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393

#FridayReads, May 24–“Before the Frost,” a Kurt & Linda Wallander novel

Henning Mankell photo#FridayReads Henning Mankell’s thriller 2004 thriller Before the Frost, featuring Detective Kurt Wallander and his grown daughter Linda, who like he did earlier in life, chooses to become a police officer. With surprising synchronicity, in Michael Connelly’s 2011 Detective Harry Bosch novel The Drop, (my May 10th #FridayReads), his teenage daughter informs him that she is going to choose police work for her career. I don’t believe these two writers, one in Sweden, the other in Los Angeles, read each other’s work or have directly influenced each other. Instead, I believe that with these authors–who have each written ten or more books featuring their detective protagonist–become extremely invested in their characters and loyal to them, so that in their protean creativity, they endow the two characters–late middle-aged single fathers in each series–with full lives and late-in-life-joy from growing closer to their own child. This highlights one of the things I love most about these books, Mankell’s and Connelly’s, as well as those by other authors I enjoy–featuring characters Travis McGee, Bernie Gunther, and Joe Gunther (no relation to the former), by John D. MacDonald, Philip Kerr, and Archer Mayor, respectively: The author is so devoted to their creation that they give them full lives, and I as a faithful reader, feel obliged to be solicitous of and devoted to them myself.Mankell photo

394

“Rust Belt Chic: The Cleveland Anthology” Morphing into a Magazine

rustbelt112912Readers of this blog may recall the contribution I made last year to the book Rust Belt Chic: The Cleveland Anthology, “Remembering Mr. Stress, Live at the Euclid Tavern,” a personal essay about a bluesman I followed avidly all the years I lived in my hometown. Now, less than a year after the book’s release, the enterprise has gone so well that the editors of the collection are planning to create an an online magazine, Belt, that will expand the concept of the book in to a continuing forum for writing about Cleveland, and more broadly, the Industrial Midwest. Co-editor Anne Trubek has announced a Kickstarter campaign to which I will make a contribution, and I encourage you to consider doing the same. With three weeks to go before their deadline they’ve already gained pledges that take them to more than half of their $5,000 goal. Like me, you’re probably receiving a lot of requests like this these days–this is definitely one worth offering your support. Here’s a link to the Kickstarter page with a video about Belt. 2 Mr Stress album cover

395

Josh Ritter in NYC, a Buoyant Showman at Terminal 5

Josh RitterMy wife and son and I bought tickets for Josh Ritter’s May 18 gig at Terminal 5 back in the winter, shortly after the show was first announced. When the night finally arrived this past Saturday, we were excited we’d be hearing him live for the first time. It was also our first time hearing a show at this venue, and we were surprised and pleased by how smoothly Terminal 5 operated. Though we arrived earlier than 7 PM when the doors were scheduled to open, we were admitted immediately, sent up to a rooftop patio and soon allowed downstairs in the big performance space. Our early arrival meant we were very close to the stage when the opening act, the Felice Brothers, took to the stage. Though hailing from towns in NY’s Hudson Valley, I heard tinges of Tex-Mex rock from this likable 5-piece, along with echoes of Doug Sahm and his Texas Tornadoes, driven especially by the keyboard and accordion work of boisterous brother James Felice. They were a great warm-up band and I was glad I later I had a chance to buy their CD, “Tonight at the Arizona.”

After an interval to reset the stage, Josh Ritter stepped up to his mic right at 9:00 PM. He addressed the audience:  “It is so good to be here, this is my home now. Thank you for being here. We’re going to have an amazing night. If at any point in the show I look nervous, it’s  because I am.” With that he started finger-picking a Gibson acoustic guitar for his first song, “Idaho.” As he segued from his first song to his second, members of the Royal City Band began joining him on stage, with Sam Kassirer taking a seat at the keyboards, while Zachariah Hickman*, sporting an extravagant  handlebar moustache, picked up a Fender bass, followed by Austin Nevins on lead guitar and Liam Hurley on drums. The first song with the full band was “Southern Pacifica”–with its opening verse “Southern Pacific/Red, white and blue/Where are we running to,” and the  memorable chorus, “Remember me to Roxianna/You know she’s still lovely/Tell her I was on the move/Last time you saw me/That you only saw the back of my head.”

