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Now here's a cunning plan . . . A load (killing, perhaps?) of new young crime writers decide they're going to band together to try to kick-start their careers. They get themselves some mentors from among the battalion of established writers and decide on a book of short stories. Oh, and they get Lee Child to edit it. I'm delighted to say that the anthology lives up to its ambitious aims, and showcases some impressive up-and-coming talent. Out of a book of 16 stories, there are inevitably a couple that struggle to make an impression, but only one totally misses the mark. Bear in mind, though, that the collection is bulked out by contributions from established writers, including the very excellent Ken Bruen and Duane Swierczynski. But there are several new writers whose debut novels I shall be searching out. Top of these is Sean Chercover, who looks like he has breathed new life into the PI market. "One Serving of Bad Luck" is a bleak, very dark noir outing for Ray Dudgeon, who is asked to track down a car mechanic after a woman is paralysed in a car crash. Brett Battles sets "Perfect Gentleman" in a Philippines bar, and the ending isn't too much of a surprise. But despite that, it stands out for its laconic style and narrator who isn't looking to win any popularity stakes. And then there's Jason Pinter, whose "The Point Guard" is a harsh, sad look at youngsters yearning to fit in, set amidst a hold-up on a convenience store. I wasn't taken with Toni McGee Causey's "A Failure to Communicate" – also featuring a robbery – but then it's notoriously difficult to please everyone with wacky writing. I might have liked it more if the structure had been sounder – it boomeranged all over the place, making it difficult to follow. Also unusual – but effectively so – is Gregg Olsen's "The Crime of My Life," which does what it says on the label and appears to present us with a slice of the writer's chilling experiences. KILLER YEAR is a tough, sparky collection. These are observations, rather than criticisms, but the book is light on female writers and leans heavily towards the noir market. Incidentally, despite having Child and Bruen on board, this is otherwise an all-American exercise.
Reviewed by Sharon Wheeler, January 2009
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Contact: Yvonne Klein (ymk@reviewingtheevidence.com)
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