Showing posts with label Daniel Woodrell. Show all posts
Showing posts with label Daniel Woodrell. Show all posts

Monday, September 13, 2010

Daniel Woodrell in today's Shelf Awareness

Daniel Woodrell (Tomato Red; Winter's Bone) takes part in today's Shelf Awareness Book Brahmin... He answers such questions as what's on his nightstand now, the book that changed his life, and more. Go here to read further.

See Mr. Woodrell at Bouchercon next month in San Francisco and in November at NoirCon!

“There are writers who break all boundaries and break your heart with the sheer level of their art. Daniel Woodrell is not only the most truly humble writer I’ve encountered but one of the very few I refer to again and again to learn how true poetic writing is achieved. His on-the-surface simple style conceals a master craftsman at work. There is no writer I know I would love to devote a whole novel to just quoting from his work. There are crime writers . . . literary writers . . . and then . . . Daniel Woodrell. Nobody comes near his amazing genius and I very doubt anyone ever will.”—Ken Bruen, award-winning author of London Boulevard

Wednesday, July 28, 2010

TOMATO RED excerpt

Tomato Red
(by Daniel Woodrell; foreword by Megan Abbott; Busted Flush Press; 978-1-935415-06-0; $15)
© Daniel Woodrell, 1998, 2010

1

Theme Park of Fancy

YOU’RE NO ANGEL, you know how this stuff comes to happen: Friday is payday and it’s been a gray day sogged by a slow ugly rain and you seek company in your gloom, and since you’re fresh to West Table, Mo., and a new hand at the dog-food factory, your choices for company are narrow but you find some finally in a trailer court on East Main, and the coed circle of bums gathered there spot you a beer, then a jug of tequila starts to rotate and the rain keeps comin’ down with a miserable bluesy beat and there’s two girls millin’ about that probably can be had but they seem to like certain things and crank is one of those certain things, and a fistful of party straws tumble from a woven handbag somebody brung, the crank gets cut into lines, and the next time you notice the time it’s three or four Sunday mornin’ and you ain’t slept since Thursday night and one of the girl voices, the one you want most and ain’t had yet though her teeth are the size of shoe-peg corn and look like maybe they’d taste sort of sour, suggests something to do, ’cause with crank you want something, anything, to do, and this cajoling voice suggests we all rob this certain house on this certain street in that rich area where folks can afford to wallow in their vices and likely have a bunch of recreational dope stashed around the mansion and goin’ to waste since an article in The Scroll said the rich people whisked off to France or some such on a noteworthy vacation.

That’s how it happens.

Can’t none of this be new to you.

The gal with her mouth full of shoe-peg corn and the bright idea in the first place drives over and lets me off at the curb, and there’s another burglar passed out in the backseat who won’t be of any help. She doses a kiss out to me, a dry peck on the lips, and claims she’ll keep her eyes peeled and I should give the high sign once I’ve burgled my way inside.

The rain has made the ground skittish, it just quakes and slides away from my footsteps, and this fantastic mist has risen up and thickened so that eyesight is temporarily marked way down in value.

I stumbled into a couple of different hedgerows, one about head high and one around the waist, before I fell onto the walkway. The walkway was, I suppose, made of laid brick, but the bricks were that type that’s bigger than house bricks, more the shape of bread loaves, which I think classes them as cobblestones or something. So I wobbled along this big brick walkway, on up the slope and past a lamppost in the yard that made a hepatitis-yellow glow, straight to the backside of the mansion.

Rich folk apparently love their spectacular views, pay dear for them, I’m sure, so there was all this glass. The door was glass and the entire rear wall practically was glass. By sunlight I’d reckon you could see the total spread of the town and long, long pony rides’ worth of countryside from any corner in there. All that window gave me brief goofy thoughts of diamond-point glasscutters and suction cups and the whole rigamarole of jewel-thief piss elegance but, actually, with my head out to lunch as it was I just grabbed a few logs from the firewood stack on the patio there and flung them at that glass door.

I suppose I had a sad need to fit in socially with those trailer-park bums, since I imagined they were the only crowd that would have me, because when that first chunk of wood merely bounced from the glass door and skidded across the patio I became bulldog-determined to get the job done for my new friends, and damn the effort or obvious risk.

The logs hit with a bang. Two, three, four times I chucked firewood at that glass and never heard anything close to the sound of a shatter. I sidled up in the mist and skimmed my fingers over the door and felt, I think, the start of some tiny hairline fractures, but there were no big, hopeful splits.

The glass of that door surely had some special qualities that must’ve been expensive to come by, but worth it, I’d have to say, judging from the wimpy way those logs merely bounced and failed to bust me in there. But I kept pitchin’, and bangs kept bangin’ out across that neighborhood of mist, until my pitches became tired and wild and I whipped a firewood chunk three or four yards off-line and into a small square window to the flank of the door, and that glass thankfully was of a typical lower order and flew all to pieces.

The glass shatter seemed like a sincere burst of applause, a sincere burst of applause that would come across as alarming and requiring a look-see to any ears open out there in the mist. I went motionless, tried to be a shadow. Pretty quick I heard a derisive shout from shoe-peg mouth, something that might’ve hurt my feelings to hear clear, then tires squealed and carried my social circle away, leaving me to do the mansion solo.

