Cisco – Flannery O’Connor meets Elmore Leonard in San Fran

Cisco by Jim White. Dark Passages Publishing. 2019.

Reviewed by A.M. Potter. ® 2019.

Cisco tells the tale of a cunning man, a kidnapper with a Biblical sense of wrath. The novella unfolds on the streets of San Fran. Its plotline is reminiscent of a Flannery O’Connor story. The reader gets religiosity and hard-scrabble life in equal measure. In addition to the O’Connor fictional MO, we are in Elmore Leonard land. White delivers Cisco with sharp, clear prose. There are no wasted words. We are immediately pulled into the story.

The protagonist, Cisco, knows his Bible, but he doesn’t turn his cheek. He’s a lawless evangelical. He has no apparent remorse. A speech impediment humanizes him. However, it turns out to be fake. Some think he’s a mad man. Is he ‘criminally insane’? I’d say not. He knows exactly what he’s doing. He’s a killer/kidnapper of Biblical, as in monstrous, proportions, both physically and mentally. His strength appears to come from God, and yet he is a Fallen Man (echoing Prospero and Caliban in ‘The Tempest’).

On the other side of the thin blue line, the antagonist, Detective Helen McCurda, is a seasoned cop with no quit. She’s tough, competent, and sympatico. She’s everything you want a cop to be. However, Cisco is the engine of the story. His actions and complex personality move the plot forward. As in Leonard’s novels, the criminals in Cisco are far more interesting than the cops. I like that. The cops can’t always be the stars. But I do have a minor complaint – which is really a compliment. I want more of Cisco. The story ended too soon.

The King of California Noir

Who’s the King of California Noir? Michael Connelly. Some might say Raymond Chandler (his protagonist was Philip Marlowe) or Dashiell Hammett (Sam Spade). Others make a case for Alfred Hitchcock. You don’t have to be a writer to be the King. However, in my eyes, Connelly is the reigning King of California Noir. His output surpasses that of Chandler or Hammett, but that’s not all. Harry (short for Hieronymus) Bosch, Connelly’s protagonist, is a more realistic and enduring lead than either Marlowe or Spade.

This post circles Connelly’s Bosch series (it doesn’t review a particular novel). The Detective Harry Bosch novels are set in Los Angeles. Bosch is an LAPD detective. He’s a Vietnam vet, a former “tunnel rat” who operated in the vast underground mazes used by the Vietcong. He has no pretensions, and no patience for those who do. He’s tough and diligent, but he’s not a wooden macho man, not overly taciturn or snarky. Unlike Sam Spade, for example, Bosch is not hard-boiled to the core, which makes him an easier man to know. Hammett shows very little of Spade’s emotions and only the manly side. After all, Spade was a hard-edged dick. I’m not denigrating Hammett’s fictional MO. He wrote in the 1920s and 30s; hard-boiled was the schtick.

Connelly’s Bosch novels deliver plenty of explanatory details, making it easy to follow the story. Admittedly, that can slow the pace. He’s partial to what I call Hollywood plotting, such as extended car chases, but, hey, the books are set in LA. He’s more mainstream than Ian Rankin, for example. In some places, Connelly’s info-dumps are too long. Ditto for his police procedural details. At times, the prose is workman-like, which is not surprising given his prodigious output, almost a book a year. I’m OK with all of that. I get sharply plotted whodunits. I get a tough yet sympatico protagonist. I get LA.

A few quotes from the Bosch opus ….

“Bosch knew every trick there was when it came to planting obfuscation and misdirection in a murder book. He could write a how-to manual on the art of turning the [pre-trial] discovery into a nightmare for a defense lawyer. It had been his routine practice back in the day to redact words in reports without rhyme or reason, to intermittently remove the toner cartridge from the squad room photocopier so that pages and pages he was turning over were printed so lightly they were impossible or at least headache-inducing to read.”

“Bosch never got used to viewing crime scenes. He had been to hundreds of them and seen the result of human inhumanity too many times to count. He always thought that if he got used to it, then he had lost something inside that was needed to do the job right. You had to have an emotional response. It was that response that lit the match that started the fire.”

