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Been dipping more into crime/noir stories. Any recommendations for classic mystery writers that aren't Doyle, Christie, Collins, Sayers, Chesterton, or Simenon? Been thinking of grabbing one of the John Dickson Carr omnibus volumes.

On a side note, I've been informed that Norbert Davis may be to my tastes so I got an epub first. Same with a Carr book but it's one of his earlier works.

As for my current reads. I'm like halfway through Saberhagen's first Berserker book. It's neat. You can tell he's got big ideas but can't execute them, so he just gives you a fun pulpy tale with tastes of those big ideas. I like how he's kinda aware of his limitations as a writer.
Have you read Gaston Leroux? He's best known for writing The Phantom of the Opera (yeah, the musical is based on a book), but his second most popular work is The Mystery of the Yellow Room, which was one of the first locked room mysteries. He also wrote other detective stories featuring the protagonist from that book, Joseph Rouletabille.
 
Have you read Gaston Leroux? He's best known for writing The Phantom of the Opera (yeah, the musical is based on a book), but his second most popular work is The Mystery of the Yellow Room, which was one of the first locked room mysteries. He also wrote other detective stories featuring the protagonist from that book, Joseph Rouletabille.
Read the Phantom as a teen, got a new thrifted copy on my shelf.

I'm vaguely aware of the extensive history of french pulps of the 19th and early 20th century. Lupin and the Phantom survived, but the topic's interesting. Nyctalope also kinda sorta gets a mention too.


Fun site with tons of info on french pulps, french comics, and whatnot.
 
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Jungian psychologist anysizing the symbolism of the myths of Lilith. For incels and feminists alike depending on how you want to interpret women's sexuality.
 
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Been dipping more into crime/noir stories. Any recommendations for classic mystery writers that aren't Doyle, Christie, Collins, Sayers, Chesterton, or Simenon?
You might have already read Poe, but he has several crime short stories. It's been a very, very long time since I read them, so not sure how well they hold up.

Have you read Gaston Leroux? He's best known for writing The Phantom of the Opera (yeah, the musical is based on a book)
I read the book after seeing the musical and was surprised at how different it is. I got a copy from The Folio Society.
 
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I read the book after seeing the musical and was surprised at how different it is. I got a copy from The Folio Society.
I didn't expect him to have a torture chamber and a cellar full of gunpowder which he plans to use to blow up the opera house. The musical version of Erik was very toned down in comparison. I think a lot fewer people would romanticize him if he acted like he does in the book.
 
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You might have already read Poe, but he has several crime short stories. It's been a very, very long time since I read them, so not sure how well they hold up.
He's often regarded as the inventor of the mystery, hence the leading mystery book award being named the Edgar.
 
I didn't expect him to have a torture chamber and a cellar full of gunpowder which he plans to use to blow up the opera house. The musical version of Erik was very toned down in comparison. I think a lot fewer people would romanticize him if he acted like he does in the book.
He's also jaundiced, lacks a nose, and looks like a corpse

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He's also jaundiced, lacks a nose, and looks like a corpse

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They actually planned to have him look like that in the musical and use a full face mask, but during production it was decided to use a half mask. The fully masked version wasn't able to emote the way stage actors need to in order to connect with the audience, so they changed his deformity to cover just the right side of his face. I wonder if a fully masked Phantom would have actually been too unsympathetic, or just the right amount of unsympathetic. Seems like Lloyd Webber projected on the character quite a bit, so maybe that's why he ended up looking more human.
 
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They actually planned to have him look like that in the musical and use a full face mask, but during production it was decided to use a half mask. The fully masked version wasn't able to emote the way stage actors need to in order to connect with the audience, so they changed his deformity to cover just the right side of his face. I wonder if a fully masked Phantom would have actually been too unsympathetic, or just the right amount of unsympathetic. Seems like Lloyd Webber projected on the character quite a bit, so maybe that's why he ended up looking more human.
I also heard he had trouble singing with the full mask. I do agree Webber projected since he cast his wife as Christine and wrote the part with her in mind.
 
I'm really bummed out because I'm close to finishing my third and fourth book of Mark Twain and my conclusion was that I don't like Mark Twain. I really liked what exposure to him, so I wasn't expecting this. I actually was doing it so I could better appreciate visiting Hannibal, Missouri, but then my plans changed real suddenly and I had to cancel my planned visit to the Upper Mississippi.

