Month: September 2023

by K.P. Gresham

The 54^th Bouchercon National Mystery Convention in San Deigo honored Sara Paretsky with the David Thompson Memorial Special Service Award. This award honors the memory and contributions to the crime fiction community, and Sara Paretsky, a force of nature to be sure, certainly deserved this recognition.

Bouchercon, the largest and oldest mystery fan convention in the world, is a non-profit organization that relies on mystery fans. The four-day event highlights books in all the forms that “mystery” covers. Featured speakers at this year’s event included David Baldacci, Ann Cleaves, C.J. Box and Kate Carlisle.

Now let’s talk Sara Paretsky. When she introduced V.I. Warshawski in her 1982 novel, INDEMNITY ONLY, Paretsky revolutionized the mystery world. By creating a female detective with the grit and smarts to take on the mean streets, Paretsky challenged a genre where women were historically vamps or victims. INDEMNITY ONLY was followed by twenty more V.I. novels. Paretsky’s books are international best sellers, appearing in almost thirty languages.

While Paretsky’s fiction changed the narrative about women, her work also opened doors for other writers. In 1986 she created Sisters in Crime, a worldwide organization to advocate for women crime writers, which earned her Ms. Magazine’s 1987 Woman of the Year award. More accolades followed: the British Crime Writers awarded her the Cartier Diamond Dagger for lifetime achievement; BLACKLIST won the Gold Dagger from the British Crime Writers for best novel of 2004.

Called “passionate and “electrifying,” V.I. reflects her creator’s own passion for social justice. After chairing Kansas University’s first Commission on the Status of Women as an undergraduate, Paretsky was a community organizer on Chicago’s South Side during the turbulent race riots of 1966. Since then, Paretsky’s volunteer work included advocating for healthcare for the mentally ill homeless; mentoring teens in Chicago’s most troubled schools and working for reproductive rights. Through her “Sara & Two C-Dogs foundation, she also helps build STEM and arts programs for young people.

Hats off to Bouchercon for honoring this incredible woman. And Sara Paretsky, thank you for opening the mystery writing world to women.

K.P. Gresham, Author

Professional Character Assassin

K.P. Gresham is the award-winning author of the Pastor Matt Hayden Mystery Series as well as several stand-alone novels.  Active in Sisters in Crime and the Writers League of Texas, she has won Best Novel awards from the Bay Area Writers League as well as the Mystery Writers of America.

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Books by

K.P. Gresham

Three Days at Wrigley Field

The Pastor Matt Hayden Mystery Series

The Preacher’s First Murder

Murder in the Second Pew

Murder on the Third Try

Four Reasons to Die

By

Francine Paino, aka F. Della Notte

Mundane worlds can become amazing when writers are plunged into them. Looking through old family photographs, I came upon a picture of a handsome young man whose start in this country could have been better. He worked as a pin-boy in a New York City Bowery bowling alley a hundred years ago. My story, The Runaway Pin Boy, was inspired by this long-deceased uncle’s difficult adjustment to a new country and culture.

 Francesco Libretti was born in Sassano, Italy, in 1910, emigrated to the U.S. in 1921, and by age 14, he began his short-lived career as a runaway who found work as a pin-boy in a Bowery bowling alley, but here, the similarity stops. 

But where did it begin, what was it like back then? How were the mechanics of setting up pins handled?  

Bowling. A sport that feels as American as Apple Pie is not an American invention. It’s traced back to ancient Egypt, 5200 years ago, in articles found in the tomb of an Egyptian child. Described in its primitive form, nine pieces of stones were set up, and a rounded stone “ball” was rolled to first make its way through an archway made of three pieces of marble. The sport spread from its Egyptian roots into Western Europe, and was brought to the U.S. by the first English and Dutch settlers. It gained popularity through the mid-1800s, played by men only, as it was not the clean family sport we enjoy today. Thus, it faltered when the do-gooders associated it with gambling. Any yet, by 1850, there were four-hundred plus bowling alleys in New York, earning the city the title “Bowling Capital of North America.”

The sport revived in the late 19th century and remained popular during the Great Depression, at least for those with a disposable income. Bowling was a game for  roughnecks and the wealthiest who could afford to build their own private lanes. For the common man the game took place in honky-tonk bars where lanes were built to increase income, with or without alcohol,  and by 1939, there were 4,600 bowling alleys across the U.S. 

