Monday, 19 September 2011

PUSH-UPS: Dicked

Like crime fiction. Hate Dick Cheney. Welcome to our world. PULP PUSHER talks to the evil genius behind DICKED a new anthology of noir: KIERAN SHEA.


PUSHER: HOW DID THIS PROJECT COME ABOUT?
KIERAN SHEA: A few years, I’d received an email from Greg Bardsley. I’ve known Greg from the usual crime fiction channels and been championing his brand of gonzo crime fiction for some time. Greg told me he’d seen a blog post of mine that referenced former Vice President Dick Cheney stomping around his scrubbed-from-Google Earth compound here in Maryland. Greg said he and Jed Ayres had been knocking around an idea of doing an anthology of Cheney noir. I was on board with the very next breath.

WAS IT DIFFICULT TO PULL TOGETHER?
It wasn’t a front burner priority for any of us, so we took it slow. None of us had experience with anthology production, and we learned quickly from insiders and agents that anthologies, by and large, are a dirty word in the publishing game. We didn’t care. Dick Cheney noir was too good of an idea to pass up. Paramount for us was to approach best-selling writers first to give the project weight and then line up a roster of commitments from other writers we really admired. We needed a Bruen, a Phillips, etc. to show folks we were serious. We had a lot of nibbles and turned down some blind alleys. The whole mischievous mess almost ended up withering away.

WHAT WERE WRITER’S REACTIONS TO THE PREMISE OF FEATURING DICK CHENEY IN A CRIME STORY?
Most said they were in before we finished our pitch. Others passed because they thought the satirical concept was imprudent, juvenile, and somewhat dangerous. What can I say? Some folks take themselves a tad too seriously. Honestly, the whole frigging anthology is on par with blowing up someone’s mailbox and if you can’t get past that, well, get the fuck over yourself.

YOU’RE A CONTRIBUTOR TO THE COLLECTION, AS IS BARDSLEY AND AYRES. TELL US ABOUT YOUR PIECE.
Actually when we pitched other writers to join us I kind of just blurted out my story idea to illustrate a high concept take. I’d been watching reruns of the iconic movie SPEED on cable television at the time, so I said, “Dick Cheney on the bus in SPEED.” Of course then I had to figure out how I was going to write such a story and went with a debriefing of Sandra Bullock’s character Annie. I knew a lot of writers were going to make Cheney the villain, but I was so tempted to make him a pop hero like the Lone Ranger for some reason.

YOU’RE GIVING READERS A LOT OF OPTIONS WHEN IT COMES TO HOW THEY CAN READ THE BOOK. WHAT IS YOUR STRATEGY BEHIND THAT?
Well, all along we wanted to launch the book to coincide with the publication of Dick Cheney’s memoir, the idea being to get swept up in the wake of that and perhaps leverage the publicity in our favor. We were hoping for a bit more time but then the memoir was released early so we got cracking. Print on demand from Lulu was option one, but we’ve found more success with pushing the lower cost e-formats for Kindle and Nook.

All options can be found at: http://dicked.wordpress.com/

Thursday, 8 September 2011

Burning Down DJs by David James Keaton

Before the night ends with me crashing through the woods in a stolen police car, I’ll drive around stuck on one thought. But not the one you think. You know how in the movies someone does a horrible thing because they start out with a righteous cause but took a wrong turn somewhere? I love those movies. But I never had the patience to start with the righteous cause. I skip to the wrong turn, trying hard to look conflicted if someone’s watching this movie with me.

She parked my car at his house last night. It sat under his window with the two of them fucking twenty feet away. I was alone in our bed waiting for a train loud enough to rock my brain to sleep while my car’s battery died, headlights fading, all the windows down, and her favorite station cranked loud.

Now I’ll hear her favorite station everywhere, with the radio off, across impossible distances, even through weather and hate that hinders most reception.

While I’m driving towards the antenna, I’ll call the request line.

“Sure, I’ll play it! This happens more than you’d think. You know how they say bathrooms contain the last evidence after a break-up, like her shampoo? Wrong. You know where she exists last? Her music.