I stayed a still shadow for a bit, but my mind, such as it was at the moment, was made up and determined: I needed friends, and friendship is this slow awkward process you’ve got to angle through, and I could yet maybe find what we looked for, return to the trailer park on foot as both a hero and the sudden life of the party.

When no alarm was raised, I came out of my shadow imitation and went to the broken window. The mist felt like a tongue I kept walking into, and my skin and clothes seemed slobbered on. The world aped a harmless watchdog, puttin’ big licks all over my face.

The window was set too high to spring through, and the glass was not perfectly broken out. There were jaggedy places with long points. I got up on tiptoes and reached my arm through, extra careful, but couldn’t reach a latch or doorknob or anything worthwhile.

The batch of flung logs had scattered about and lay underfoot, and the third or fourth time I stumbled on one this thought jumped me. The thought called for a ladder of firewood chunks, and I went to work building this theory that had jumped me from below. That mist made any effort seem sweaty and sweat made me feel employed and that made me start expectin’ a foreman to come along and, because of the part in my hair or the attitude of my slouch, fire my ass on a whim, as per usual. But the ladder got built and came to reach the height it needed to.

I think I thought this ladder invention meant I was thinkin’ straight.

Atop the ladder I wrapped my T-shirt around my fist and punched the jagged parts loose until there was a clean frame that could be wriggled through without gettin’ carved along the flanks.

I slithered inside, uncut, and tumbled among the riches.

My distance perception had gone tilt in my head and that floor reared up and swatted me awful quick. The floor felt like a clean street, a street of that marble stuff, I reckon, maybe Mexican tile, only it was in the kitchen area and mighty stern to land on, especially with that tilt factor in my head, as I barely raised my arms to brace before skidding across it. I’d judged I had further to fall, but huh-uh, and the pain jangle spanned from my elbows and knees to my shoulders and toes. I squealed and rolled and chop-blocked a highback chair in the dark there and sent it tumbling.

You might think I should’ve quit on the burglary right then, but I just love people, I guess, and didn’t.

I became a shadow again, splayed on that imported floor, listening to the mansion. It was supposed to be empty, but newspapers get so many things wrong. Best not to trust them overmuch. The mansion had a slight glow going on inside there, and I got it that they had left a couple of lamps burning in a distant room. The lamps were likely set on a timer and meant to warn away such as I so such as this wouldn’t happen.

These burglar lights helped my eyes to focus.

Standing again, finally I slid my shirt on and rubbed my sore spots, then let my feet aim me toward the glowing room. The crank comedown was settin’ in, I think, from the way my feet got heavy and weaved and stomped. This mansion smelled of big achievements and handbags from Rome and unknown treats, which were better scents than I was used to. The walls even seemed special, kind of, as my fingertips skipped along them feeling how fine and costly they felt. My mind, I’d say, stumbled along two or three steps behind my body. More like a waiter than a chef.

When I wobbled inside that lit-up room the wind jumped from my chest. I gasped, groaned, mewed. My legs folded beneath me and I fell face first to a soft carpet that smelled sweeter than my ex-wife’s hair and brought to mind sheep in a flowery meadow high in the Alps or Japan or Vermont or some similar postcard spot from out there in the world where the dear goods I’ll never own are made.

The sight and smell of all this shook me.

I know I trembled and breathed shallow.

The mansion was the way I’d always feared a mansion would be, only more so. In my fear I’d never managed to conjure the spectacular astounding details. A quick inventory of only this one room made me hate myself. Made me hate myself and all my type that came before me. This mansion was sixteen levels higher than any place I’d ever been among.

As I stared about—gawked, probably—I likely blushed pink to go along with those trembles.

I’d say what such things as I saw in that room were, if I knew the proper names of such things, though I’d bet heavy I’ve never heard those names spoken. I’m sure such things have personal names—those special moody lampshades made of beadwork, and a chair and footstool put together with, like, weaved leather hung on frames of curled iron or polished rare bones, maybe, and end tables that had designs stabbed into them and stuffed with gold leaf or something precious, a small and swank desk over by the far wall, and a bookshelf so old our Revolution must’ve happened off to the sides of it, carved up with fine points and nicely shined, with a display of tiny statues and dolls arranged just so all across it.

Pretty soon I crawled away from the light, back to the dark parts of the mansion. That sinking feeling set in. Truly, I felt scared, embarrassed for the poorly decorated life I was born to.

This mansion is not but about a rifle shot distant from the trailer park, but it seemed like I’d undergone interplanetary travel. I’d never collided with this world before.

I collected myself in the kitchen. Shuffled my parts back together. My breaths deepened to normal. That splendor had stunned me and then sickened me with a mess of recognitions.

You see the insides of a classier world like that and it sets your own to spinning off-balance, and a tireless gnawing discontent gets to snacking on your guts and spirit. This caliber of a place makes you want to discriminate against yourself, basically, as it reveals you as such a loser. A tiny mote of nothin’ much just here to muss up the planet these worthies lived so grandly on and wished they could keep clean of you and yours.

I ain’t shit! I ain’t shit! shouts your brain, and this place proves the point.

Oh, hell yes, this mansion was a regular theme park of fancy fuckin’ stuff I never had, never will, hadn’t ever truly even seen in person.

