"The universe is made of stories, not of atoms."
—Muriel Rukeyser
____________________________

Andy Cheng To Direct Comic Book Pic ‘Shadow Ghost’ For ‘The Meg’s Atchity Productions


Renowned martial arts filmmaker, stunt coordinator and performer, and action director Andy Cheng (Shang-Chi and the Legend of the Ten Rings) has been tapped to direct a feature adaptation of Shadow Ghost, the comic book written and illustrated by kung fu master and Fifth Ring Studios founder Sifu Kurtis Fujita, for Atchity Productions (The Meg franchise).

Shadow Ghost is described as modern, spellbinding coming-of-age story about a young man embarking on a quest to uncover the secrets surrounding an otherworldly martial arts hero. His journey into the realm of Kung Fu intertwines his fate with that of the enigmatic legend where he will fulfill a centuries-old destiny.

“We are thrilled to have Andy Cheng on board to direct the Shadow Ghost film,” said Atchity Productions CEO, Dr. Ken Atchity. “His unparalleled experience and passion for martial arts cinema make him the ideal choice to capture the essence of the Shadow Ghost saga. We are confident that this collaboration will result in an unforgettable cinematic experience for audiences worldwide.”

Over the course of his career, Cheng has worked on stunt and/or action coordination for films like Shang-Chi and the Legend of the Ten RingsOlympus Has FallenOz the Great and Powerful, Looper and The Amazing Spider-Man, among many others. In addition to serving as second unit director on films like Twilight and Red Riding Hood, he’s directed the actioners Redline and End Game, as well as the Chinese films Yìlei zhi Liang sheng yao and Yìlei zhi Xingzou de gu bao.

Most recently, Atchity Productions associate produced shark films The Meg and Meg 2: The Trench, which together grossed over $927M worldwide.


 via Deadline Hollywood 

Ken's Story Merchant Book Recommendation!!

LAST DAY TO GET YOUR FREE COPY OF 

CAJUN HOUSEHOLD WISDOM!




Laissez les bon temps roulez! Let the good times roll!


 


Cajun culture is funny and fun-loving. It's rooted in the earth. It's rooted in the kitchen. It's needlessly, hopelessly, complicated, and yet is utterly simple and suspicious of all things modern, especially food and drink.

CAJUN HOUSEHOLD WISDOM takes you back to the days when family gatherings stretched far into summer nights with endless food and fun, when uncles and aunts, sisters and brothers, and countless cousins teased and taunted and chased fireflies, while grandpere spouted yet another story about "that ol' white mule," and strains of fiddle music lured lovers off into the dark.

You'll be reminded that the best therapy for whatever ails you, other than eating and laughing, is dancing. In little towns throughout the state of Louisiana, in lounges like the Rainbeaux in New Ibera, the Green Frog in Lake Charles, and the Purple Peacock in EUnice, you'll find people of all ages--from three to 103--dancing the two-step or the Cajun waltz at the fais-do-do nearly every night of the week--and they're still there at 9 a.m. the next morning. Cajun wisdom holds tru for young and old alike:

"If at foist you doan succeed, go an' dance!"


Cajun Wit and Wisdom: an interview with Ken Atchity Humor & Health Journal

After reading your book, Cajun Household Wisdom, I wanted to do an interview with you. I found the book very humorous as well as informative. Through the sayings, photographs, and stories the reader gets a genuine glimpse and flavor of Cajun culture and a lot of laughs. What motivated you to write the book?

As I grew up around my mother’s French Louisiana Family on a farm near Eunice I started collecting sayings and stories I heard from family members and other people in Louisiana. Especially the hunting stories and jokes my uncles told. I’ve always thought that the Cajuns have a unique way of looking at life and wanted to put it together in one place.

Let me mention some subjects and let you give an explanation of what they mean in Cajun culture.

Food

Cajuns are people who enjoy every moment of life. They aren’t city planners, architects, or engineers. They’re country people. Their thing is living in the moment. The greatest celebration of the moment on a daily basis is meals. Cajuns have an incredible zest about eating and putting their energy into food. They love texture, which is why they like spicy food and all kinds of food that has a lot of surface to it. Cajun philosophy center around the kitchen and around eating. As far as Cajuns are concerned, if you haven’t eaten with someone, you don’t know them.

Dance

Dancing is another example of living in the moment and celebrating life. What’s amazing when you go to Louisiana is that you see the oldest people dancing. People in there nineties will be out in the dance floor kicking up a storm. People of all ages go to the dance halls. So the dance hall is another place where Cajun culture comes together to celebrate the energy of life. One of the famous clubs is Fred’s in Mamou. If you walk in at 11 o’ clock on Saturday morning you’d find the place already hopping. The truth is that it’s all the people from the night before who are still there. Since there are no windows in the place no one has any idea or cares what time it is.

