So much has happened since I did this interview six weeks ago for Bold Strokes Books Authors Blog – not least of all the official release of Calvin’s Head. I had to give it a read to remember what I talked about. But as it happens, I did delve into my darker side, which is appropriate for this particular time of year.
Early readers tell me it gave them a scare or two. So, maybe it’s not the ideal bedtime reading for the faint of heart. Or maybe you’ll need to keep the lights on!
Trick or Treat!
I follow a lot of crime fiction blogs, groups, and websites. So, of course, it came to my attention that Raymond Chandler’s birthday was this past week. Might have thought of it myself if I hadn’t been busy juggling a dozen literary balls at the same time. And in some way they all seem to relate to Chandler.
A couple years back I referenced his essay The Simple Art of Murder (1950) in a review of a terrific debut thriller (The Hollow Man by Oliver Harris, available now in paperback.) I’d written my own first novel, and was looking forward to attending ThrillerFest that summer to see if I might generate some interest. I wasn’t sure what to expect. My book wasn’t like the classic detective fiction of Raymond Chandler. But my protagonist did have some of the qualities he discussed.
“What do you write?”
A simple question, and the first most people ask when you tell them you’re a writer. Crime fiction, I say. But they usually want to know more. That’s where it can get tricky. From the start, I called my first book a psychological thriller. It’s how I pitched it to agents a couple years ago. After hearing the plot, one asked me, “Are the main characters gay?” “All of them except the dog,” I said. Her quick forced smile told me she was neither amused nor interested. I moved on.
Should I have said upfront it was a gay thriller? Was the gay aspect a reason another agent expressed concern about “our ability to sell this work”? As I thought about it, gay protagonists did seem a rarity in current mainstream crime fiction. In Jonathan Kellerman’s popular Alex Delaware series, the gay cop is almost a sidekick. What about other genres? And next I’m shifting gears with a ghost story, but the same main character. Switching genres within a series and a gay hero? Was I insane?
Before the Saints and Sinners Literary Festival began last weekend in New Orleans, the friend I stayed with took me to newly opened Crescent Park. We climbed the elegant rusted steel Piety Street Bridge (one block from Desire) to cross the railway tracks and explore the beautiful, if minimally designed, riverfront gardens. All that remains of a once bustling wharf is a lone three-story white wall and the burned out skeleton of beams extending over the muddy water. The city skyline glimmers in the distance. Rusty poles bearing words like Diversity are interspersed with concrete slab benches etched with quotations.
“Culture – The common threads of life that tie us together… roles, rules, rituals, languages, music, spirituality, and soul.”
That quote in particular struck a chord, though I couldn’t quite put my finger on why. Perhaps a premonition of the experience I anticipated having the next four days? I’ve attended many festivals, conventions and conferences in the last two years. Saints and Sinners, with its combined queer and literary focus, was by far the most inspiring, entertaining, enlightening, and – (How do I say this? In Dutch the word is ‘gezellig’ – an almost untranslatable mix of cozy, warm and friendly.) I thought: this is what Christopher Isherwood meant when he wrote about his tribe.
Watching the Eurovision Song Contest on my computer yesterday in the middle of a sunny afternoon in New Hampshire was odd. It’s the kind of live event for which people in Amsterdam and all over Europe have parties, or gather in bars to drink and scream at the television. It’s the most kitsch, gayest, pop-culture must-see TV of the year. And an audience of some 180 million people in 45 countries watched as a torch-singing bearded drag artist from Austria took home the coveted prize.
Here in the USA most people have never heard of Eurovision, or think it’s a brand of eyeglasses. And it’s hard to explain. “Like American Idol?” they ask. Um, no. I tell them it launched the careers of Abba and Celine Dion. “Like America’s Got Talent?” Nope. I try to make clear national pride is at stake, with a geopolitical element in the voting that runs parallel to the music competition. Their eyes glaze over in confusion. Not for the first time in almost thirty years of living abroad, I feel more than a little European.