Naturally there’s some urge to just start smashing amuck in the mansion, whacking all those glamorous baubles and doodads as if these objects had personally tossed you a key ring and told you to fetch their car. That urge is there, to see things shatter, dent, sag with ruin. That urge is always there, usually in shadow though never far away.

But I don’t need to want that anymore, or at least lately, so instead I decided to eat.

That mist had gotten bunchy and milled up against the kitchen windows like a rubbernecking crowd peeking in on a private moment. A few wisps shoved in through the busted window and gave me the sense of long fingers slowly pointing.

There was a button on the wall beside the stove, and I punched it and got light. The light pushed the crowd back, slapped away those pointing fingers. This kitchen came near to the size of a decent trailer home. There were, close as I could figure, two stoves or three, or just one giant with a dozen burners. Cabinets ran to the ceiling, made of some blond wood from Oriental lands, I’d guess, and the ceiling was yea tall, so there was a cute li’l stepladder on a runner that slid from cabinet to cabinet so you could see into the upper shelves. A pretty dapper rendition of woodwork, in my opinion. The fridge resembled a bank vault, a big dull metal thing with heavy doors.

The funny thing about these swell folks is they don’t leave much food to scrounge. I did a run-through of the fridge and found that all the familiar items were frozen. It disappointed me that there were no exotic leftovers. In the freezer part I turned up a booze bottle that belonged on the pricey shelf at the Liquor Barn. The label on the bottle resembled an eye-test chart, Russian or one of those names, but after a few chugs I could testify it was vodka, for certain, and a quality version of it too.

I began to thrash through the cabinets hunting for peanut butter because I’d seen mayonnaise in the fridge, and peanut butter and mayonnaise meant I could sleep. I could let the crank go bye-bye and sleep. I can’t sleep without food nearby. I can’t sleep anywhere until I know I’ll get to eat again if I need to. I don’t have to eat, yet I can’t rest without bein’ positive sure there’s food at hand, but these folks apparently didn’t stoop to peanut butter ’cause there wasn’t any. Peanut butter is the prescribed hunger medicine for poor folks, and there’s always a scraping or so left in the bottom of the jar, somewhere way back in the cupboard. I’ve been to bed hungry plenty and my tummy whimpered and whimpered and those whimpers are forever on tape in my head.

The vodka at least gave my gut growls instead of whimpers.

Some cheese turned up in the fridge. It’s a nice round hunk, but it’s not yellow. It’s some nearly white kind that smells too gourmet for me, but the hunk was silky smooth and plump as a newborn’s rump and I had the sensation of sinkin’ my teeth into a pampered baby’s butt for a taste.

The flavor was odd but okay, and I knew then I could rest.

The vodka and me and the baby butt of cheese wandered down a dim hall. When crank dies out, a big sudden tired hits, and I could feel it windin’ up to smite me. You sleep where you land. I got to a room that echoed as I walked and sounded big, until I bumped my shin on a chair, then fell into it, and threw my head back and raised my feet to the stool out front.

My collapse had been into a calfskin wingback chair, and I just folded into it, tucked myself away secretly there like a French tickler in a gentleman’s leather wallet.

The dreams that made the scene inside my skull weren’t dreamy dreams, but rather more like long news clips from kangaroo court sessions convened on me in a gaudy plush holding cell, and the entire jury was made up of loved ones I’d sorely disappointed since they were buried and whiskery perverts who took a shine to me just the way I was.

I slept for over a full day, as you know, but I won’t say I rested.

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“There are a handful of writers who are known, read and revered by other writers for the brilliant beauty of their words. Some have become better known—James Lee Burke is an obvious example—but some haven’t yet achieved the wide readership that they deserve. Daniel Woodrell is chief amongst them. He’s created his own niche in the mystery world—‘Ozark Noir’—and he’ll dazzle you with each page. Chandler once wrote his ideal of a private eye and I think it applies to writers as well, certainly to Woodrell: ‘He must be the best man in his world and a good enough man for any world.’ Woodrell is the best at what he does and he can equal the best writing in any other world.”—JB Dickey, Seattle Mystery Bookshop

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Find Tomato Red at your favorite bookseller or online retailer!

Here are a few links:
Indiebound
Square Books (Oxford, MS)
Big Sleep Books (St. Louis, MO)
Seattle Mystery Bookshop (Seattle, WA)
"M" Is for Mystery (San Francisco, CA)
Murder By The Book (Houston, TX)
Barnes & Noble
Borders

Amazon
Busted Flush Press

Thursday, July 8, 2010

Dan Chaon on THE DEATH OF SWEET MISTER

Dan Chaon -- the National Book Award-shortlisted author of Among the Missing and Await Your Reply -- has some kind words about Daniel Woodrell's The Death of Sweet Mister (being reprinted by BFP in March 2011). At Houston's Murder By The Book (my day job), Chaon's Among the Missing was one of our favorite books of 2009!

"Daniel Woodrell is one of my favorite contemporary writers, and The Death of Sweet Mister is one of his best. His books are often described as 'noir,'and it's true that they are often dark and shocking. But to me, the most shocking thing is the unsentimental tenderness that he brings to his portraits of these deeply troubled characters. This is an incredibly moving book, in addition to being an eye-popping, disturbing, blow-the-top-of-your-head-off work of suspense. I would say it's sort of a masterpiece." -- Dan Chaon, author of Await Your Reply

Look for Woodrell's Tomato Red from Busted Flush Press in August, and The Death of Sweet Mister next spring. And don't miss one of the indie-film hits of the year, Winter's Bone (based on Woodrell's 2006 novel), in theaters now!

