'The Choirboys' is very much a product of its mid-1970s time, especially in its two-dimensional portrayals of cop groupies Ora Lee and Carolina Moon, but the energy of Wambaugh's newfound, blackly comedic voice is a revelation, a trap-door opening into all facets of a policeman's world.
Writers of historical fiction are often faced with a problem: if they include real-life people, how do they ensure that their make-believe world isn't dwarfed by truth? The question loomed large as I began reading 'The Black Tower', Louis Bayard's third foray into historical fiction and fifth novel overall.
'Child 44' has no room for inconsequential choices because Stalinist Russia had no room for them, either.
Former CIA employee Joseph Weisberg's 'An Ordinary Spy' may attract attention for how much it redacts - whether by authorial choice or by CIA design - but its power comes from the growing frustration Weisberg's fictional alter ego feels at a system designed to betray seeming innocents in the most casual and cruel manner possible.
As an inveterate lover of mystery, cracking the code of a writer's true identity has the same effect, for me, as tasting forbidden fruit.
When a novel is based on an actual crime, it should do much more than loosely fictionalize it. The novel must stand alone as a work of art that justifies using the story for its own purposes.
I first read 'Lolita' when I was 16, which I think is a little bit young. But it was a thrilling and disturbing read because it was the first time I really sensed that you could have an unreliable narrator, that you didn't have to sort of tell the truth in a narrative, that there could be something deeper and richer and more complicated going on.
As I considered Parker and his absurdist reflection in the Westlake-authored 'Dortmunder' novels, I wrote, 'His natural ability to observe human behavior and to follow an idea, no matter how bizarre, through to its proper, rightful finish echoed the vision of an architect.'
Wambaugh's naturalistic portrait of the cop world turned 'Centurions' and 'The Blue Knight' (1972) into bestsellers, but his next two books made him relevant to a larger audience and to the next generation of crime writers.
Beginning in the 11th century, a less-fragmented Europe began to take shape, and what we now call medieval culture - in which literature and learning made a noticeable rebound - spread through much of the territory Rome had once dominated.
George V. Higgins's 'The Friends of Eddie Coyle' (1970) added an extra literary layer to the con novel; James Crumley's 'The Last Good Kiss' (1978) influenced countless writers and will be remembered forever for its opening line, quoted often in obituaries of the author.
In the summer of 1997, a little more than half a lifetime ago, I got my first proper summer job. The job, with one of the many branches of Canada's federal government in Ottawa, covered the entire tuition for my sophomore year of college.
One of the things that has puzzled me the most in my years of serious mystery reading is why there are relatively few standout books geared specifically for middle grade and young adult readers.
Novelists should be free to write whatever they want, to let their imaginations roam as close to or as removed from reality as they see fit.
The 500 years following the fall of the Western Roman Empire were dubbed by the poet Petrarch 'dark.' Although the 14th-century Italian was referring to a literary decline, the term caught on to denote the seemingly backward turn the Western world took with regard to religious and technological developments.
As Paretsky detailed in her short memoir Writing in an Age of Silence (2007), early optimism buoyed by the civil rights movement of the 1960s and early 1970s has, in her view, all but crumbled in the face of a bombardment of sadism and misogyny, the withholding of civil liberties, and the nation's move from proud speech into near-deafening silence.
A lot of the major players in the 1960s were the same as the 1940s and 1950s - Hitchen's 'Sleep with Slander.' Armstong's 'Lemon in the Basket,' which is a fusion of the political assassination thriller and a family drama. And Hughes's 'The Expendable Man.'
Film rights were in the offing for 'The Onion Field,' eventually made into a movie in 1979; 'The New Centurions' became a 1972 film starring George C. Scott, while 'The Blue Knight' starred William Holden in a 1973 mini-series version.
Having set its tonal template, Vertigo Crime laid low for a few months before starting in earnest at the beginning of 2010.
Vera Caspary wrote an essay called 'My 'Laura' and Otto's' where she talks about the arguments she had with Preminger. She felt that not only did he misunderstand the character but that he couldn't help but be misogynist.