Until 1952, when the automatic pin-setters were introduced, picking up and resetting the pins fell to pin boys, often called pin monkeys. They stood at the end of the lanes, perched on narrow ledges or standing up in trenches, waiting for the heavy balls to fly down and slam the heavy wood pins. The pin boys then scrambled to each lane, reset the pins, and gave the heavy ball a hard enough push to get back to the bowler but not hard enough to roll off the track and upset the player in any way. And if he did, there were consequences.

Pin boys were kids, mostly teens, and despite their young years, they were tough characters,  paid meager wages and often taken from the Skid Rows of cities, including New York City’s Bowery. It was hard labor and resulted in frequent injuries, including  broken ribs, severely bruised chins, arms, hands, and smashed fingers, especially when the bowler threw the ball extra hard and fast, just to see if they could make the pins fly.

In the 1830s, the Knickerbocker Hotel in New York City opened three lanes, using clay instead of wood, but no matter the surface, the pin monkeys were at the end of every alley, hoping they wouldn’t be too injured to work again the next day or night. 

Although Child Labor Laws were codified in New York in 1913, these youngsters slipped through the net by lying about their age or being hired by unscrupulous owners. The lives of the pin boys in those early years of the sport were not enviable, but many were willing to endure physical and psychological pain in order to eat.

In The Runaway Pin Boy, the year is 1925, In the Lower East Side ghetto of New York City, known today as Little Italy.  Frankie Martone’s mother dies of consumption, and his alcoholic and destitute father abandons him. After witnessing what happens to other immigrant children without families, Frankie flees the authorities, deciding to fend for himself in the anonymity of Skid Row. He learns to beg, borrow, or steal. One night, while he rummages through a trash pail outside the Pin King bar,  a formidable man stinking with sweat and cigar smoke grabs him by the collar. 

“Whatcha doin’ there, boyo?” asks the barrel-chested man with a grizzly turned-up mustache.  Frankie didn’t answer, afraid his thick Italian accent would get him kicked down the street.

“You’re a straggly lookin’ thing, but I need another boy inside. Let’s see what you can do. “He flings Frankie through the door to the bar. “Hey Joe,” he yelled in his Irish brogue. “Broughtcha another.”

Turning to Frankie, he thrusts him forward and points to the trench behind the bowling lanes. Frankie sees a ledge of boys sitting and three more in the trenches. The thunder of balls rolling down the alleys, pins flying and falling, and drunks yelling was deafening, but Frankie understood what needed to be done, and jumped right in.  

That was the first night of Frankie’s life as an overworked, underpaid, often injured pin boy determined to get out of this nowhere life on the fringes of Skid Row. 

by Helen Currie Foster

You go to a play, you’re reading the program, you’re waiting for the curtain to go up. It does. And onstage a character comes alive. You not only believe in that character—suddenly you feel that character is real.

After the play, in the lobby, out comes a chattering group of actors, one of whom is—the character you believed in! But it’s merely…another human being!

This happens to me over and over at Austin Shakespeare productions. I remember sitting riveted, watching Othello preparing to smother Desdemona, his face just a few feet from the front row of the Rollins Theatre. “No, no!” I wanted to scream. Minutes later, still quaking from the death scene, I watched the actors come back out for their traditional after-talk with the audience. I watched brokenhearted Othello plop down in a folding chair and grin at us––morphed from Othello into actor Mark Pouhé. At Free Shakespeare outdoors in Austin’s Zilker Park I held my breath, watching young Romeo climb the balcony to talk with Juliet, enchanted––like Juliet––by every word he uttered. Then at intermission, still in costume, actors came out and climbed the hillside, shaking buckets for donations, including…Romeo! Jarring to think he’d time-traveled from sixteenth century Verona to an Austin hillside. https://www.austinshakespeare.org/

You may be thinking, “I know all about that––it’s just the ‘willing suspension of disbelief.’ Coleridge, right? Maybe you’ve just got an aggravated case!”