Wednesday, June 30, 2010

Free shipping, more praise!

From now on, any orders of $25 or more through Busted Flush Press's website get FREE SHIPPING! Please feel free to order often. :-)

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More praise for upcoming BFP releases:

A COOL BREEZE ON THE UNDERGROUND, by Don Winslow

“Don Winslow may be the finest crime writer currently working in America. His recent work—including but not limited to such titles as The Winter of Frankie Machine, The Dawn Patrol, and California Fire and Life—is brilliant on every level, displaying a depth, intelligence, and humanity few writers can hope to equal. Amazingly, his thrillers are also whip-fast, compulsively readable, and rich with language so glittery sharp I am left furious with envy. Instead of hating the man, I am his fan. A Cool Breeze on the Underground is the beginning of Winslow’s journey, and shows all the talent and promise of what is to follow. If you’ve not read the Neal Carey books before, send Busted Flush Press a note of thanks. You’re in for a treat.”—Robert Crais, best-selling author of The Sentry

“It’s one thing to see promise in a young writer, but A Cool Breeze on the Underground is just plain unfair. With his premier Neal Carey novel, Don Winslow announced to the world that neither he nor his characters were going to be run-of-the-mill. He continues to prove it with every book he writes.”—Reed Farrel Coleman, three-time Shamus Award-winning author of Innocent Monster

A Cool Breeze on the Underground is classic Winslow. All the characteristics are there: the style, the wit, and the building tension. Neal Carey is a wonderful character who drives the story to its stunning conclusion. A great read!”—Dave White, Shamus Award-nominated author of The Evil that Men Do

TOMATO RED, by Daniel Woodrell
(at the printers right now)

“Whenever I’m in need of inspiration, resuscitation—a big, heaping blast of air—I read the opening page of Tomato Red. By the end, I’m always grinning: that disbelieving, appreciative, joyful grin you get when you come upon the extraordinary. That writing! It’s hard to not move when you read Woodrell; his Ozark rhythms will get you toe-tapping, swaying in your seat. It’s impossible, in fact, to read Woodrell discreetly: you’ll find sentences, dialogue so funny or brutal or just plain brilliant, you need to share them with someone else. His characters are underdogs, heartbreakers, steal-your-wallet-and-kick-you-on the-way-out scoundrels, but you still want more time with them. With Woodrell, you always want more.”—Gillian Flynn, Edgar Award-nominated author of Sharp Objects and Dark Places

Thursday, June 17, 2010

Zoë's tour, Reed's review of WINTER'S BONE & more!

Next week, BFP thriller writer Zoë Sharp will be coming over to the States for a mini-tour to celebrate the U.S. publication of the first Charlie Fox novel, Killer Instinct. It's a whistle-stop tour, taking in Houston, Tucson, Phoenix, New York and New Orleans. Highlights include:

* Tuesday, June 22nd, 6.30 p.m.: signing at Murder by the Book, Houston
* Wednesday, June 23rd, 1:30-2:00 p.m.: signing at Clues Unlimited, Tucson
* Thursday, June 24th, 2:00p.m.: Velma Teague Public Library, Glendale
* Thursday, June 24th, evening: Poisoned Pen Conference, The Poisoned Pen, Scottsdale
* Tuesday, June 29th, 6:30-8:00 p.m.: signing with Lee Child at The Mysterious Bookshop, NYC

Please contact these stores to order signed or inscribed copies of Killer Instinct!
Need help tracking down copies of Zoë's books, feel free to e-mail David here.

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Crime writer Reed Farrel Coleman has long been a fan of Daniel Woodrell, an author he considers a "genius." We asked Reed, who saw the new film adaptation of Woodrell's 1996 novel, Winter's Bone, this past weekend, to offer up a review of the movie.

"Life is tough to begin with for Ree Dolly, a teenage girl living in a dirt poor part of the Ozarks where everybody in the area’s got a hand in the meth trade and everyone around is related to one degree or another. But when Ree, already responsible for raising her two younger siblings and caring for her infirmed mother, finds out that her father’s put the family homestead up as bail collateral and that he has fallen off the face of the earth, she goes on a quest to find her dad and save their land. Her odyssey is as harrowing as anything Dante could have dreamed up and as fraught with peril as anything Ulysses ever had to face. Ree faces it, for the most part, alone. Winter’s Bone, written by the Shakespeare of the Ozarks, Daniel Woodrell, is a masterpiece. So too is the movie adapted from the novel.

"The film, directed by Debra Granik [right], is the most faithful adaption in deed, spirit, and tone I have ever encountered. Talk about someone who understood the source material. She understood the dirt beneath its fingernails. But making a film is about making choices and the choices Ms. Granik makes are the right ones. There are things that in the novel—Teardrop’s nub of an ear and burnt face, Ree’s romantic involvement with her closest girlfriend, the brutality of the beatings—that Ms. Granik has wisely played down for fear those details would call too much attention to themselves and detract from the overall impact of the film. And the little additions she makes, particularly a scene involving Ree’s discussion with an Army recruiter, are brilliant.