A bit more than halfway through the show, Josh spoke to the audience about his new album, “Beast on the Tracks,” a kind of breakup album written following his recent divorce. He alluded to the personal anguish that led to the composition of the new songs, and the resilience that allowed him to record them and, now sing them live for people, night after night, and do so joyously and not in sorrow.  As the band then moved in to playing the songs from “Beast,” Ritter became even more buoyant than earlier, even while some of his lyrics became darker. I was reminded of other breakup albums, almost a genre of its own: Dylan’s “Blood on the Tracks,” released in 1975, and widely regarded as expressing his pain at the end of his marriage to the same Sara who he sings of in “Sara” from “Desire.” More recently, Canadian artist Kathleen Edwards released “Voyageur”–Rolling Stone reported she wrote the album after enduring a breakup of her own. 

For nearly two hours Josh Ritter and his fine band ranged widely across his rich repertoire, playing nearly 20 songs on the ride. Ritter is an exciting and ebullient performer, continually interesting to watch on stage. He lowers himself to his knees while continuing to strum his instrument; cups his hands to his mouth and howls like a wolf; turns his back to the audience to direct his band like a vested conductor; strides in close to Nevins as the sideman plays arcing lead riffs with clear tone; tosses away guitar picks like pistachio shells; and connects with everyone in the crowd like he’s playing and singing just for them. It was a thrill to hear and see him play live. His performance was a triumph of his winning personality. Below are pictures from this superb show, many taken by my wife, artist Kyle Gallup.

396

Striving for a Rural Oasis Amid the Urban Jungle in Brooklyn’s Green-wood Cemetery

P1010945I’ll be eager to take in a new exhibit at the City Museum of New York, marking the 175th anniversary of Brooklyn’s Green-wood Cemetery, which its 19th century planners designed to be a pastoral enclave amid the cacophony of the ever-growing metropolis. According to the City Museum’s website, the exhibit “features original artifacts, sculptures, drawings, and Hudson River School paintings; historic documents; and photographs.” Even its antiquated spelling, with the hypen mid-name, rather like the New-York Historical Society, has a 19th century air about it.

Last October, I visited Green-wood for the first time–for the unveiling of the “Angel of Music,” a new memorial statue at the grave of pianist and composer Louis Moreau Gottschalk–and discovered that its 478 acres of rolling hills, big hardwood trees, and sparkling views of Manhattan and NY Harbor, make it a pastoral, soothing place for mourners to say goodbye to their loved ones. As the New York TimesJoseph Berger reports after a recent visit to Green-wood, the cemetery is still a pastoral balm to the daily cares of all city-dwellers. Here are some of the pictures I took on that day last fall, on a gorgeous Saturday that turned out to be just three weeks before Superstorm Sandy wrecked hundreds of trees and gravestones in the memorial park, damage they are still working to clean up in one of NYC’s most historic treasures.

397

#FridayReads, May 10–“The Drop,” Michael Connelly; “A Man W/out Breath,” Philip Kerr; “Black Count,” Tom Reiss


Friday Reads May 10

I’m so lucky to have so many terrific books to read this weekend and over the coming days. And, after these three, I’ve got a Henning Mankell novel I’ve never read, Before the Frost, a thriller that features not only his longtime series character, Kurt Wallander, but also his grown daughter Linda, who over several earlier books had voiced her ambition to become a police detective, like her father. In fact, the novel is officially dubbed “A Kurt and Linda Wallander Novel,” just as all the earlier ones were “Kurt Wallander” books. Interestingly, in Michael Connelly’s The Drop, featuring his series character Harry Bosch, the detective’s teenage daughter, Maddy, has told her father that she wants to become a police officer.

As I have written in earlier posts about Mankell’s books, I love his books, and all these detective authors for the loyalty over many books that they show to their characters. The cases become more engrossing and their characters more believable and more sympathetic the deeper you read in to each series. This is certainly also true for Philip Kerr’s whose A Man Without Breath I started this afternoon. This is the ninth book portraying Bernie Gunther, the German police inspector trying to somehow stay alive during WWII, while retaining his dignity and moral center, while the Nazis all around him engage in mayhem and corrupt self-dealing. I’ve also posted often about the Gunther books.