Coffee


Jokes, stories, and conversations are all a celebration of life and obviously the best place to do that is over a meal or a cup of coffee. Coffee is a central part of Cajuns culture. It’s a time to stop and talk. You don’t drink coffee while working.




Conversation

Cajuns like to talk and tell stories. One of my uncles in Louisiana still resents the telephone. He thinks that if people want to talk with you, they should drive over to your place. Then you’ll know it’s important and you’ll stop what you’re doing to have a talk.

As a kid I remember sitting on the front porch in rocking chairs and endlessly listening to my uncles, grandfather, and grandmother telling stories and talking. That’s what I go home to Louisiana for now. I need the fix- to be with people who know how to talk.

One time I went on a fishing trip with my Uncle Wib. We got up at three A.M. to go down to Grand Isle and we never stopped talking. We were supposed to get there by sunrise. At 10 o’clock I pointed that out. He said ‘Oh my God, I took the wrong road at Thibodaux five hours back.’ We were so deep in conversation that we forgot about everything else.

To Cajuns nothing is more important than communication. We get so busy in our modern world that we don’t really have time to talk with each other – everything is oriented toward efficiency and arranged in bytes. Just enough is said to get by. But to Cajuns talking is an art.


What is your next Cajun book?

It is similar to Cajun Household Wisdom except it’s about the kitchen and eating. It’s called Cajun Kitchen Wisdom and has recipes for smothered chicken, lima beans and lots more. It contains sayings that have to do with the kitchen. One is “If de gumbo is good, you can put up with de cook.’ It also presents fishing and farming stories. The thing about Cajun humor is that much of it is about fishing or farming stories. The White Mule stories are prime examples of farming tales.

One of my favorite White Mule stories will appear in the next book, Cajun Kitchen Wisdom.

It goes like this: A stranger walks into a bar in Abbeville and takes a seat. Halfway through his Jax, he pulls a huge tomato out of the paper bag he carried in, and sets it on the counter. The bartender sees him do it, but doesn’t even stop wiping his glasses. The man at the other end of the bar doesn’t come over either.

So the stranger asks, “Y’all see dis tomata?’

The other two men nod.

“Sacre blue du couyon,” the stranger says. “Have you ever seed a tomata as dis heah?’

The other two men move over politely to take a closer look. The man who was at the far stool lifts the tomato, palms it, smells it, rubs it, smells his finger, then puts it back on the bar. The bartender doesn’t even bother to do the same. He just exchanges glances with the other man.

“Well?’ demands the stranger.

‘Well, ah foh one siurley have,’ says the man from the other stool.

The stranger can’t believe his ears but the other man tells him to wait. He goes outside, then comes back in, straining as he carries the biggest, most gigantic tomato the stranger’s even seen in his life – it has to weigh over ten pounds! The man places the tomato on the counter, and the stranger can’t resist touching it, smelling it, stroking it’s skin. Sheepishly, he puts his tomato back into its bag.

“Okay,” he says to the man.

“You got ta tell me, yah. What is yo’ secret?”

“Did you see dat white mule tied up outside?” the other man asks.

“Yah, ah sawed it,” the stranger nods.

“Well it’s dat mule.” “Ah doan unnerstand,” says the stranger.

“Dere’s nuttin’ ta understand,” the other man explains.

“Everybod ‘roun heah knows about it” – he looks at the bartender, who nods for confirmation.

“When ah go out ta ready my ground for plantin’, dat white mule pulls mah plow. When ah’m plantin’, dat white mule pulls de cultivator- an’ when ah’m harvestin’ –“

“How much you recon’ you wan’ foh dat mule?” the other man breaks in.

“I had date mule foh ten years now,” the other man says. “Date mule’s not foh sale.”

“Ah’ll give you a hunnert dollars cash for dat mule raht now,” says the stranger, plunking the gold coins down on the counter.

The other man looks at the coins for a second. “A hunnert dollars?” he says.

“Sold!”

The stranger’s jubilant, but the man who sold the mule says, “Would you min’ if ah deliever him ta you in the mohnin? Dat mule was mah fren,’ and ah’d lake to let mah wife ‘n kids say good-bye to him properly.”

“No problem,” says the other man, and leaves the bar whistling.

But the first man got himself a real run of bad luck. First of all, he stays at the bar and gets caught in a bouree’ game- and lost the hundred dollars. Second of all, when he wakes up the next mroing, and went to his barn to get the mule ready to deliever he finds the mule dead as a doornail on the barn floor.