I read Life on the Mississippi. Loved it. Like some parts more than others, I really preferred his journalistic writing (his essaying was part of what attracted me to him) to his storytelling.

I read Tom Sawyer just to be able to appreciate Huck Finn more. It was fine. It was more entertaining when it focused on these sort of cute/silly vignettes as opposed to the kids adventure movie plot, but it's a kid's book in an era where that was kind of a new idea, so whatever.

Huck Finn I have like twenty pages left of. I had real high hopes, was attracted because someone on Kiwi Farms said how it has this (for all the stupid fighting over it in schools) a beautiful message about how Huck fights with his conscience (the morality of society versus personal duty and individual conscience) when it comes with whether or not to help Jim to freedom. And large chunks of it were good, but I don't know, it just kept losing me over and over, and Jim is genuinely like some goofy-ass minstrel show character. I'd just kind of check out for long stretches and then come back and be real amused by something and then zone out again.

Roughing It is okay. I feel like it's hit its stride better now that it's gotten to Nevada (the Mormon parts are also interesting, in a historical way, of course you can tell that Twain completely despises them).

I can totally understand why Twain is important historically and he even has this distinctive feeling, but there's something in his tall tale like yarns and sort of tongue in cheek rakishness that actually kind of annoys me - just a little - and I'm surprised by that. Worth noting too that I care a lot about the style of prose; much of what I like isn't like, celebrated high literature, but I don't really read pulp either. I don't know. Some of it may well be that it's like a lot of foundational works in that his specialness is now taken for granted, like how he uses dialect in dialogue (something I really like).
 
Several Deaths Later by Ed Gorman, a fast-paced, humorous 1988 novel by the noted mystery author, which was the second of two books about amateur sleuth Tobin. Tobin is a combative, five-foot-five, red-haired film critic who, in the first novel Murder on the Aisle had to turn amateur detective to clear his name after he became the prime suspect in the murder of Dunphy, his fellow movie critic and co-host of their TV film review show, and their mutual loathing for each other didn't help his case.

This time, Tobin has agreed to be a guest panelist on "Celebrity Circle", a popular syndicated game show (referred to unkindly in some quarters as "Celebrity Circle-jerk") that, however, is seen as a graveyard for the moribund careers of celebs who are on a downhill slide. Tobin's show was cancelled and he's not excited about appearing on "Circle" because he'd hate to be lumped in with the has-beens, but the pay is decent and work is work. His appearance is during a special taping of the show aboard a luxury cruise ship during it's usual run to the Virgin Islands. All he has to is show up for some taped sessions in a makeshift studio on the main deck and he's free to do as he pleases the rest of the time and hey, he's getting celebrity treatment. Only he finds himself taking on the role of detective again after "Circle"'s smarmy host Ken Norris is found dead in a cabin with a knife in his back. Tobin believes that the suspect, an executive secretary from Kansas City he found in the cabin is innocent and is totally not influenced by how attractive he finds her, or her stated "admiration" for celebrities.

Soon Norris' murder isn't the only one, and Tobin realizes any of the desperate TV has-beens might have had a motive to kill. There's some darkly humorous, cutting observations on the TV business, the nature of fame and some heavy material too - Tobin for an amateur sleuth is pretty sharp, and cynical as any classic hardboiled shamus.
 
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I finished The Wizard Knight by Gene Wolfe a couple nights ago and I gotta say I absolutely loved it. I read BOTNS a couple years ago and while I really liked it I also know a lot of it went right over my head. I don’t have the same issues with this. Both the language and the story in Wizard Knight are easier to follow but still has that dream like quality to it that BOTNS does. That’s not to say it’s a simple story or anything. Just different. There’s a lot of layers to the story and the world building especially was super interesting. I really liked seeing this blend of Arthurian legend, Norse mythology, and Christian tradition. I haven’t read a ton of fantasy apart from like LOTR so seeing the elf not as some high majestic being but instead as something magic, but lower than man was also pretty new for me. As for the characters I really liked seeing Able’s growth. He starts out as acting as a child’s perception of what a knight should be but grows into it while maintaining his honor. The whole discussion of what it means to be a man vs a boy also resonated with me a lot too. It feels like (almost) every character has an arc in this book even if some are small and Wolfe treats them all with respect. Especially with characters like Idnn and Uns.
it’s not like girlboss stuff inherently pisses me off or anything but I feel like Wolfe really understands having characters play the hand they’re dealt. Idnn isn’t some Valkyrie so she opts to be a diplomat instead. Uns is never gonna be a knight but he does the best he can as an attendant to able and the company.

