Tag: Novels

Ron Corbett: Maestro of Hinterland Noir

A.M. PotterLeave a comment

A century ago, in the time of Arthur Conan Doyle (of Sherlock Holmes fame), there were relatively few detective novelists. Not so today. There are hundreds of excellent (and prolific) detective/mystery novelists. Take Canadian Ron Corbett, an Ottawa-based author whose novels have been nominated for both the Edgar and Arthur Ellis awards.

Corbett is the epitome of prolific; he’s published four novels in the last five years. The first, Ragged Lake (2017), set in an abandoned village on the Northern Divide, is the opening salvo in the Detective Yakabuski series. The Divide, a fictionalized Canadian hinterland, is beautiful but unforgiving. Frank Yakabuski is as no-nonsense as Ian Rankin’s John Rebus. He’s also as well-drawn. Ragged Lake is a paragon of descriptive prose, as are the next two novels in the series, Cape Diamond (2018) and Mission Road (2020).

Continuing the Ian Rankin comparison, like the master of Scottish Noir, Corbett doesn’t dish out genteel whodunits. [Fans of cozy mysteries, be aware.] Corbett’s fictional violence isn’t gratuitous; it’s part of life on the Northern Divide. Yakabuski is the perfect cop for the region: hard-nosed yet imbued with a deep, one could say, mystical sense of the Divide.

After the Yakabuski trilogy, Corbett moved to the wild timberlands of Maine with The Sweet Goodbye (2022). The protagonist, Danny Barrett, is an undercover FBI agent. Like the Yakabuski novels, The Sweet Goodbye is a complex tale of deceit and retribution. Unlike them, the Maine novel has a major female character, which softens the plotline — in my view, to good effect.

At the risk of stepping into quicksand, let’s look at male vs female characters in the detective/mystery genre. {If you don’t want to step with me, please go to the last paragraph.} Consider Ian Rankin’s fictional world. He portrays women deftly, but the cops, murderers, and victims are mostly male. In my reading experience, the more hard-boiled a novel, the smaller the role women play in it. Of course, there are exceptions to the rule, such as the Dragon-Tattoo series with Lisbeth Salander.

I realize there’s an element of sexism in what I’m saying. ‘What, AMP, women can’t be tough or bad-ass?’ Sure they can. Take Salander again. I tend to look at the male-female continuum in terms of realism, not sexism. If females dominate an author’s fictional world, the reader shouldn’t expect males to play main roles. And vice versa. When males dominate a fictional world, you don’t often find numerous influential females. In my view, that’s fictional realism, not gender myopia. It’s up to the author to decide where they want to fall on the continuum. Readers will follow if they wish.

Bottom line: As a reader, when I’m not interested in a story, when the male-female continuum doesn’t ring true, I drop the book. Which I didn’t do with Corbett’s novels. I read all of them to their vivid ends.

For more information on Ron Corbett, see his website.

Elmore Leonard – More Hemingway than Hemingway

A.M. Potter2 Comments

Elmore Leonard lived most of his life in Detroit, a working-class city, a ‘waste-not, want-not’ city. It’s no surprise he didn’t waste words in his fiction. Papa (Ernest) Hemingway is regarded by many as the ‘Father of Succinct Prose’: few adjectives, fewer adverbs. If Hemingway is the father, Leonard is the first son. In my view, he’s more Hemingway than Hemingway.

Leonard isn’t a traditional mystery writer. He doesn’t focus on sleuths trying to solve crimes. Instead, he delivers what I call Crime + Suspense. He keeps you guessing. You know the ‘hoods’ in his novels are going to pull a heist or execute a hit, but you don’t know how or when they’re going to do it.

Leonard generally writes from the point-of-view (POV) of criminals. In Get Shorty, for example, he creates an ambiance that sympathizes with – if not glamorizes – the criminal world.

As an aside, the majority of mystery novels feature detective leads, not criminal leads. When mystery authors use a murderer’s POV, to keep the whodunit in play they hide the murderer’s deepest thoughts – thoughts of murder. I’m not a big fan of using a murderer’s POV in a mystery novel. Not that it can’t work. An author can be inside a murderer’s mind, but not reveal everything that’s going on in there. Or, if the author reveals who the murderer is, they can keep the reader on the hook by slowly unveiling the how and why. In a sense, they deliver a howdunit.

Back to Elmore Leonard. He often presages what will happen near the start of a book, and then unravels how it happened. He knows how to tell a story: clean and fast, with lots of snappy dialog. That’s the signature of an Elmore Leonard novel. It’s noir, just not mystery noir.

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

A few excerpts from the Leonard opus ….

A male character called Foley to Dawn:

“Tell me, what is it about a girl’s navel? It catches the eye and won’t let go.”
“I suppose,” Dawn said, “because it’s right in the middle of the playground.”

Two “criminal” characters:

“I’m saying we’re all friends,” Frank said. “Kindred spirits. Birds of a feather.”
“Man,” Sportree said, “you need some new words.”

New Odysseys

A.M. PotterLeave a comment

The word novel is derived from the Latin novellus. As an adjective, novel means new, fresh, unique. Centuries after its birth, it also began to be used as a noun meaning story. ‘Hey, AMP,’ you say, ‘enough of the etymology.’ Right. Onward.

Novels are adept at delivering ideas and emotions, as well as action, setting, and mood. If an author concentrates on one thing – for example, what people say – a novel can fall flat. Talk by itself isn’t dramatic. Discussion devoid of action is a debate, not a story.

We all expect different things from novels. In my case, I want them to tell a complete story. Not just that some guy, let’s call him Odysseus, travelled for years, but how and where he travelled, and when and why, and who helped or hindered him – which are all included in Homer’s epic.

Beyond that, I want novels to tell a new story. ‘But, AMP,’ you say, ‘nothing is ever new under the sun.’ Fair enough. However, there will always be twists and shades: different settings, fresh perspectives, new odysseys.