I’ll want him to play it fast.

“Play it fast? Or play it fast? But if I don’t read these commercials, they dock my pay, brother!

Taxes take a big enough bite! Speaking of, did you know monkey bites are genetically indistinguishable from humans? And that's tonight’s theme! Song duels between evolution and interior design, uh, I mean, Intelligent Design. God or monkey songs only…”

I will wonder what time he’s off.

“Midnight to 4:00! Now, to get it goin’, we got Presley Abbott's ‘Fish to Frog to Monkey to Man to Monkey,’ and The Pixie Sticks’ doubleshot ‘Monkey Counts to Seven’ and, of course, Pete Ezekiel’s classic ‘Shock the Monkey (Within Reason).’ Admittedly, our definition of ‘evolution’ gets stretched kinda thin, but songs with mermaids will count. Next caller!”

I will roll down my windows, crank the radio, and climb his fire escape.

“...Bob Money was in here Friday, confessing he uses clichés in his choruses so people think they heard his songs before. But ain’t that cheating?! Speaking of, looks like we got a visitor...”

I will punch him in the face so hard his headphones will end up clamped around my fist, so hard the “On Air” sign above us will detonate, so hard my fist will sort of become his face with this asshole’s ears and ‘70s sideburns suddenly adorning my knuckles like a fucked-up Mr. Potato Head. Sinuses will collapse like a crying child’s waffle cone on the sidewalk when I bury my arm halfway through his chair, spraying blood, brain, spit, spite, everything he was hiding down in there except his goddamn voice. Then I’ll take out my road flares and squirt gun full of gasoline to torch the rows of CDs lining his glass booth.

At some point, he might want to know what he did to deserve this, maybe deny fucking my woman. I’ll set him straight.

“Your voice killed my car.”

Listening for sirens, I won’t be sure if music will burn.

Then I’ll remember the camping trip her and I took last summer, the fire dying because the wood was wet. Down to a road flare like tonight, barely enough red light to fuck but desperate to keep going, I found a basketball in my trunk, low on air like us, deflated. I'd only kept it because someone ran it over and it sort of survived, worse for wear. Like us.

"Do basketballs burn?" she’d laughed. And right before the ball detonated and knocked me on my ass, blowing out the flames and peppering my balls with needles of scalding rubber, we discovered that, yes, they do burn.

It turns out everything burns. Just not for very long.

* * *

I’ll run out of gas because I siphoned it for my squirt gun. Engine light flickering, I’ll have just enough coast in the car to reach the giant blue wheelchair stenciled outside of a theater. In my rearview, I’ll see a police cruiser spin, run the stop sign, then screech into the spot behind me. When the cop steps out, I’ll be disappointed.

“You should have a helmet.”

“Why?” she’ll ask.

“You could have pulled it off all dramatic, hair spilling out like in the movies.”

“I don’t see a handicap permit. Move it.”

I’ve had stretches of all-female law-enforcement run-ins before, sometimes for months at a time, but I’ll have a feeling this is my last.

I’ll click my ignition in vain, hoping she’ll understand I’m empty and spare me the detached series of questions climaxing with the $600 ticket. I’ve had friends before try to convince me that only law-breakers hate cops. That’s one theory. But it’s worse to respect them because they let you get away with something.

This is why you should dread getting out of a ticket way more than getting one.

But I’ll be thinking about smoldering songs instead of money, knowing that no one would ever believe I’m out of gas if you could smell it on me this thick. Then I’ll touch my tongue to my nose.

Blood.

She’ll never believe I ran out of that, either.

Nostrils flaring, she’ll ask for I.D. as I attempt a distraction.

“Why’d you run that stop sign?”

“It’s my job.”

“It’s what you do?”

“What?”

“You know, whatever made you run that stop sign, that’s ‘what you do.’ So just say it.”

“Say what?”

“‘It’s what I do.’”

“It’s what you do.”

“No, what you do.”

“It’s what you do.”