He felt real bad about that, real bad- especially because he didn’t have the hundred dollars to repay the stranger. But after awhile he got to thikin’ and realized that, as the saying goes, “a deal is a deal.” So he loaded the mule on his wagon, and headed for the other man’s farm. He parked the wagon down the road a bit and walked up to the house, where the man was waiting for him on his porch.

“I got some bad news for you, an’ some moh bad news,” the first man says.

“What’s de bad news?” asks the stranger.

“Well you ‘member dat hunnert dollars you gave me las’ night for det mule? Ah got mahself caught in a bouree’ game and ah done las de whole ting.”

“Well dat surely is bad news,” the stranger agreed. “Dat’s real bad news. Ah feel rela badly foh you, losing dat money, sha.”

“But the other bad news is dat the mule you bought – ah found him daid in mah barn dis nohnin.”

Now the stranger understood the gravity of the situation all too well, and why the first man felt so bad. But he got to thiking, and realized to himself, “a deal’s a deal.”

“Let me axe you a question, he finally said. “Whar is dat mule?”

The other man pointed down the road to the wagon. The stranger followed him so he could see for himself. After he was satisfied that it was the same mule he’d bought at the bar he helped the other man unload the mule.

“Jes’ leave him heah.” He said.

The first man said again how bad he felt about the whole thing, and drove off home with a heavy heart.

A few months went by before the first man had the nerve to go back to that bar in Abbeville for a Jax. But one night he did, and there was the stranger.

“Whar yo’ bin?” the sranger said. “I bin watchin’ foh you/”

“To tell ya de trewty. Ah felt so bad ‘bout losin dat money and dat mule dying an’ all, I didn’t have de noive ta see you again.”

“Doan feel bad no mod, the stranger said. “Ever’ting toined out okay.”

“Whatch you mean okay?”

“I held me a raffle and made me a good profit.”

“A raffle?”

The stranger nodded. “Yah, ah raffled off dat mule. Al sole me two hunnerty tickets foh one dollar each.”

“You raffled off dat daid mule, and you made two hunnert dollars?” The first man was amazed, “and you had all dose folds mad at you?”

“No,” the stranger smiled. “Jes’ one poison was mad yah. But ah gave him his money back!”

These are stories I love. They reflect the culture and the ingenuity of daily life. They say, “If you can find a simple way to do it, find a simple way to do it, find a Cajun and he’ll make it ten times more complicated and you’ll have a lot more fun along the way.”




Kenneth Agillard Atchity is the author of several books including Cajun Household Wisdom: You Know You Still Alive If It’s Costin’ You Money published by Longmeadow Press. At the time of this printing he’s somewhere between Breaux Bridge and Opelousas eating his way across his native state.

Story Merchant E-Book Deal! #FREE May 27 - May 31 Kenneth Atchity's Cajun Household Wisdom

Laissez les bon temps roulez! Let the good times roll!




Cajun culture is funny and fun-loving. It's rooted in the earth. It's rooted in the kitchen. It's needlessly, hopelessly, complicated, and yet is utterly simple and suspicious of all things modern, especially food and drink.

CAJUN HOUSEHOLD WISDOM takes you back to the days when family gatherings stretched far into summer nights with endless food and fun, when uncles and aunts, sisters and brothers, and countless cousins teased and taunted and chased fireflies, while grandpere spouted yet another story about "that ol' white mule," and strains of fiddle music lured lovers off into the dark.

You'll be reminded that the best therapy for whatever ails you, other than eating and laughing, is dancing. In little towns throughout the state of Louisiana, in lounges like the Rainbeaux in New Ibera, the Green Frog in Lake Charles, and the Purple Peacock in EUnice, you'll find people of all ages--from three to 103--dancing the two-step or the Cajun waltz at the fais-do-do nearly every night of the week--and they're still there at 9 a.m. the next morning. Cajun wisdom holds tru for young and old alike:

"If at foist you doan succeed, go an' dance!"

Dr. Ken Atchity Discusses the Creative Process with Patrick Will

Ken and Patrick discuss how to manage time better, what it means to be a real artist, and why The Meg took 22 years to make.


Talking Out of Turn: Revisiting the '80s with William Diehl An Interview with Kevin Courrier

 

Author William Diehl
(Sharky's Machine, Chameleon, Primal Fear), a writer who wrote luridly powerful pulp with a political tinge, became a fascinating exercise in self-examination. When I discovered that Diehl was a pacifist who once marched with Martin Luther King in the South during the demonstrations against segregation, I was compelled to find out how such a peaceful man reconciled his polar opposites. To both my surprise and satisfaction, he was more than happy to comply while providing a vivid examination (through his thriller Chameleon) of the growing political mercenary movements in the eighties that would ultimately lead to Waco and Oklahoma City. Diehl would die at Emory University Hospital in Atlanta on November 24, 2006, of an aortic aneurysm. At the time of his death, he was working on his tenth novel Seven Ways to Die.