What is it about the Crime/Mystery Genre?

Why do so many people read crime/mystery fiction? Why do so many watch crime/mystery creations? Think contemporary cozies, historical ones, true crime, CSI spinoffs, law and order procedurals, etc. Why the interest?

The number of crime/mystery novels published annually is right up there with romance novels. Crime/mystery stories are central to our current cultural milieu. People must get something out of the genre. Of course, there’s the voyeur element. “Look, he’s bloodier than buffalo guts.” “Hey, her head’s half there. That incision looks like shark teeth.” 

I know what I like writing about crime fiction: the push to tell a tale, to put plot first and prose style second. See my blog on deserting James Joyce and going to the dark side.

I’m not a psychologist. However, I’m going to take a stab at answering why people find murder mysteries so fascinating. Violent unexpected death is horrendous. People cannot or do not want to face it directly. One way of handling murder, one way of coming to terms with the worst of all human crimes, is to watch someone solve it. “Look, they caught the bastard.”

Perhaps crime fiction is soothing. It conquers evil, and somehow puts the world in a positive light. Good guys win, bad guys go to jail. On the flip side, I could be barking up the wrong tree. Maybe people just want blood and guts.

I went to the Dark Side. I’m glad I did.

I once wanted to write literary fiction. I loved reading literary fiction, so why not? The more obscure the prose and plotline (read: lack thereof), the more I loved it: James Joyce, Samuel Beckett, Thomas Pynchon.

I wanted to write a Finnegans Wake redux. I even read Finnegans Wake. It took me a whole summer. I was an undergraduate with a night job so I had the time. I read all the books you needed to approach Finnegans Wake: the skeleton key, the concordances, the academic treatises. And then I read the opus itself. To the last page: 656. Approximately 200,000 words.

People were impressed; well, some people. Had they read it? No. In fact, no one I knew had read Finnegans Wake. Anyway, I tried to write like Joyce. Bad idea. I eventually realized writing FW-like fiction was a lost cause. Who’s read all of FW (apart from academics)? I deserted literary fiction. You could say I became a traitor. I went to the dark side – the Noir side. Hallelujah!

I started reading genre fiction, specifically crime/detective fiction. Why? I wanted to read a damn good story, not damn good (supposedly) prose. I wanted storylines and whodunnit puzzles, not prose pyrotechnics. Then I started writing genre fiction.

I’m very happy to be in genre land. Does that mean I don’t read literary fiction? No. Does that mean I’ll never write literary fiction again? No. Never say never. Change prose styles when you want to, and change back again. Write whatever you want – in any style you want.

Author Introduction

A little intro. I write detective fiction, which I call North Noir, set in Northern USA and Canada. You know what they say? “Leave your Scandinavian Noir in the sauna. It’s time for North Noir.”

On the bio side, I grew up in North America, mostly in Canada but also the USA. I’ve traveled the world using numerous aliases (for non-nefarious purposes, of course). You’ll have to take my word on that. I’ve lived and worked abroad, mainly in the USA. I see America through a bifurcated lens, that of a Canadian observing and dissecting, close yet miles away.

Keep coming back. I post blogs about writing detective fiction as well as fiction in general. I post book reviews. I’ll keep you up-to-date on the North Noir novels. They follow prescribed narrative conventions, such as the inclusion of forensic detail, yet the prose isn’t formulaic. It’s as important as the plot. Welcome!

The first North Noir novel, Bay of Blood, is available in stores and online, as are the first two novels in the DETECTIVE BOURQUE Series: The Color Red and Silver Moon Rising. Click here for sales details.

Kudos for the Detective Bourque Series: “Impressive series launch. Fans of intelligent procedurals will hope for a long series run.” ~ Publishers Weekly

A.M. Potter is an Edgar Award and an International Thriller Writers Award nominee and a recipient of Canada Council and Ontario Arts Council Grants.

Don’t strive to write literary fiction, write damned good fiction. Anonymous