"Still, the movie, as faithful as it is, isn’t the novel. The movie doesn’t quite have the mythic quality of the book and necessarily has a sharper focus on the crime aspects of the story. However, the film does shine a particularly strong light on the culture of the women in this part of the Ozarks. It’s the women who insulate the men from Ree when she comes calling. It’s the women who do the dirty work, who enforce the codes of behavior, who deliver the beatings. Yet as powerful as these women are made to seem, you just know that they are trapped in this world with no hope of escape. It is that sense of hopelessness and my yearning for Ree to move beyond it that will stay with me forever. Read this book. See this movie. If Jennifer Lawrence, who plays Ree, and John Hawkes [left], who plays Teardrop, and Ms. Granik don’t receive baskets full of nominations for their performances, the world really is flat."

Reed Farrel Coleman is the 3-time Shamus Award-winning author of Walking the Perfect Square, Redemption Street, The James Deans, Soul Patch, Empty Ever After, and the forthcoming Innocent Monster.

Go here to find out when Winter's Bone will be showing in your area!

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Speaking of Daniel Woodrell, he & Winter's Bone director Debra Granik were interviewed yesterday on NPR's Fresh Air. Catch the audio & transcript here.

Busted Flush Press will reprint Woodrell's 1998 masterpiece, Tomato Red, in the next month. Listen to him discussing the book on NPR back in '99.

Sunday, May 2, 2010

WINTER'S BONE movie trailer!

Special thanks to Spinetingler Magazine for bringing this to everyone's attention!

The Sundance Grand Jury Prize-winning film based on Daniel Woodrell's acclaimed novel will be out June 11th, in selected cities. Don't miss it!



Busted Flush Press will release Woodrell's Tomato Red (paperback; 978-1-935415-06-0; $15) in September. Here's a new blurb, hot off the presses from best-selling crime writer C. J. Box...

"Three pages into Tomato Red I got that inexplicable head rush that comes from wondering how I'd never heard of the book or of Daniel Woodrell, and regretting the years I was ignorant of both. Woodrell writes with a poetic, lyrical, breezy style that reminds me of authentic country artists like George Jones or Hank Williams but he somehow does it on the page. He packs an entire world into a short book and leaves you yearning for more. Thank you, Busted Flush Press, for introducing me to Woodrell. Now others won't make the mistake I made." -- C. J. Box, Edgar-winning author of Nowhere to Run

Monday, April 26, 2010

New praise for Daniel Woodrell's TOMATO RED

Tomato Red made me laugh, made me shake my head in amazement, but most of all it made me bloody envious. Modern crime fiction is thick with storytellers, but Daniel Woodrell is that rare beast: a writer.”—Roger Smith, author of Mixed Blood and Wake Up Dead

“The characters in Daniel Woodrell’s Tomato Red speak the poetry of the trailer park in a world where all wisdom is hard-won. Here there are no trust fund babies plagued by ennui. Woodrell’s universe is strictly hard-scrabble, where the only struggle involving identity is the one to keep it concealed. We are better for knowing it.”—Thomas H. Cook, Edgar Award-winning author of The Last Talk with Lola Faye

“There are a handful of writers who are known, read and revered by other writers for the brilliant beauty of their words. Some have become better known—James Lee Burke is an obvious example—but some haven’t yet achieved the wide readership that they deserve. Daniel Woodrell is chief amongst them. He’s created his own niche in the mystery world—‘Ozark Noir’—and he’ll dazzle you with each page. Chandler once wrote his ideal of a private eye and I think it applies to writers as well, certainly to Woodrell: ‘He must be the best man in his world and a good enough man for any world.’ Woodrell is the best at what he does and he can equal the best writing in any other world.”—JB Dickey, Seattle Mystery Bookshop (Seattle, WA)

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Tomato Red (originally published in 1998 by Henry Holt) will be reprinted this September by Busted Flush Press (trade paperback; 978-1-935415-06-0; $15), with a new foreword by Edgar Award-winning crime writer Megan Abbott. Read more praise for Tomato Red and The Death of Sweet Mister (trade paperback; 978-1-935415-08-4; $15; March 2011; new foreword by Dennis Lehane) here.

Wednesday, March 3, 2010

Covers for Daniel Woodrell reprints!

Behold, the covers for Busted Flush Press's upcoming reprints of Daniel Woodrell's two most acclaimed novels, Tomato Red and The Death of Sweet Mister!

Tomato Red
Trade paperback, $15 (Canada $18)
September 2010 / 978-1-935415-06-0
New foreword by Megan Abbott!
(And very special thanks to photographer Katherine White for that chilling cover image!)

"Reading Tomato Red -- the first Daniel Woodrell novel I came upon -- was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself -- of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift." -- Megan Abbott, award-winning author of Bury Me Deep

The Death of Sweet Mister
Trade paperback, $15 (Canada $18)
March 2011 / 978-1-935415-08-4
New foreword by Dennis Lehane!

"I can't remember coming across a more precise evocation of innocence lost since Golding's The Lord of the Flies. With The Death of Sweet Mister, Daniel Woodrell has written his masterpiece — spare, dark, and incandescently beautiful. It broke my heart..." -- Dennis Lehane, best-selling author of The Given Day

And have you registered for NoirCon 2010 yet?? Daniel Woodrell is scheduled to be there!

Monday, February 8, 2010

Film based on Daniel Woodrell book wins big at Sundance!