The ending felt super bitter sweet but satisfying and well earned. I still have a lot of questions like:
Why does able constantly see himself as the green knight from Sir Gawain?
but I overall really enjoyed it. I’m sure I missed a ton and I’ll probably reread it again soon.

I started House of Leaves a couple nights ago. Currently only like 100 pages in but I’m hooked so far.
 
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Finished "Heart of Darkness" from Joseph Conrad, I watched apocalypse now prior to see how they meshed, and I left satisfied. The edition I have is a collection of short stories, so I'm holding on to that for the future.

I've cracked open "the gulag archipelago", however I find I need something "entertaining" while I slog through the size 8 font, I enjoy the writing but I'm not accustomed to remembering foreign names and regions (sadly)

"Red dragon" has been my "entertainment", happily burned through the first 7 chapters in one night, first real mystery novel I've picked up and I'm enjoying it fondly.
up to the portion where will is investigating the Leeds murder house, watching old tapes and synchronizing his intuition. The TV series Hannibal did an alright job, but I'm enjoying the author's approach more.
 
I WAS starting The Gunfighters by Bryan Burroughs today. He wrote Days of Rage which I originally heard about on here and have since shilled, along with many others, really hard. I had also started his Public Enemies once but had a ton of trouble staying focused on it. This was BAD; I refunded it.

The reviews are so good that I'm double guessing if I'm not just being a sissy, but I felt this increasing irritation, and a very familiar one. Burrough's thesis is basically that gunfighting mostly came from Texas and elsewhere in the South (no shit) because it had an honor culture and was a politically unstable, destroyed civilization after the War (no shit). It's hard to say what he did wrong, exactly, but I found his prose lapsing from conversational to unprofessional and his takes tepid. I started to get this feeling: this is like a lot of modern academic trash, where it is very moralizing (like, a charged tone, lots of pointless jabs at its subject matter), preoccupied with racial issues.

Finally, I read a one-word sentence that comes after a description of some gunslinger killing Blacks in the Texas country: "Yikes." I flip back to the first pages. Year of copyright: 2025. Year of Days of Rage copyright: 2015.

This has happened so many times. You cannot find post-Clown World pop history writing that isn't in this style (one I read that was worth suffering through that kind of thing, but was still awfully annoying, was Blood and Treasure about Boone), and authors (just like fictional creatives) who were once good have had their minds rotted. I doubt Burroughs could or would write Days of Rage today.

It's tiring.

I'm really bummed out because I'm close to finishing my third and fourth book of Mark Twain and my conclusion was that I don't like Mark Twain. I really liked what exposure to him, so I wasn't expecting this. I actually was doing it so I could better appreciate visiting Hannibal, Missouri, but then my plans changed real suddenly and I had to cancel my planned visit to the Upper Mississippi.
BTW, I will share this as it stirred something in me:

(At the end of a chapter about Twain's experiences with prospecting, how the old prospector could pick the real veins out from the fake stuff.)

Mr. Ballou said I could go further than that, and lay it up among my treasures of knowledge, that nothing that glitters is gold. So I learned then, once for all, that gold in its native state is but dull, unornamental stuff, and that only low-born metals excite the admiration of the ignorant with an ostentatious glitter. However, like the rest of the world, I still go on underrating men of gold and glorifying men of mica. Commonplace human nature cannot rise above that.

Twain, Mark. Roughing It [with a Biographical Afterword] (p. 87). Neeland Media LLC. Kindle Edition.
 
I stopped checking here because I have way to many books on the to be read shelf... But, I just finished Patriot Games (summer of Tom Clancy I guess) and I'm now reading the Odyssey.
 
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The Building of the Green Valley: A Reconstruction of an Early 17th-Century Rural Landscape by Stuart Peachy. It's a companion book to a BBC series about how some historians and archaeologists and reenactors and farmers took a 400 year old site of a farm and rebuilt it from the ground up and what they've learned along the way about how such farms were constructed and what wasn't written down or what was but we got wrong in our understanding of those sources.
 