“Close enough. But you know why that drives me nuts?”

“You’re the one that said it, sir.”

“‘Cause it’s not as impressive as you think. You only hear people say, ‘It’s what I do’ if their list of previous jobs is embarrassing. Dishwasher, landscaper, boiler cleaner, construction worker, fertilizer spreader, cat-sitter, motel mattress mover, slaughterhouse hoser, stolen candybar peddler, and, as of today, disc jockey. That’s what I did. Get it?”

I won’t tell her what all those fuckers really have in common. It’s not what I did at all. It’s what he did.

“Step out, please, sir.”

When my feet touch the ground, moonlight will reveal my raspberry glaze of gore, and she’ll draw what looks to be an elaborate toy pistol.

“The fuck?”

I’ll barely get out the “fuck” when she pulls the trigger. Two darts will pierce my sternum, and I’ll curl instinctively, sucking my gut as if I caught a cannon ball. The umbilical of telephone wire that now connects us will crackle, and I’ll wince, expecting the cool comfort of asphalt on its way.

But the electricity will have no effect. I’ll take a halting breath. Nothing. She’ll flick another button on the toy to amplify the noise. And we’ll keep staring at each other, me tempted to whistle so she doesn’t feel so stupid.

“Are you sure it’s on?” I’ll ask finally.

She’ll turn the weapon sideways for study.

“I think so. You can hear it, right?”

“I hear something. Wait, try turning that knob near the pink thing.”

“Hold on...”

She’ll fumble with the grip as the weapon unspools more wire to the pavement, crackling even louder.

“Nothing?” she’ll ask.

“My mouth’s dry. Could be unrelated.”

I will carefully pluck the darts from my skin like I’m unhooking a fish lip, dropping them with a shrug, trying hard to keep a smile off my crimson mug. Disgusted, she’ll throw the weapon aside and hold up a finger.

“Stay here.”

She’ll retrieve something else from her car. At first I’ll think it’s a shotgun, though it’s way too big and purple. I’ll swear there are even stickers decorating it like a kid’s skateboard, a dead ringer for a Super Soaker, right down to the steady drip off the tip like an old man with prostate trouble.

“What the hell is that?”

“New Tasers. Shoots an electrified stream of water.”

“That. Is hilarious.”

I’ll be dodging streams as we circle her cruiser, me laughing outright, her yelling into her shoulder for backup. Then suddenly we’ll be two feet apart, me staring down the barrel of this comically huge weapon while she pumps it like a cock furiously to build water pressure. I’ll raise my hands.

“Ya got me.”

She’ll hose me down, nose to toes, electric insects buzzing again. But besides some sniffles, maybe a bloody nostril bubble, nothing will give me any incentive to submit. I’ll be sincerely sorry, but it’ll be hard to get this across.

“Don’t feel bad. It’s not you. It’s me. That’s what she told me, anyway.”

She’ll throw this weapon next to the first as I reflexively try to reassure her, hands still high, palms out.

“No, no, it’s not your fault. See this? I’m missing five things; thumbs, a nervous system, and basic math skills. Sorry, but maybe those guns don’t work anymore. On anyone. Maybe you fuckers are using ‘em too much. It’s evolution, baby! Don’t you listen to the goddamn radio?”

She’ll finally smile as she gently cocks her .38 Special flush against my forehead.

A minute later, I’ll slip behind her steering wheel smooth as smoke as I put the cop car into gear. I’ll leave her studying her revolver, wondering whether she fired or not. I won’t need to wonder after touching my tongue to my forehead.

Evolution, baby.

Then I’ll bounce over speed bumps, dodging theatergoers with thumbs in each others’ pockets. I’ll miss most of them.

Blue lights will fill both vanishing points, my night ending with the perfect chase, off-road through stones, into those trees I spent my life hiding behind. They’ll explode and fall easily, long dead from a thousand carvings of pierced hearts, initials, corrections. No one will dare follow me.

All this shit will happen. Just wait.