******

kc: I get the impression that when you sit down to write there's quite a war going on in your head.

wd: That's quite true. I find that subconsciously things from my past keep getting in and coming out of the books. A lot of the critics in reviewing Chameleon have called it one of the most violent books ever written. Yet I'm basically a pacifist. I don't own weapons. I don't even have a gun in the house. I live alone on an island. No doubt that it's a throwback to World War II when I served as a ball-turret gunner. All of those latent aggressions and violence are surfacing now. It has to be that because I'm certainly not interested in becoming active in the things I write about. But I should say that there's nothing about the violence and the weaponry that I depict in Chameleon that isn't really happening today.

kc: In this book, you examine an assassination squad -- a secret terrorist organization that trains at "The Farm" -- What is that?

wd: I knew that "The Farm" existed. I've known about it for several years and I met the man who runs it. He's a guy named Mitch Warbell. One night, we started talking about the place and he told me that while a lot of mercenaries go through the training course, many of these people are bankers and folks going to countries where terrorism is prevalent. They take the course as a self-protective device. That's what triggered the idea. Then I went out and took the course. Over a period of six months, I spent time talking to the instructors. Their stories gave me the basis for the book.

kc: When you were describing a moment ago those latent aggressions and the violence, how does it manifest itself when you are writing a book like Chameleon?

wd: The first chapter of the book was triggered by the Doobie Brothers' song "What a Fool Believes," which I heard on the radio as I was driving home. The song started a lovely little romantic story going in my head. Suddenly, it turned very dangerous and it got very violent. I don't know where it came from. All of a sudden, as I'm working on this romantic idyll, it got very tough. It was then that the story took off.

kc: At the heart of this violent story is a particular code of honour. Where does this come from?

wd: Chameleon is a story about honorable people versus dishonorable people. And I've put at the heart of it the Oriental philosophy of honor. My belief is that the Oriental philosophy of honour is a very positive and uncompromising belief. Whereas in my country, you have to struggle just to be a little bit honest. That's why in my novel Sharky's Machine you have four cops who are basically losers who become winners in the end because they couldn't be corrupted. That's also the story of Chameleon where you have two or three people who are honourable. I'm dealing with knights on white horses slaying dragons. And I still believe that's possible.

kc: Does the writing of action fiction though become a safety valve for your own violent fantasies?

wd: It's indeed a great release. What it is, is playing out your fantasies on paper. For instance, in Chameleon, I developed my own brand of martial arts. What I did was draw stick figures where I could try out the moves -- sometimes in front of a video camera -- and describe them. I really got into it. Then I also got into the method of trying to remember things without taking notes which is what these people in the book could do. I never took it as far as them but I found that if I went into a restaurant and found it fascinating enough to use in a book, I can remember every little detail of it. Then I file it away in my word processor. Often I tell people that I'm a method writer because I actually act things out in the room because you deal with your psyche on paper.

kc: How do you act these things out?

wd: If I'm angry, I go in and write a violent passage for a book. When I come out, I don't even want to step on an ant. If I'm writing about a character that I really like, and I know that the character is going to be killed, I can get depressed for a couple of days. In Sharky's Machine, when Nosh, Sharky's best friend, gets killed, I got into a funk over that and I couldn't write for over three days. I was so upset over having to kill that character. When certain things happen, I react emotionally as it is really happening. It can be draining at times. It's a good thing that I live on an island where my house is a hundred feet from the Atlantic Ocean. A lot of times after writing a passage I'll go down to the beach just to calm myself down. What happens is that I get hysterical inside and I can't translate that on paper. How do you describe to anybody the feelings and thoughts that go through your head at times like that? The best thing to do is find a way to get rid of it, once you've used up the part you need to put on paper.

kc: I'd like to take that a step further. If you resolve certain conflicts within yourself, does it also mean that your writing will change?

wd: Absolutely. My writing changed radically from Sharky's Machine to Chameleon. And a lot of it is in the emotional content of the book. I think Chameleon is a better book than Sharky even though it feels colder. Maybe that's because of what some of the characters do in the story.

kc: Has living on the beach provided the sanctuary needed?

