I’ve read enough John le Carré and Eric Ambler and Robert Ludlum to grow suspicious when people carrying valuable items die moments before they reach their meetings with important officials.
We received several copies of this book at work last week. The cover alone caught my gaze, the blurb on the back sold the deal. The company files it under the genre “fiction: mystery” which is a section that I rarely read from (although Jo Nesbo and P.D. James are on my to-read list). I love the elements of a book that hold your attention rapt, so eager to find out what the hell happened or is going to happen. Everything about this book made it the easiest answer to the question “what do I read next?!” that I’ve had in a long time.
I’m on page 93 of 234 and already I’ve felt sick to my stomach once, and shocked by a turn or revelation several times. The style of writing has been unique and fluid during the first two sections. The content is captivating but heavy enough to leave your brain spinning with questions of humanity’s reaction to trauma and those who commit violent acts, and tensions in the relationship between age and the law.
DC Writers Spotlight: Greg Rucka
There’s no writing like Rucka writing, in my opinion. I really can’t think of a writer who has a greater hold on such a huge array of DC characters and narratives. For many of these characters, Rucka’s characterization is my standard.
If it has Greg Rucka’s name on it, you can guarantee I’ll give it a try.
Rucka’s Wonder Woman
Batman/Huntress: Cry for Blood
And everything he’s done with Kate Kane’s Batwoman.
I once bum-rushed a coked-up transvestite down a flight of stairs without spilling my beer. I was pretty proud of that, not spilling the beer.
Chatting with James Sallis About the Republication of Death Will Have Your Eyes
- The Reading Room: How does it feel to have the novel back out in the public eye (with a striking new cover!) for a generation of readers who perhaps missed it the first time?
- James Sallis: Well, considering that almost everyone seems to have missed it the first time, it feels great. Tremendous. The book’s had a tiny group of ardent fans over the years, was even optioned for some time, but it more or less remained among the good dishes you don’t bring out often.
- RR: Tell us about your writing process. Do you have a particular routine – things that you prefer to have in place – or is it more of a free for all? And has it changed over the years?
- Sallis: The thing I have “to have in place” is butt in chair, and that’s definitely become more difficult over the years. No more three- and four-hour writing jags; I can’t sit for more than forty minutes or so before I’m up, wandering about the house, reaching for a mandolin or guitar. There’s a lot more wandering about in the story itself, too: rummaging, poking it with sticks, seeing what comes to the top.
- RR: What needs to happen on page one of a novel to make for a successful book that urges you to read on?
- Sallis: The writer must lean close to me and whisper “I have something important to tell you.”
The stakes are not merely life or death, but the difference between a blundering through one’s life and fully possessing it.