As for Black Count: Glory, Revolution, Betrayal and the Real Count of Monte Cristo, I met Tom Reiss and heard him read from his book at the National Book Critics Circle annual awards ceremony in March, and was enchanted by what I heard of his biography of Alexandre Dumas’ father. More recently, his book won the Pulitzer Prize. I read Chapter One last night, in which Reiss explains how he came to discover the elder Dumas, a remarkable figure who had been all but lost to history. I’m really eager to get back to his book, and so glad I have this nonfiction to balance all my novel reading.

Please note, if you want to read any of the books I’ve written about in this post, I’ve embedded links in each title. If you click on them, it will lead you to pages at Powell’s Books where you can order them. As I explain in a note near the upper right corner of this site, they then return a portion of your purchase price to me to help maintain this site.

398

Whistleblower Suit Targeting Big Pharma’s Novartis Gives Me Schadenfreude

In 2011 a senior communications executive at Novartis, the pharmaceutical company, contacted me about editing a manuscript, their in-house history. I made a proposal for the job, we discussed a schedule, with me suggesting that I would bill them at different junctures as the edit moved forward and as he judged each segment of my work acceptable. We also discussed beginning the process with a signing payment, a portion of my total fee, as we got underway. For a few days it looked like we would be working together. Then I got surprising news from him. I guess he’d not earlier worked with independent contractors, because he informed me now that Novartis makes no payments to freelancers sooner than 60 days from when an invoice is accepted. It seemed beyond high-handed that this multi-billion dollar corporation would feel free to simply stipulate this odious policy to outside vendors doing work for the company. I objected but he told me there would be no flexibility on this point. Because I didn’t relish the prospect of working many weeks without pay–particularly when my work would still have to be deemed satisfactory at each milestone along the way before every new 60-day period would even commence–I declined to take the assignment.

Ever since–when I see Novartis mentioned in the news, whether it’s about a patent dispute in India over the medicine Gleevec, or the ProPublica story by Theodoric Meyer I tweeted about above, with a lawsuit alleging that Novartis paid “kickbacks—cash, meals and favors to relatives” of doctors who then improperly prescribed the company’s drugs to their patients–I feel relief, satisfaction, and a small measure of pleasure, knowing that I didn’t end up doing any work for this disreputable pharmaceutical giant.

399

The Colors in a Writer’s Mind–John D. MacDonald & Travis McGee

Scarlet Ruse
According to this National Post column by Robert Fulford that I tweeted about earlier, Random House is reissuing all 21 of John MacDonald’s Travis McGee novels, and some of his books that were not in the McGee series. I hope they include in the latter group, The Executioners, the book that was adapted for the movie “Cape Fear,” in the first instance starring Robert Mitchum, Gregory Peck, and Polly Bergen (1962) and later, Robert De Niro, Nick Nolte, and Jessica Lange (1991). The McGee titles were all color-coded, so readers could remember which ones they’d read, and which they’d missed. I am glad to see they’re coming back, as paperbacks and ebooks. I love these books and have blogged about them frequently in the past couple years. I had first found this John D. MacDonald fan page on Facebook, where I discovered the Fulford column posted by a fellow fan. At Undercover Books, where I worked from 1978-85, we stocked and sold and reordered all these titles. Most of the books in the gallery below were in the library of my late brother, Joel Turner, which I brought in to my own library after his death in 2009.

400

May 4th, a Key Date in My Life at 3 Critical Junctures

May 4, 2018—On this date forty years ago, I opened Undercover Books in Cleveland with my sister Pamela, brother Joel, and our parents Earl and Sylvia. Below is one of my favorite posts I’ve ever written and shared from this blog about this date in my life.
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I published a version of this post on May 4, 2012, and have now updated it for 2013-14 with additional material, such as Crosby, Stills, Nash & Young’s “Ohio,” as you’ll see below. The comments below are from the 2012-13 posting–you’re welcome to add your own.