Writer-director Debra Granik's indie film adaptation of Daniel Woodrell's 2006 novel Winter's Bone was a hit at the 2010 Sundance Film festival, winning the dramatic competition grand jury prize and the Waldo Salt Screenwriting Award (Granik co-wrote the screenplay with Anne Rosellini)! The dark thriller was then picked up by Roadside Attractions (Super Size Me) for North American distribution. According to Roadside's website, they plan on releasing Winter's Bone in theaters this summer... I, for one, can't wait! There's a lot of buzz about not only this movie but the breakout performance by Jennifer Lawrence as the film's 16-year-old heroine, Ree Dolly. It also stars an actor I really like, John Hawkes, whom Deadwood fans will recognize as Sol Star.

Daniel Woodrell previously had a book adapted to the big screen: Ang Lee's 1999 Ride with the Devil (starring Tobey Maguire & Skeet Ulrich), based on Woodrell's 1987 Western novel, Woe to Live On. And according to IMDB, Give Us a Kiss is in development.

Busted Flush Press will reprint Daniel Woodrell's Tomato Red (w/ a new foreword by Megan Abbott) in September and The Death of Sweet Mister (w/ a new foreword by Dennis Lehane) in March 2011. Check back to the blog next week... covers for these reprints are almost ready! (We'll also have cover art for Don Winslow's A Cool Breeze on the Underground, Ace Atkins's Dark End of the Street, and Reed Farrel Coleman's Soul Patch and Empty Ever After.)

Saturday, January 23, 2010

BFP's 2010 schedule!

Here are the books coming out from Busted Flush Press in 2010. Enjoy!

February
Just Enough Light to Kill (by A. E. Maxwell)
Paperback, $14, 978-1-935415-02-2

March
Misleading Ladies (by Cynthia Smith)
Paperback, $13, 978-1-935415-04-6

May
Killer Instinct (by Zoë Sharp)
With a new foreword by Lee Child.
Paperback original (first U.S. publication), $15, 978-1-935415-13-8

June
Old Dogs (by Donna Moore)
Paperback original (first U.S. publication), $15, 978-1-935415-24-4

July
Riot Act (by Zoë Sharp)
Paperback original (first U.S. publication), $15, 978-1-935415-15-2

September
Soul Patch (by Reed Farrel Coleman)
With a new foreword by Craig Johnson.
Paperback, $15, 978-1-935415-09-1

Hard Knocks (by Zoë Sharp)
Paperback original (first U.S. publication), $15, 978-1-935415-10-7

Tomato Red (by Daniel Woodrell)
With a new foreword by Megan Abbott.
Paperback, $15, 978-1-935415-06-0

October
Dark End of the Street (by Ace Atkins)
Paperback, $15, 978-1-935415-17-6

Empty Ever After (by Reed Farrel Coleman)
With a new foreword by S. J. Rozan.
Paperback, $15, 978-1-935415-19-0

November
Damn Near Dead 2: Live Noir or Die Trying (edited by Bill Crider)
With an introduction by Charlaine Harris.
Paperback original, $18, 978-1-935415-40-4

A Cool Breeze on the Underground (by Don Winslow)
Paperback, $15, 978-1-935415-21-3

And coming in early 2011:
Silver and Guilt (by Cynthia Smith)
Road Kill (by Zoë Sharp)
The Death of Sweet Mister (by Daniel Woodrell; with a new foreword by Dennis Lehane)
Bloody Kin (by Margaret Maron)

Saturday, January 9, 2010

BFP acquires two Daniel Woodrell books!

We announced last month that Busted Flush Press will be reprinting two novels by Daniel Woodrell, one the most important American novelists that most people have not yet heard of...

A year before
James Lee Burke released the first Dave Robicheaux novel, Woodrell introduced the genre to Cajun cop Rene Shade in Under the Bright Lights (1986; still in print from Simon & Schuster). Woodrell followed with two more Shades: Muscle for the Wing (1988) and The Ones You Do (1992). His other early novels include Woe to Live On (1987; a.k.a. Ride with the Devil), set in the last days of the Civil War; Give Us a Kiss (1996), a "country noir" novel... and then he wrote Tomato Red (1998) and The Death of Sweet Mister (2001), the two noir novels that BFP will reprint in 2009/2010, with new forewords by Megan Abbott and Dennis Lehane, respectively. Both were New York Times Notable Books, and both are considered by critics & fans of the genre to be among the best noir novels of all time. Hyperbole, yes, but please read on...

And once I announced the Woodrell reissues, I discovered that some of Woodrell's biggest fans happen to be Busted Flush Press authors, as they made known
very quickly through e-mails that included many exclamation points... then through Twitter and e-mail, I learned that this acclaim was shared by many other crime writers. Below are some early comments from some of Woodrell's peers...

“There are writers who break all boundaries and break your heart with the sheer level of their art. Daniel Woodrell is not only the most truly humble writer I've encountered but one of the very few I refer to again and again to learn how true poetic writing is achieved. His on-the-surface simple style conceals a master craftsman at work. There is no writer I know I would love to devote a whole novel to just quoting from his work. There are crime writers… literary writers… and then… Daniel Woodrell. Nobody comes near his amazing genius and I very doubt anyone ever will.”—Ken Bruen, award-winning author of London Boulevard

"Reading
Tomato Red -- the first Daniel Woodrell novel I came upon -- was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself -- of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift." -- Megan Abbott, award-winning author of Bury Me Deep (and she'll write the foreword to the new edition of Tomato Red!)

