An alibi for Señor Banegas, by Magnus Montelius

"An alibi for Señor Banegas," by Magnus Montelius, in A Darker Shade of Sweden, edited by John-Henri Holmberg, Grove-Atlantic, 2014.

Funny story: when I heard about this book I went to a big ebook store to buy it.  The store was convinced I wanted to buy a different book with shades in the title.  Something about the color grey.  Eventually we worked that out.

The Swedes and I seem to have a disagreement about what constitutes a good ending.  Several times I would be enjoying a story, thinking, this could be the best of the week, and then it would end and I would think, don't call us, we'll call you.

That's not a problem with the story my Mr. Montelius.  It is also the lightest story I have come across so far in this intentionally dark collection.  That may have helped it in my evaluation.

Adam works for a company that wants a contract from the Honduran government, and so he is playing host to an official, Señor Banegas, who is visiting Stockholm in December.  The problem is, Banegas has fallen in love and wants to spend the week with his sweetheart, not his wife.  To arrange that, he has created an elaborate schedule, supposedly Adam's work, that fills all of his daylight hours.

But here's the catch.  Banegas' wife is so suspicious - God knows why! - that she might well check up on him.  So he wants Adam to tell his wife the same story, and stay away from home for most of Christmas week.

An outrageous demand, but there is a twist -  Adam is delighted to cooperate because his loathsome inlaws are visiting.  He can slip away, claiming he is visitng Banegas, and spend the day in a museum or coffee shop, far from the annoying relatives.

What could possibly go wrong?

The fact that the story begins with Adam talking to a defense attorney gives you a hint...

Male Leary Comes Home, by Michael Guillebeau

"Male Leary Comes Home," by Michael Guillebeau, in The Anthology of Cozy Noir, edited by Andrew MacRae, Dark House Books, 2014.

First things first: I have a story of my own in this anthology, so that may affect my objectivity.

And let's talk about the theme of this anthology: what the heck is cozy noir?  Besides an oxymoron, I mean.

Cozy has been defined as "a mystery in which people get killed but no one gets hurt."  Noir, as I said a few weeks ago, is fiction in which a nobody tries to be somebody and gets stomped for it.  There isn't really much overlap between those two fields.  Most of the authors I the book (so far as I have read) have interpreted it more or less this way: Something violent and nasty happens in a relatively idyllic place.  Fair enough.

We are almost to this story, the second by Mr. Guillebeau that has made my column this year.  But first, we have to talk its subgenre.

There are two ways to build a piece of historical fiction: external and internal.  (They are not exclusive, by the way).  External means you bury yourself in the details of the time and place you are writing about, so that the reader is convinced that you know (even if you don't tell) who built every conestoga wagon, Byzantine chariot, or Ford Flivver your characters rush to the rescue in.

Internal means that you create characters who talk, speak (within reasonable limits) and most importantly, think like people of that time and place.  That's much harder than figuring out what an eighteenth-century policeman would have had for breakfast.  One reason it's hard is that, if we are honest, a lot of people in the past are going to have opinions we find unpleasant or unacceptable.  Do you really want your protagonist to talk about African-Americans like a real cop in the forties might have done?

And so you may get the feeling that under that Roman toga the hero is wearing modern Fruit-of-the-Looms.

The reason I like this story so much is that (while it is not offensive to modern eyes) it reads like the author grew up on Black Mask magazines, fought in World War II, and came back to write about what he found at home.

Which brings us to the Leary guy in the title.  He was baptized Robert T.  His birth certificate calls him Male.  His friends call him Mister.

Under any name, he was in the Navy during the War and then joined the merchant marine.  When the story opens he's back from sea and learns that the father of his girlfriend is having trouble with a gang boss.   Leary and a friendly bar owner get involved and - something violent and nasty happens in a relatively idyllic place..

The last few paragraphs, with Hammett-esque irony, illustrate the cozy-noir theme so well that they might have been written with this book in mind.  In any case, the story is a treat.

Milk and Tea, by Linda Michelle Marquardt

"Milk and Tea," by Linda Michelle Marquardt, in Prison Noir, edited by Joyce Carol Oates, Akashic Press, 2014.

We are back for a second helping of Prison Noir.  Last week was about a clever concept, skillfully executed.  This week is all about heightened language.  One advantage of using an e-reader is you can mark interesting passages, and in this story I highlighted too many to review here.

The story begins with a description of a suicide in the prison.  Then:  Damn!  I was jealous.

That's our first indication that the story is in first person.  The protagonist is a woman who killed her abusive partner.  (And I should say that the abuse is described pretty graphically; this is the most violent tale I have read so far in this book.)

Love of her children keeps her from reaching for death, although I crave it like iced tea on a summer day.  See what I mean about heightened language?

Here she deals with the ever-recurring question: why does a woman stay with a bad man?

Apparently, if you're an educated person, this can be held against you, as if there is some Abuse 101 course in college that prepares you to recognize the waring signs.  There isn't.


This is a powerful piece of writing.

Ms. Marquardt, like her protagonist, is incarcerated at Women's Huron Valley Correctional Facility in Michigan.