May 4, a big date on my personal calendar

On this date in 1970 I was fifteen. That afternoon, around 4:30, I was standing on a sidewalk in downtown Cleveland, waiting for my sister Pamela to get off her job at Halle Bros., a local department store. Nearby, a delivery van pulled up, with the name of the evening paper, Cleveland Press, emblazoned across its side. The back door of the van rolled up and a worker began tossing bundles of that afternoon’s edition off the truck. It was a real “Front Page” moment, as in old movies when a swirl of numbered calendar pages and newspaper print resolves in to a splashy headline of bold, readable type and a brash reporter rushes off to get the rest of the story. Only this time, it was not a funny, Capraesque moment. In weirdly unfolding slow-motion I watched a particular bundle roll toward me until it landed above the fold, headline up. Like seeing a license plate in front of one’s eyes during a car accident—and remembering the combo of digits and letters forever—I read the inches-high black type: Four Students Shot Dead On Kent Campus. For several days prior, I had been following the antiwar demonstrations at Kent State, about thirty miles from Cleveland, and I knew that Ohio Governor James Rhodes had deployed armed troops to the campus. Pam soon joined me on the sidewalk and I told her the disturbing news. We shared our shock and dismay and probably dropped whatever we had been planning to do, though I have no memory after telling her about the newspaper headline. I recall that little more than a week later I heard on local radio Crosby, Stills, Nash & Young’s recording of “Ohio.” It was as if Neil had written a musical version of an instant book, as is still done in the book world after a terrible catastrophe. In fact, in Neil’s recent memoir Heavy Peace he recalls quickly writing the song and the alacrity with which they recorded it, pushing the acetate copies of the song out to radio stations, before the vinyl 45s had even been pressed. Here’s a youtube version of the song from the Neil Young online archive. Thanks to Neil for making this sharable, as other versions of the song are not.

https://youtu.be/hxl9R_2ax-8

Eight years later, May 4, 1978

Pamela, our brother Joel, our parents Earl and Sylvia, and I all opened Undercover Books, the bookstore that would define our lives for many years. When I was graduated from Franconia College a year earlier, with a BA in Philosophy of Education and History of Religion, I had imagined I might work for the Anti-Defamation League or some similar organization. I certainly hadn’t thought of working in a bookstore, but my siblings—with Pam having worked in department stores, and Joel at Kay’s Bookstore in downtown Cleveland–had the idea of opening a bookstore in our home suburb of Shaker Heights, where despite it being an affluent and well-educated community, no bookstore had ever been located. We were fortunate in our timing, for in Cleveland, as in several other midwestern cities, book retailing was migrating from the downtown core to the suburbs. Undercover Books caught on right away, and I got what amounted to a graduate education, provided by bookselling. As buyer for adult books for what would become our three-store indie chain, I met every day with bookbuying customers and browsers. We were regularly called upon by publishers’ sales reps, and became a go-to store for houses eager to break out books on the national scene. Notable authors who launched books at the store included Mark Helprin (Winter’s Tale), Richard North Patterson (The Lasko Tangent), and Walter Tevis (Queen’s Gambit). I was with the bookstores for seven years before moving to New York City, and have written more about the transition here on this site. The bookstore proved to be a gateway to my career in the book business and it all began on this date thirty-six years ago today.

Another nine years, May 4, 1987

Now working as an editor at Walker & Company, my first full-time position with a publishing house, I was in the happy position of telling my author Ellen Hunnicutt that her novel, Suite For Calliope: A Music and the Circus—the first book I signed up on arriving at the company, and which was to be published that summer—had just received a starred review in Kirkus. Ellen was very excited as I read her the whole review with lines like these, “An extraordinary first novel that, in its remarkable inventiveness, intelligence, and charm-struck humanity, should draw—and more than richly reward—readers of almost every inclination. . . . A prodigiously masterful novel of profundity, breadth, and continual delight: waiting now only for what ought to be its very, very many readers.” Note I read it to her, and didn’t fax it, probably because neither one of us had one. What added to the special quality of the occasion however was that this day, May 4, was also Ellen’s birthday. You can read more about how I came to discover Suite for Calliope in this essay elsewhere on this blog.

Nowadays, when May 4 rolls around again, even if nothing so deeply tragic or personally historic is occurring in that given year, I marvel at it all. For now, I’m just really glad I created this site over the past couple years, so that this year, I have a proper venue to share my memories of May 4, from 44 years ago, from 36 years ago, and from 27 years ago.

The pictures seen here were taken in what we called “the middle room” at Undercover Books, where we placed a comfortable rattan couch. The black Labrador is our dog Noah, whose ear Joel is massaging. I am wearing the same style of pink eyeglass frames as I wear nowadays. I’ve told the story of how Joel and I came to get Noah at a dog pound in Deadwood, South Dakota, on a cross-country road trip in the summer of 1970, on a biographical blog post I tweeted out it a few months ago, with a picture of Noah and me that I cherish. I miss them both, Noah who passed in 1982, and Joel in 2009.