"Genius is a word that gets thrown around a little too much these days, but when it comes Daniel Woodrell, it’s nearly an understatement." --
Reed Farrel Coleman, award-winning author of Innocent Monster

"I can't remember coming across a more precise evocation of innocence lost since Golding's The Lord of the Flies. With The Death of Sweet Mister, Daniel Woodrell has written his masterpiece — spare, dark, and incandescently beautiful. It broke my heart..." -- Dennis Lehane, best-selling author of The Given Day (and he'll write the foreword to the new edition of The Death of Sweet Mister!)

"The Death of Sweet Mister is a strong contender for my all-time favourite novel, crime or othewise." -- Allan Guthrie, Edgar Award-nominated author of Slammer and Killing Mum

"Put [
The Death of Sweet Mister
] on the shelf alongside Faulkner, Jim Thompson, and Cormac McCarthy. With this one, Mr. Woodrell has earned himself a piece of immortality." -- George Pelecanos, best-selling author of The Way Home (and writer for HBO's The Wire and The Pacific)


"Daniel Woodrell is one of those authors that's doing something not enough writers do. Write well about rural people, and about people that aren't all savvy and hundred dollar bills. He knows how to just tell the story. Reminds me of the storytellers I grew up with. They knew the power of a simple tale well told, and so does Woodrell." --
Joe R. Lansdale, award-winning author of Vanilla Ride

"Daniel Woodrell is consistently referred to as 'The Greatest Writer You Haven't Read Yet,' and as much as I hate that kind of labelling, I can't argue its veracity. Fact is,
The Death of Sweet Mister is one of the finest novels, regardless of genre, published in the last fifty years, and Tomato Red is snapping at its heels. Nobody else can condense whole lives into less than 200 pages with such emotional truth, and nobody else comes close to the brittle perfection of his prose, stiletto sentences that leave you wondering why Woodrell isn't held in higher regard. Perhaps it's just because people haven't read him. I hope that changes with the new editions, and I envy those coming to him for the first time -- they're about to read real noir, the kind that comes from human beings, not characters." -- Ray Banks, author of Sucker Punch and No More Heroes

"City slickers like me go on and on about the 'mean streets,' but the country noir of Daniel Woodrell can be so rawboned, nasty and violent, it sends me scurrying back to relative safety and comfort of the closest dark, seedy alley. Grab all of the Woodrell you can find -- but don't say I didn't warn you." -- Duane Swierczynski, author of Expiration Date

"Tomato Red. Death of Sweet Mister. The Ones You Do. Under the Bright Lights. Give Us a Kiss. Woe to Live On.
These are just a few of Daniel Woodrell's stunning, unforgettable, and beautifully written books. His prose is lean, brutal and poetic, as are his characters. And yet despite the tragedy, violence and emotional pain in his stories, Woodrell always manages to find the humor, and the humanity... and even a little redemption. This man should be a bestselling author, held in the same high, popular regard as Michael Connelly, T. Jefferson Parker, George Pelecanos, and Dennis Lehane. But while he's well-reviewed, he's not well-read, which is a shame. Hardly anybody besides critics and fellow writers are aware of him despite the fact that he's one of the best crime writers alive today... hell, he's one of the best novelists out there in any genre. He's the writer that other writers read to see how a master does the job... and to stay at the top of their game. If you love crime fiction, or just damn good writing, you've got to read this guy." -- Lee Goldberg, author of Mr. Monk in Trouble and The Man with the Iron-On Badge

"The first Daniel Woodrell book I ever read was Tomato Red. You know that feeling you get when you read something by a new to you author and your heart beats just that wee bit faster. You think 'this is it -- this guy is going to be one of my all time favourite authors' -- what a great feeling that is. From the first, awe inspiring sentence which is over 250 words long to the last heartbreaking page I was simply transported. As it happens, the second Daniel Woodrell I read was The Dead of Sweet Mister -- an uncomfortable, painful, brutal tale which is also poetic and beautiful and just... breathtakingly wonderful. It's a book of lost innocence, simmering rage, and ineffable cruelty that makes your heart ache. Daniel Woodrell is the master of making you care about people who live "lives of rancid nothingness". Their stories are so big, yet their lives are so small. I am so glad that Busted Flush Press are reprinting these two great books. Daniel Woodrell deserves a far wider audience. He's a genius." -- Donna Moore, author of Old Dogs and Go to Helena Handbasket...

"Daniel Woodrell's work transcends genre. Don't bother calling it 'crime' or 'noir' or 'southern gothic.' Just call it 'brutally magnificent' and get your dirty hands on as much of it as you possibly can." -- Tom Piccirilli, author of Shadow Season

We'll have covers for
Tomato Red and The Death of Sweet Mister in about a month, as well as book synopses, trade reviews, excerpts, and more! In the meantime, we encourage you to seek out Woodrell's latest release, Winter's Bone (2006, Back Bay Books), which is also very highly recommended by Busted Flush Press!

Wednesday, December 23, 2009

Pre-holiday BFP news!

This has been a busy week for Busted Flush Press, and we have much to share...

