If the reader is looking for a pleasant diversion, look elsewhere. If the reader wishes to be challenged to think about life and it's many complexities then choose Monday's Meal."It's Different" is this reviewer's favorite selection from the book. At first glance this seems like such a simple tale, but the story stayed with this reader long after the book's covers were closed. Monday's Meal is a book one will read again and again.

There is an added bonus to this book. The fantastic art of Lu Ann Barrow. There’s a great story behind this cover. During its publication, my publisher, Fran Vick, and her crew, including my editor, Charlotte Wright, couldn’t come up with a cover idea they liked. Then, one day as she was leaving for the office, Fran happened to glance at a painting she owned hanging in the foyer of her home. It was a painting by the acclaimed artist Lu Ann Barrow, titled Rain Dance. “This is perfect,” she said. As it happens, Fran knew Ms. Barrow personally and took a chance and called her, asking what it would cost to use her art for the cover. To her amazement, Ms. Barrow graciously said she could use it gratis!

It was perfect.

Today, short story collections are easily published due to the ebook phenomena. In those days, it was very difficult to get a collection published by a legitimate publisher. The “rules” were that at least half of the stories had to have been previously published by prestigious literary magazines. The other rule was that there had to be a theme that connected all the stories. Well, I’d satisfied the first requirement—every one of the stories had been published by some of the best litmags out there—places like The South Carolina Review, High Plains Literary Review, Kansas Quarterly/Arkansas Review, Whiskey Island Review and others. One story subsuquently appeared in Houghton-Mifflin’s “Best American Mystery Stories.” But… there really wasn’t a theme to them. They represented a variety of subjects, voices, themes. To climb over that obstacle, I came up with the idea of titling it “Monday’s Meal.”

That came from the Southern tradition of Monday’s being wash days. The deal was, every Monday, the wife did the weekly washing… while also tending to the ten kids she had, her husband, the house cleaning, and all of the other chores, including feeding her brood. Eventually, a common meal emerged. Usually, it was a form of either stew or gumbo. Something that could be put on the stove and when she had a few extra minutes, she could run in and throw in a new ingredient. The gumbo cooked all day long. The ingredients thrown into the pot were all over the place. At first glance, it didn’t look as if they’d go together, but at the end of the day they all combined to create a wonderful, delicious dish. In our house, we always had gumbo and one of the best ingredients (in season) was when my grandma put in crab eggs. I gave the collection the name of Monday’s Meal to indicate a kind of gumbo where a bunch of unrelated ingredients came together to create a tasty meal.

Personally, I felt it was a really neat idea… and so did Fran and Charlotte.

Which was why Lu Ann Barrow’s painting was so perfect. It shows a poor family, cavorting in a sudden summer shower in front of their shack. In the background, you can see the family wash on a clothesline. It’s the women of the family (the father was at his work), along with the family dogs. There’s even an old-fashioned washing machine on the porch.

It was… absolutely perfect. Almost as if Lu Ann Barrow had painted it just for this book!

Anyway, it’s a cover that the publisher could never have afforded but that we were able to get because of the largesse of Ms. Barrow. When you buy the book, you also get a cover of an incredible work of art.

One more “inside” bit of info. One of the stories is one I wrote when I was 12 years old and when it was published both by a literary magazine and in this collection, not a word was changed from that early version. The first three who can guess which story it is, I’ll send a copy of my newest novel, THE RAPIST to—either the ebook version or the paperback—your choice. Post your guesses here in the Comments.




Okay. Infomercial over. Hope you glom onto a copy so UNT sells out and I can get back the rights and reissue it as both an ebook and paperback.

Thanks for considering it!

Blue skies,
Les

And, thanks for your support and helping make me a happy camper!

(What a happy camper looks like in the wild...)