https://en.wikipedia.org/wiki/Samuel_Taylor_Coleridge

But the question is—how exactly can actors do that? Maybe because Shakespeare has made Othello and Romeo so active, so appealing, so fascinating, so human, so alive in their loves and hates, that we believe in them, and we must hear their story. Others call such fixations our willing contract with actors, in exchange for being entertained––so long as the illusion is not spoiled. See The Actor’s Edge Online, https://www.youtube.com/watch?v=zdGM7QzFJhM

As always, Shakespeare says it best. In the Prologue to Henry V, his Chorus begs the audience to use their own imaginations to make the small wooden stage come alive with the war between the “two mighty monarchies,” England and France:

“Think, when we talk of horses, that you see them/

Printing their proud hoofs I’ th’ receiving earth./

For ‘tis your thoughts that now must deck our kings,/

Carry them here and there, jumping o’er times,

Turning the accomplishment of many years/

Into an hour-glass…” Henry V, Prologue.

That’s genius.

Coleridge himself recalled his agreement with Wordsworth as follows: that while Wordsworth would write poems about the charm of everyday things,

“It was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith.” (Emphasis added.)

https://en.wikipedia.org/wiki/Suspension_of_disbelief [Also spoken of as “the concept that to become emotionally involved in a narrative, audiences must react as if the characters are real…”] https://www.oxfordreference.com/display/10.1093/acref/9780199568758.001.0001/acref-9780199568758-e-267

By buying a theatre ticket, or a movie ticket, we’re inviting an agreement like the one between the child who begs, “Tell me a story!” and the adult who responds, “Once upon a time…” In those two phrases, the contract is made. The child agrees—likely longs––to suspend disbelief, and the storyteller promises a world where the unexpected (even the unbelievable) can happen. Talking animals…bears with beds and chairs…

You and I happily suspend our disbelief when the characters become real to us, even though the events may be beyond “belief.” Harry Potter! Indiana Jones and the Dial of Destiny! Lord of the Rings! Star Wars!

What does this have to do with mysteries? At least the protagonist in any mystery must come alive for us. If you’re a Louise Penny fan, you appreciate how Gamache smiles at his wife, how he strokes his dog. As for Donna Leon’s Inspector Brunetti, I know him well; I’ve followed him upstairs to his Venetian apartment so many times, practically huffing with him on that last staircase. I’ve watched him choose a panini to have with coffee in his favorite coffee bar—indeed, I can practically smell the espresso. I’ve stood with him in the police boat as it bounces across the lagoon to a murder scene. He’s become so familiar, so…well, real to me. V.I. Warshawski in the Sara Paretzky novels? I know the emotion she feels when she touches her mother’s cherished wine glasses, I feel my blood pressure rise with hers over injustice. And Robert Galbraith’s team, Robin and Cormoran? I ache with the pain of Cormoran Strike’s prosthetic as he runs, trying to catch a suspect; I feel Robin’s fear as she opens a door to a dark hallway. I peer over Joyce’s shoulder as she writes in her journal in Richard Osman’s The Thursday Murder Club series.

A story (play, movie, mystery novel) demands a setting in which the protagonist comes alive for us. We’ve suspended disbelief when our favorite mystery characters no longer exist merely as ink on a page, as lines in a Kindle. Coleridge’s goal was to create “a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment.” We’re interested in what happens—a “semblance of truth”––to a character who arouses our “human interest.” The author, actor, director, has made us feel in league with our favorite characters. We’ve become collaborators with them, sharing their adventures, their frustrations, their fears. Suspending disbelief may be why we’re so anxious when our protagonists face danger, why we’re indignant when they’re treated badly, why we’re so relieved when they’re vindicated.

Of course a mystery plot may challenge imagination. The perfectly timed rescues in Daniel Silva’s spy thrillers…and the magnificent art restoration skills of his hero, Gabriel? The exquisitely choreographed capture and totally successful interrogation of Grigoriev in John Le Carré’s Smiley’s People?

Or the clever solutions deftly reached by ex(?)-spy Elizabeth and her friend Joyce at a foreign agent’s swimming pool suspended high above London, in The Bullet that Missed? https://amzn.to/45NxJlE

Knowing how reality usually works, we worry how plans go awry, how colleagues disappoint, how villains can foil. We shake our heads, fearfully anticipating that the plan will fail, and our character’s bluff will be called. But we’re still hoping, and holding our breath every second. And we keep turning the page.