We enjoy going to the neighborhood movie houses in San Francisco, though there are fewer each year. I've lost count of how many have closed since we moved here twelve years ago. I wrote about one, The Clay, last year. It's still up and running and is thriving on art films and midnight showings of The Room, The Rocky Horror Show, and Halloween.
We recently went to the Balboa to see The Rock, the 1996 action flick set in San Francisco. Among other things, the movie is a contest to see who can deliver the best tough-guy line. Competition was intense between Ed Harris, Nicolas Cage and Sean Connery , but, judging by audience reaction, Connery was the favorite.
However, the biggest cheer of the night was for the aerial shot of the bay blanketed by fog. Fog rules!
The retrospective showing was organized by two columnists for the San Francisco Chronicle, Heather Knight and Peter Hartlaub. They hosted a trivia quiz before the movie started and handed out prizes. Then a guy in full Scottish tartan marched down the aisle of the theater playing "Scotland, the Brave" on bagpipes.
"Well," I thought, "why not?" Later my dear one suggested to me that this may have been a subliminal effort by local Scots to boost Connery's profile with the audience . . . as if Sean Connery needs an boosting!
This pedestrian mall interrupts Buchanan Street in the neighborhood called Japantown. This is where immigrants from Japan settled in the early twentieth century, but back then these blocks where covered with typical San Francisco Victorian-style houses.
All those houses were bull-dozed as part of an urban renewal project in the 1960s. That was possible because the neighborhood had been ruined by the internment of citizens of Japanese ancestry after the attack on Pearl Harbor, December 7, 1941.
Today this development covers six square blocks and includes shopping malls, hotels, churches, and cultural institutions. The Buchanan-Street mall includes several sculptures by Ruth Asawa, a renowned artist who as a child was interned along with her family.
Although it was never again a Japanese neighborhood, Japantown became a living history museum for the Japanese community.
The store on the right is Soko Hardware. "Soko" was the immigrants' nickname for San Francisco.
Perhaps because I just finished writing and editing my fourth mystery novel, I am feeling the need for some perspective on the craft. I enjoyed Lawrence Block's Writing the Novel from Plot to Print so much when I read it in 2017 that I read it again last year. I thought about reading it again this year, but somewhere I saw that Block had written several books on writing.
At first I wasn't enthused about Telling Lies for Fun and Profit, because it is described as "a collection of his slightly re-edited fiction how-to column from Writer's Digest." But I am finding in this book the same comfortable blend of instruction and memoir that I found in his first book for writers.
For instance, his chapter on "Creative Procrastination" clarifies my thoughts on when to let an idea ferment and when to get on with writing it down. He illustrates with the story of how his idea for Code of Arms was with him for a few years before he wrote it.
You don't have to take my word for the usefulness of this book. In her introduction, Sue Grafton wrote, "In the early years of the Kinsey Milhone series, I made a point of reading Telling Lies for Fun and Profit before beginning each new book."
By the way, my fourth mystery novel, Dark Portrait, will be available next month! I'll send out the details next week.
With Elvis Cole and Joe Pike, Robert Crais created a classic crime-fighting duo. Elvis is the all-around good guy who who has mad people skills. Elvis reminds me of Archie Goodwin in the Nero Wolfe novels by Rex Stout and Dr. Watson in the Sherlock Holmes stories.
Joe Pike is the eccentric genius who has almost no social skills. He rarely speaks. His only facial expression is when the corner of his mouth twitches. Since Crais's books are set in twenty-first-century America, Joe Pike's genius is for violence. He has elite military training and experience as a mercenary. Unlike Nero, Sherlock, or Hercule, he does not solve the crime by deduction.
Also as in other series, the good guy is the storyteller. Like Dr. Watson and Archie Goodwin, Elvis Cole tells us how he and his friend caught the bad guys. This lets readers imagine what life would be like if their best friend was the smartest guy in the room or, in the instance of Joe Pike, the badest.
Robert Crais's latest novel, A Dangerous Man, drops the good-guy narrator in favor of multiple points of view. Elvis still narrates the chapters in which he takes the lead. When Joe or the bad guys take the lead, their chapters are narrated in the third person. Their actions are not filtered through Elvis's point of view.
I would prefer having Elvis tell me the story. It will be interesting to see what Crais does in the next book.
The Snatch is the first of Bill Pronzini's "Nameless Detective" novels. When he meets another character, instead of saying his name, the detective narrates, "We introduced ourselves." And throughout the novel, no one addresses him by name.
This would seem like a tactical error. Readers are loyal to detectives such as Kinsey Millhone, Harry Bosch, Jessica Fletcher, Sherlock Holmes, and so on. But though he lacks a name, reader's have been faithful to Pronizini's detective. He has published 46 nameless detective novels since 1971.
"Nameless" is in many ways a mainstream American hard-boiled private eye. He struggles with addiction (cigarettes), fails in his relationship with the woman in his life, and is idealistic about his profession.
Mostly, I think, "Nameless" has lasted because Pronzini tells a good story. He had me guessing about who committed the kidnapping referred to in the title. And he creates a realistic feel for San Francisco, where the story is set.
Susan Hunter's Dangerous Habits starts with journalist Leah Nash out in a storm watching to see if a tree floating down a flooded river will destroy a dam that supplies hydroelectric power to a town.
Safety crews drag the tree to the banks in time, but in the process they make a grim discovery. Nash's effort to report that discovery leads to darker revelations that set her on a personal quest.
Perhaps because Hunter is a veteran journalist, Nash thinks like a journalist and the book is written in crisp, efficient prose. I had no hesitation about making the journey with this protagonist.
Hunter gives Nash a fairly long list of suspects and quite a few allies. The book runs about 80,000 words and is well-structured. Complications and revelations happen at regular intervals.
I was most impressed by the subjects Hunter addresses. As Nash whittle's down that list of suspects, she reveals the sources of evil. They are as current today as they were when the book was written in 2014.