Tuesday, 6 September 2011

PUSH-UPS: Len Wanner

So, what you pushing right now?
Dead Sharp: Scottish Crime Writers on Country and Craft. It’s a book about your new favourite books. It’s out on the 12th of August. And it’s the ideal present for those hard-to-please fans of crime fiction we’re all related to.

What’s the hook?
It’s a burlesque drama in 9 acts. (I was told to call it a ‘collection of interviews’ with Scotland’s finest authors of crime fiction, but I don’t like the marketing lingo.) The book is introduced by an Edinburgh academic, Aaron Kelly, who kicks off with a few wise words about the genre and its Scottish players. That’s followed by 9 of them answering my questions about their work and what made them do it.

But it’s the line-up that really sells the book: Ian Rankin, Stuart MacBride, Karen Campbell, Neil Forsyth, Christopher Brookmyre, Paul Johnston, Alice Thompson, Allan Guthrie, and Louise Welsh all offer their personal take on the big questions: What is “Tartan Noir”? Why has Scottish crime fiction become an international success? How has it changed and why do they write it? What distinguishes the Brit from the Scot? And what is it about Scottish pubs – as opposed to cinemas – that makes grown men cry? The revelations are uncanny and there’s lots more of them, but you’ll have to buy the book to read them all.

Finally, Louise Welsh has contributed an afterword, and I wrote my own bit about the interview experience. And then there’s a roundup of Scottish crime novels. If that doesn’t fill your nightmares, they’ll certainly fill your Christmas stockings.

And why’s that floating your boat?
Whose boat doesn’t float on burlesque? Besides, these gentlefolk bring decades of experience to their interviews, and their combined advice doesn’t just open up new perspectives on each others’ work. It even saves you the 10 grand for a course in creative writing.

Whether or not that’s worth the price of two pints, it’s certainly been floating my boat a lot longer.

When did you turn to crime?
As soon as I got out of my nappies. That would be around the time I finished my English degree, though my parents insist it was a little earlier. Crime runs in my family. My dad was a lawyer and now he’s mayor of the Bavarian mini-republic I grew up in. Hardly a change of scene, but it does explain my real crime influence. And during my most impressionable years, my mam was doing her PhD in literature. My compromise is crime fiction.

To forestall the hobby psychiatrists, I’ll give you another answer: When the university I went to offered extra courses to accessorise its sexy Middle English tuition, bureaucracy malfunctioned and for a single semester I could sign up for a seminar on genre fiction – or fiction for commoners as it was called by their alpha umpaloompa. The wee hoor got an honours degree and I started reading a lot more genre fiction. When a friend gave me my first crime novel, I left the chocolate factory.

Hardboiled or Noir, classic or contemporary?
‘Hardboiled’ is a chicken’s idea of hard.

‘Noir’ is not just a sub-genre. It’s a compliment.

‘Classics’ are what most readers find too easy to enjoy talking about and too hard to enjoy reading. My own list is as subjective as the next, but I urge anyone who hasn’t already done so to read at least William McIlvanney’s Strange Loyalties, if not the two prequels in this unsurpassed trilogy. His work is that rare delight, a contemporary classic.

And, what’s blown you away lately?
As it happens, and although Allan Guthrie recommended your work a while ago, I only recently got around to reading your debut, Paying For It. When I did sit down to read it, I only got back up to buy the next three. That’s exceptional stuff, Tony. Your Gus Dury is up there with William McIlvanney’s Jack Laidlaw and Ken Bruen’s Jack Taylor.

There’s a lesson to be learnt here: More people ought to listen to Mr Guthrie, myself included. He knows about bukes, and his own are terrific. If you’re reading this, read Slammer.

See any books as movies waiting to happen?
Slammer: Screenplay written by Allan Guthrie and directed by Danny Boyle. What a slammer that would be.

Mainstream or indie - paper or digital?
I like books made of paper. I also like them to be edited.

Shout us a website worth visiting …
http://www.theonion.com/

Finally, tell us any old shit about yourself …
I have a charming laugh. It sounds like someone’s interfering with a goat.