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Twentieth-century mass produced pulp crime usually ends with the protagonists unable to rid themselves of the presence of forces that inhibit professional or emotional growth. Stoic perseverance is often their acknowledgement of the power of fate. The diverse, still-emerging genre of Country (or Redneck, Ridgerunner, or Ozark) noir is marked by protagonists who have an instinct for community as a coherent territory and recreate the possibly self-destructive but stubbornly self-assertive traits that characterized what Greil Marcus called “the old, weird America.” Rural fiction’s protagonists struggle to replace a set of convictions which no longer sustain community or family. Often enough, their struggles produce a generational survival of perseverance, family and clan mutuality, the need for passing tough tests, and spirituality. They often wind up “far from the twisted reach of crazy sorrow” (Dylan’s “Tambourine Man”).
During the Vietnam War Bao Ninh served with the Glorious 27th Youth Brigade. Of the five hundred men who went to war with the brigade in 1969, he is one of only ten who survived. The Sorrow of War is his autobiographical novel. Kien works in a unit that recovers soldiers' corpses. Revisiting the sites of battles raises emotional ghosts for him and the memory of war scenes are juxtaposed with dreams and remembrances of his childhood sweetheart. The Sorrow of War burns the tragedy of war in our minds.
Following a conflict with the dreaded Wyrm, the barnyard animals try to piece together their shattered lives while unaware that their enemy plans new attacks.
Pulp According to David Goodis starts with six characteristics of 1950s pulp noir that fascinated mass-market readers, making them wish they were the protagonist, and yet feel relief that they were not. His thrillers are set in motion by suppressed guilt, sexual frustrations, explosions of violence, and the inaccessible nature of intimacy. Extremely valuable is a gangster-infested urban setting. Uniquely, Goodis saw a still-vibrant community solidarity down there. Another contribution was sympathy for the gang boss, doomed by his very success. He dramatizes all this in the stark language of the Philadelphia’s “streets of no return.” The book delineates the noir profundity of the author’s work in the context of Franz Kafka’s narratives. Goodis’ precise sense of place, and painful insights about the indomitability of fate, parallel Kafka’s. Both writers mix realism, the disorienting, and the dreamlike; both dwell on obsession and entrapment; both describe the protagonist’s degeneration. Tragically, belief in obligations, especially family ones, keep independence out of reach. Other elements covered in this critical analysis of Goodis’s work include his Hollywood script-writing career; his use of Freud, Arthur Miller, Faulkner and Hemingway; his obsession with incest; and his “noble loser’s” indomitable perseverance. Praise for PULP ACCORDING TO DAVID GOODIS: “This was a fascinating read. [Gertzman] appears as an expert not only on Goodis’s body of work but on the pulp era of fiction in general, mid-twentieth-century American history, Philadelphia history, literary analysis, and a litany of other subjects. The book is stylishly written and well designed for reaching a broader, nonacademic audience interested in the pulp’s history, role in American culture, and meaning. Frankly, the crime fiction community needs more books like this!” —Chris Rhatigan, editor, publisher, and writer of hard-boiled and noir literature “Jay Gertzman is one of those rare maverick critics with the courage to explore the dark alleys of American literature, and to report back with commendable honesty about what he has found. His book Pulp According to David Goodis is a perfect match of critic to author, and it belongs in the collections of universities hoping to be regarded as major.” —Michael Perkins, author of Evil Companions, Dark Matter, and The Secret Record: Modern Erotic Literature “The most comprehensive Goodis study yet. Gertzman culls the files, brings everything together and then some. Not only essential reading for all Goodis obsessives but an excellent introduction to one of noir’s greatest writers.” —Woody Haut, author Pulp Culture: Hard-boiled Fiction and the Cold War, Heartbreak and Vine, and Neon Noir: Contemporary American Crime Fiction
Longlisted for the Center for Fiction First Novel Prize A Massachusetts Book Award “Must Read” Set amongst the scandal, wealth, and upstairs-downstairs politics of a Roman family, this “addictively readable first novel” (Kirkus Reviews) features the man who inspired the world’s oldest cookbook and the ambition that led to his destruction. In the twenty-sixth year of Augustus Caesar’s reign, Marcus Gavius Apicius has a singular ambition: to serve as culinary adviser to Caesar. To cement his legacy as Rome’s leading epicure, the wealthy Apicius acquires a young chef, Thrasius, for the exorbitant price of twenty thousand denarii. Apicius believes that the talented Thrasius is the key to his culinary success, and with the slave’s help he soon becomes known for his lavish parties and sumptuous meals. For his part, Thrasius finds a family among Apicius’s household, which includes his daughter, Apicata; his wife, Aelia; and her handmaiden Passia, with whom Thrasius falls passionately in love. But as Apicius draws closer to his ultimate goal, his dangerous single-mindedness threatens his young family and places his entire household at the mercy of the most powerful forces in Rome. “A gastronomical delight” (Associated Press), Feast of Sorrow is a vibrant novel, replete with love and betrayal, politics and intrigue, and sumptuous feasts that bring ancient Rome to life.
Crazy Sorrow is a story about prejudice and the tragic consequences of cowardice, a cautionary tale about how a moment of weakness and indecision can lead to a lifetime of misery. Crazy Sorrow is a psychological mystery and a love story, a character study revealing the human need to move beyond "the twisted reach of crazy sorrow". Reminiscent of the most powerful Southern writing, Bowes characters are eccentric, colourful outcasts populating a powerful period in our imaginations -- the late 1950s and early '60s. The setting is Nova Scotia's Annapolis Valley -- a sleepy town nestled among the hawthorns and flowering black locusts, where "nothing much happens and no one much matters". Beyond the genial warmth and beauty, however, beyond the orchards and meadows and rugged, treeless coastline, is a complex society in which terrible things are happening. Fast-paced and evocative, Crazy Sorrow is a stunning premiere novel.