A Message In The Breath Of Allah, by Ali F. Sareini

"A Message In The Breath Of Allah," by Ali F. Sareini, in Prison Noir, edited by Joyce Carol Oates, Akashic Press, 2014.

My problem with thematic anthologies is that I usually like the theme better than most of the stories.  Take, for instance, this book which has a brilliant plan: invite current or former guests of the American correctional system to write fiction about it.  Great idea.  And some of the stories are fine.

But so far, most of the ones I have read aren't crime stories.

Yes, I know.  Prison implies crime.  But if your subject is surviving in a hostile environment, the fact that a felony got you into the place doesn't by itself make it a crime story.

And then there is the whole noir thing.  Merely being violent and gloomy does not qualify a piece of fiction as noir.  As I have said here, too often, a noir story ideally has three elements: 1) a nobody, who 2) tries to be somebody, and 3) gets stomped on by fate.  Why are those the elements of noir?  For the same reason a sonnet has fourteen lines.

Having whined sufficiently for one day, let me address this masterful story by Ali F. Sareini, who recently finished a term for second degree homicide.

Ali (the character, not the author, I hope), has been praying to Allah for decades to be released from prison.  A weaker spirit might feel a twinge of doubt after all that time, but Ali concludes that his prayers are simply  the wrong media to get his message across.

He decides he needs to send a messenger directly to Allah.  Fortunately, he is working as a helper in the part of the prison full of elderly and ill inmates. "I reverently called the unit 'the messengers' home.'" So all he has to do is explain clearly the plea he wants delivered and then, immediately, send the astonished courier off to the afterlife.

That's the creepiest motive for murder I have run across in a long time.

(By the way, should I have included a spoiler alert?  No, because this isn't the plot of the story: it's the premise.)

So, does this story have crime?  Check.  Does it have a nobody trying to be somebody?  I would say trying to negotiate directly with Allah counts.  As for whether the ending counts as noir, telling that would need a spoiler alert.

By the way, this is a story with its theme showing.  (The theme is what the story is about, other than the plot and character.  Some people like it visible and some don't.)  The theme, repeated in several contexts is this: Why do we take care of each other?

Much to ponder in this great story.

Pit Stop, by Raymond Khoury and Linwood Barclay

"Pit Stop," by Raymond Khoury and Linwood Barclay, in Face-Off, edited by David Baldacci, Simon and Schuster, 2014. 

Still enjoying this collection of pairing-ups by members of the International Thriller Writers.  This week, my first encounter with  two authors.

Glen Garber is not your hero for a series of thrillers.  He's a builder, not a spy or criminologist.  And rather being a ladies' man, he's a widower with a ten-year-old daughter.  All he wants to do is bid on a farmhouse renovation when, well, he gets thrown into thriller territory.

Glen Garber had been given his coffee, but was still waiting for an order of chicken nuggets for his daughter, Kelly, when a woman raced into the restaurant screaming that some guy was on fire in the parking lot.

Well, that would get your attention.

Turns out the man on fire was just a distraction to help a bad guy get away from Sean Reilly, who is much more your standard thriller hero: the kind of FBI agent who doesn't let a little thing like a fresh concussion stop him from pursuing a maniac with a biological bomb.  And, did I mention he just kidnapped Glen Garber's daughter?

And that turns out to be a very bad idea, for the bad guy...
 

Red Eye, by Dennis Lehane and Michael Connelly

"Red Eye," by Dennis Lehane and Michael Connelly, in Face-Off, edited by David Baldacci, Simon and Schuster, 2014.

The International Thriller Writers came up with a clever idea for an anthology: pair up top writers in stories in which their characters meet each other.  I'm enjoying it, so far.

My favorite at this point is the first story, in which Michael Connelly's L.A. cop Harry Bosch travels to Boston to get a DNA sample from a suspect in an old open case.  He "meets cute" as they say in Hollywood, with Dennis Lehane's private eye Patrick Kenzie, who suspects the same guy is involved in a current kidnapping.

So why aren't the Boston police leading the search for the missing teenager?  Kenzie explains: "She's the wrong color, the wrong caste, and there's enough plausible anecdotal shit swirling around her situation to make anyone question whether she was abducted or just walked off."

Lucky for her there are two men willing to break the rules to find her.

Crush Depth, by Brendan Dubois

"Crush Depth," by Brendan DuBois, in Mystery Writers of America present Ice Cold: Tales of Intrigue from the Cold War, 2014.

Hard time choosing between two very different stories this week, both in Ice Cold, and both excellent.  Sara Paretsky's "Miss Bianca" is about intrigue in a biological research lab, as seen through the eyes of a child.  "Crush Depth" is a look back at a genuine mystery of American military history, offering a possible explanation.  The first is cute, the latter is grim.  What finally decided me was their surprise endings.  Paretsky's seemed tacked on, while Dubois's was a genuine twist, putting a new light on everything that went before.


In "Crush Depth" it is a year after the Soviet Union collapsed and an intelligence agent named Michael is hanging around the Portsmouth, New Hampshire, naval yard, trying to make contact with someone who knows the truth behind a naval tragedy from the 1960s.

Michael thought it ironic that his work and the work of so many others was still going on, despite peace supposedly breaking out everywhere.

Cold war or hot war, there was always plenty of work to be done...

True and sad enough.