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Crash course in everything from the Zohar to Gnosticism to witchcraft to Masonry trying to piece together what exactly the Baphomet of Templar legend could have been.
I'm 200 pages in of 400+ but tl;dr we don't fucking know.
 
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Wolfpack Publishing has been reprinting the novels of Gordon Shirreffs mostly in double-book collections, most of his work was historical fiction, including tales of the Civil War and hardboiled action Westerns. I recently went through the one-two combo of Rio Diablo (originally published by Ace Books in 1977) and The Proud Gun (originally published by Avon Books in 1961).

In the first novel, Vic Jamison is a former Arizona Ranger who reluctantly re-joins when asked by his old boss Captain Burton C. Mossman to undertake an undercover assignment in the titular Rio Diablo country, a wild country that has proven untamable by the law in years past, being run by "rustlers and mankillers". There've been a string of seven murders in the past twelve months there, honest ranchers and three lawmen. Jamison's old friend and fellow Ranger Bass Barnett had been sent in incognito, and after only three months undercover in the Diablos Barnett sent a smuggled message saying that he felt he was no longer able to be effective. Captain Mossman feels that it's more than just that, that something has Barnett, a man with twenty years of experience in one role or another in law enforcement, spooked so badly he is giving up on an assignment, and being afraid is not part of the man's makeup. Plus, there's the news that Mossman drops, that one of the murdered lawmen was a deputy sheriff who had been an old friend of Jamison's he'd served with in the US Cavalry, and another undercover man who'd just vanished without a trace was Jamison's old mentor. ("God help me for a sentimental fool"). A covert meeting with Barnett in a canyon reveals that the veteran lawman is afraid, because the people who are running the profitable criminal operations in the Diablos have "a long reach". And then a sniper plugs Barnett before Jamison can get any real information out of him.

Vic lighted a match and cupped the flame in a big hand. The mouth of the cartridge case was blackened from the powder discharge. Stamped on the rim of the base were the letters UMC and the numerals .50-.95. He remembered all too well that large hole that had been blasted into the side of Bass Burnett's head. It had been a Union Metallic Cartridge Company Express cartridge, one with a hole drilled into the tip of the bullet for the insertion of a .22 caliber blank cartridge, which would cause it to explode on contact and form a ghastly wound. No other man that he had ever known, with one exception, neither the best or the worst of them had ever used Express cartridges on anything but big game animals, and few enough of them on animals, as a matter of fact. Vic placed the empty cartridge case in a shirt pocket. It was a rare and unusual cartridge for that part of the country.

On his way into that savage country, he rescues a young woman from a flash flood, but as part of his undercover role he must establish himself with people who are enemies of her family. His investigation quickly finds the odds stacking against him, where he must survive vicious criminals and the unforgiving mountains and canyons, which are as dangerous as any man - Shirreffs really excelled at describing settings, and imparting to readers how harsh the American Southwest could be.

In The Proud Gun, which features a complex plot and a hardboiled story, the protagonist Les Gunnell was once the marshal who'd brought law and order to the boom town of Sundown, in the New Mexico Territory. He'd taken up the badge after his predecessor, Ted Varney had started cleaning up Sundown and run the corrupt cattle baron Matt Horan, who'd once run Sundown with an iron fist, out of town - and was murdered by the outlaw gang the Chacon Boys for his trouble. After taming the town, Gunnell left the marshal's badge to his friend Will Ripley, who also married Varney's widow Ruth, for whom Gunnell also had feelings for, then rode away and took up ranching. He's returned after hearing Ripley was found murdered, taking a blast from a ten-gauge shotgun in the face. A witness who reported a man fleeing the scene of the crime was found at the bottom of a local mine shaft, neck broken. Ripley's deputy and stepson Holt Varney was wounded by a bullet from Horan's number one hired gunfighter, Heath Sabin. This all may have come about because Will and "crusading newspaperwoman" Ruth decided the whole county needed cleaning up, and were starting to do a good job of it. Gunnell has come back, reluctantly to take on killers like the Chacons and Horan again, because he feels he's no longer in peak fighting-lawman-type condition, but he figures he has no choice, even though it will almost certainly mean disaster and death and indeed, it builds to a rather bleak climax.
 
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