Welcome to San Diego, where the perpetual sunshine blurs the line between good and evil, and sin and redemption are two sides of the same golden coin. Killin’ Time in San Diego is a gripping anthology edited by Holly West, featuring twenty of today’s best crime and mystery writers. Published in conjunction with Bouchercon 2023, this new anthology peels back the postcard-perfect image of San Diego to expose its darker side. With contributions from #1 New York Times bestseller C.J. Box and the Edgar-award-winning author Naomi Hirahara, plus a new story from Ann Cleeves OBE, published for the first time in the U.S., Killin’ Time in San Diego showcases an impressive lineup of writers, including Mary Keenan, C.W. Blackwell, J.R. Sanders, John M. Floyd, Kathy A. Norris, Kathleen L. Asay, L.H. Dillman, Richie Narvaez, Wesley Browne, Désirée Zamorano, James Thorpe, Kim Keeline, Victoria Weisfeld, Anne-Marie Campbell, Jennifer Berg, Tim P. Walker, and Emilya Naymark. From the haunted hallways of the Hotel del Coronado to the tranquil gardens of Balboa Park, from the opulent estates of La Jolla to the bustling Gaslamp Quarter, Killin’ Time in San Diego is your ticket to the hidden side of “America’s Finest City.” Critical Acclaim for KILLIN’ TIME IN SAN DIEGO: “Killin’ Time in San Diego is a knock-it-out-of-the-park grand slam. A must-have anthology for mystery readers everywhere." —Reed Farrel Coleman, New York Times bestselling author of Sleepless City “Anguished characters and desperate situations coil through this collection of uniquely creative plots—a fabulous anthology.” —Joe Ricker, author of Some Awful Cunning and All the Good in Evil “Killin’ Time in San Diego is weird, gothic, subtle, illicit, and a riot concocted by crime writers at the top of their game.” —Jay Gertzman, author of Beyond Twisted Sorrow “Another worthy addition to the Bouchercon legacy. Top writers on top of their game.” —Colin Campbell, author of the Jim Grant Thrillers “Holly West helms another fine anthology, proving once again that short crime fiction is alive and well…and living in San Diego.” —Josh Pachter, editor of Paranoia Blues: Crime Fiction Inspired by the Songs of Paul Simon “It’s not enough that San Diego has great beaches, natural attractions, the world’s best climate, and great food and nightlife. No, now San Diego also has this terrific anthology of canny crime fiction by some of the best authors in the business.” —Albert Tucher, author of Blood Like Rain and The Same Mistake Twice “A powerhouse anthology boasting stellar talent in top form.” —Tom Mead, author of Death and the Conjuror and The Murder Wheel “A lively, varied and well-written collection distinguished by sharp characterizations. Stories range from the gritty Gold Rush era to the high tech present and include a most unusual incarnation of Sherlock Holmes. Revenge and survival, sly cozies and twisty plots all confirm that fabulous weather is no barrier to bad behavior and successful sleuthing in Killin’ Time in San Diego.” —Janice Law, author of the Francis Bacon mysteries “Killin’ Time in San Diego, a collection of short crime fiction, continues a decade-long tradition of absorbing annual anthologies celebrating the Bouchercon World Mystery Convention.” —J.L. Abramo, Shamus Award-winning author of Circling the Runway and Gravesend “Twenty authors present a delightful tapestry of tales that go from touching to twisty to amusing, populating them with a cast of characters you won’t soon forget.” —R.J. Koreto, author of the Historic Homes mysteries “A criminally rich compendium of San Diego-set mysteries that entertainingly spans the city geographically and throughout its history.” —Andrew Welsh-Huggins, Shamus-, Derringer- and International Thriller Writers-Award-nominated author of the Andy Hayes private eye series and editor of Columbus Noir “Bookended by two of the strongest stories I've read in a long time, this collection is thoroughly fantastic. Seen through these eyes, San Diego is both more appealing and threatening now.” —Ryan Sayles, author of Like Whitewashed Tombs and The Richard Dean Buckner trilogy “From chatty Canadian tourists, clandestine hitmen and (my favorite) a smelly killer whale detective, this collection of twenty criminally entertaining stories is the perfect companion when you’re stuck in traffic on the I-5.” —Linda Sands, former San Diego resident and award-winning Georgia Author of the Year “A superior collection of crime stories punctuated by comic tales of murderous merriment, this will not be your heaviest read of the summer but it will rank among the best.” —Rob Pierce, author of Snake Slayer and the Uncle Dust series
“For the will desires not to be dark, and this very desire causes the darkness” (Jacob Boehme). Moving through the fundamental question of this paradox, this book offers a constellation of theoretical and critical essays that shed light on the darkness of the will: its obscurity to itself. Through indepth analysis of medieval and modern sources — Augustine, Pseudo-Dionysius, Eriugena, Dante, Meister Eckhart, Chaucer, Nietzsche, Cioran, Meher Baba — this volume interrogates the nature and meaning of the will, along seven modes: spontaneity, potentiality, sorrow, matter, vision, eros, and sacrifice. These multiple lines of inquiry are finally presented to coalesce around one fundamental point of agreement: the will says yes, yet only a will that knows how to say no to itself, entering the silence of its own darkness, will ever be free.