Reed Farrel Coleman

NPR's Maureen Corrigan
discusses her favorite books of 2009 today on Fresh Air, including "a terrific new mystery series... a wise independent bookseller recommended that I read"... that would be Reed Farrel Coleman's Moe Prager series. Read the story & hear the podcast here.

For those who are already fans of Moe, there is imminent good news on the horizon. Busted Flush Press is on the verge of acquiring the reprint rights for the 4th & 5th books in the series: the Edgar, Macavity nominated and Shamus Award-winning Soul Patch and the Shamus Award-winning Empty Ever After. If all things go as planned, both books will be out just in time for the release of Moe #6, Innocent Monster, due out in October 2010. Please stay tuned for more updates.

Margaret Maron

Check out the news on BFP acquiring Edgar/Agatha/Anthony/Macavity Award winner Margaret Maron's 1985 stand-alone Southern crime novel, Bloody Kin, reported on the blog last week.

Don Winslow

Busted Flush Press will be reprinting Don Winslow's incredibly hard-to-find, Edgar Award-nominated crime series featuring private investigator Neal Carey. Winslow has recently attained bestsellerdom & critical acclaim for his later novels, including The Power of the Dog, The Death and Life of Bobby Z, California Fire and Life, The Winter of Frankie Machine, and one of my favorite books of 2008, The Dawn Patrol. But for years fans have been looking for his early, wonderful Carey novels... and now they'll be available again, beginning fall 2010, when the first, A Cool Breeze on the Underground, is published. To follow: The Trail to Buddha's Mirror, Way Down on the High Lonely, A Long Walk up the Water Slide, and While Drowning in the Desert.

I asked Don what he thinks about seeing these books back in print for the first time in over a decade...

"I'm absolutely delighted that the Neal Carey series is coming back into print. I don't think I've made a public appearance in ten years when I wasn't asked about these books. A Cool Breeze on the Underground holds a special place for me -- it was my first book, and I wrote it literally all over the world -- in tents in Africa, Buddhist monasteries in China, college rooms in Oxford. I think it was rejected by the first fourteen publishers who saw it -- including the publisher I'm with now, Simon & Schuster. Then it was nominated for an Edgar. Anyway, it's great to see these books coming back into print, and I'm really excited to be working with good friends at Busted Flush. The last time I saw David, we shared a candlelit (by necessity) dinner -- burgers with bags of chips -- al fresco in just-post-hurricane Houston, and it's my favorite meal ever on a book tour. This is going to be genuine fun."

Daniel Woodrell

Busted Flush Press will reprint Daniel Woodrell's stand-alone novels, Tomato Red and The Death of Sweet Mister, with new forewords for each. Edgar Award-winning crime writer Megan Abbott (Bury Me Deep) will pen the foreword to Tomato Red (to be published in fall 2010), and best-selling novelist Dennis Lehane (The Given Day) will provide the foreword to The Death of Sweet Mister (to be published in spring 2011). I'll be posting another blog entry later this week about Woodrell, "an amazing genius" (Ken Bruen), but it's safe to say he's one of today's finest novelists (of any genre) that most people just don't know about... yet. Check back later this week to see what some of his peers think of his work (including Megan Abbott, Joe R. Lansdale, Allan Guthrie, Reed Farrel Coleman, and more). In the meantime, rush out and buy his novel, Winter's Bone (Back Bay Books), which was my wife's favorite novel of 2006 (and which will be in next month's Sundance Film Festival Dramatic Competition). More to come...

Later this week on the BFP blog: Daniel Woodrell; the conclusion to Ace Atkin's Christmas-set short story, "Last Fair Deal Gone Down"; and more!

Happy holidays from Busted Flush Press!

Monday, December 21, 2009

Catch Reed Farrel Coleman on XM/Sirius!

Reed Farrel Coleman, the 2009 Shamus Award-winning author of Empty Ever After, will be interviewed on XM/Sirius Book Radio's "Cover to Cover Live!", tomorrow, Tuesday, December 22, 3-4 p.m. EST. He will be interviewed about Tower (co-written with Ken Bruen) and his Moe Prager novels. Catch it on XM 163 & Sirius 117.

Reed will also be featured on NPR's Fresh Air this week, as part of Maureen Corrigan's year-end round-up of favorite mysteries. We'd thought it was to be today, but it looks like it'll run later in the week. As soon as we know, it'll be posted here.

To coincide with Reed's NPR appearance, Busted Flush Press has some great news to announce about new acquisitions. Well...... we'll hold off until the NPR piece runs, but we can say it involves Daniel Woodrell (Winter's Bone) and Don Winslow (The Dawn Patrol)... please check back later in the week. (We're such teases!)

In other BFP news...

Donna Moore (Go to Helena Handbasket...) appears to be excited about her galleys of Old Dogs. But it looks as though she's attacking her parents with a copy! Chuffed, indeed. Visit her blog here... you could win an Old Dogs galley!

Thriller writer Zoë Sharp (Third Strike) is interviewed on MrEdit's blog. Her first introduction to crime fiction? Leslie Charteris's The Misfortune of Mr. Teal.

L.A.'s The Mystery Bookstore picks their favorite mysteries of 2009... and Ken Bruen & Reed Farrel Coleman's Tower makes Linda's & Pam's lists! Big thanks to Linda & Pam (& Bobby, too)!