wd: Yeah. I remember when the film of Sharky's Machine had its world premiere in Atlanta. All of the movie stars came and it seemed like the biggest thing since Gone With the Wind. As a result of it, I started to get a celebrity status in Atlanta. I was expected to be places and doing things. This started to really disturb me because I started to lose the independence that I had gained by writing these books. One day, I got on this airplane and flew down to the coast of Georgia and told this real estate agent that I wanted an island. The agent found me one immediately. Now I don't even go to the mainland. I don't even want to leave this place. There's one place there that is like Cannery Row restaurant filled with expatriates and people who just go to escape like me. I go there in the morning, read the newspaper and chat, then I don't see them until the next day. Since I moved there my writing productivity just jumped.


kc: I guess the biggest distinction some would have to make meeting you -- or knowing you -- is to separate the man from the writer?

wd: Probably most writers become very involuted and difficult to deal with when they're working. And I feel that I'm difficult to deal with because I vague-out. I can hold a conversation without even knowing what I'm saying. I'm so used to doing it. When I'm through, I wake up one morning and the book is finished and I have nothing to do. It's a bit of a downer because I've been living with it for so long. Then I go and do crazy things like scuba diving for weeks at a time. It's a schizophrenic way to make a living, but I wouldn't have it any other way. I love the isolation. Nobody can invade it. What other occupation is there where you can be totally isolated and deal with yourself in whatever terms you want to deal with yourself in?

Talking Out of Turn #13: William Diehl (1982)


-- Kevin Courrier is a writer/broadcaster, film critic, teacher and author. His forthcoming book is Reflections in the Hall of Mirrors: American Movies and the Politics of Idealism. Courrier continues his lecture series on Film Noir (Roads to Perdition) at the Revue Cinema in Toronto in March. He's also facilitating a film series called Reel Politics at Ryerson University continuing February 27th.

#FREE May 20 - May 24! William Diehl’s “Thai Horse”⁠ - COMING TO THE SCREEN!

Atchity Productions 

Hatcher: The Search for Thai Horse 

Based on William Diehl’s novel Thai Horse 

Scripted by Kevin Bernardt (Medieval, Echo Boomers)

 

AVAILABLE ON AMAZON

Christian Hatcher, the licensed killer they call the Shadow Warrior, is free from a hellhole South American jail. The former special ops officer returns to Hong Kong and Bangkok--- deadly and seductive stops on the heroin pipeline—to track down his best friend, missing since the war.⁠

"Diehl knows how to tell a story, and his novel moves."⁠

-- The New York Times Book Review⁠

"In the best thriller tradition.,"⁠

-- Los Angeles Times⁠


The Daily Routines of Famous Creative People






The daily life of great authors, artists and philosophers has long been the subject of fascination among those who look upon their work in awe. After all, life can often feel like, to quote Elbert Hubbard, “one damned thing after another” -- a constant muddle of obligations and responsibilities interspersed with moments of fleeting pleasure, wrapped in gnawing low-level existential panic. (Or, at least, it does to me.) Yet some people manage to transcend this perpetual barrage of office meetings, commuter traffic and the unholy allure of reality TV to create brilliant work. It’s easy to think that the key to their success is how they structure their day.

Mason Currey’s blog-turned-book Daily Rituals describes the workaday life of great minds from W.H. Auden to Immanuel Kant, from Flannery O’Connor to Franz Kafka. The one thing that Currey’s project underlines is that there is no magic bullet. The daily routines are as varied as the people who follow them– though long walks, a ridiculously early wake up time and a stiff drink are common to many.


Read more




When LA Review of Books Reviewed Dennis Palumbo's Night Terrors

The Criminal Kind: Dennis Palumbo’s "Night Terrors"



Night Terrors by Dennis Palumbo


NIGHT TERRORS, the third in Dennis Palumbo’s series featuring clinical psychologist Daniel Rinaldi, proves that there is more to a procedural mystery than mere procedure. A cunning reworking of genre conventions, it is consistently surprising and occasionally even subversive, undermining our expectations and challenging the fundamentals of procedural mysteries.


In his latest literary outing, Rinaldi is abducted in the night by the FBI and thrown into a case against his will. He’s been assigned to Lyle Barnes, a recently retired FBI agent who is suffering from a severe case of night terrors that has him on the brink of collapse. Barnes’s condition isn’t helped by the fact that he, too, is in the custody of the Feds. Barnes’s final job was helping to apprehend a serial killer of prostitutes, John Jessup, who recently died during a prison riot. Now, one of Jessup’s admirers — an anonymous letter writer known only by his signature tag, “Your Biggest Fan” — has been avenging Jessup’s death by murdering those responsible for his imprisonment. Barnes is high on the list. But before Rinaldi can begin the therapy, Barnes escapes, and it’s a race against time to find him before the “Fan” does. Concurrently, Rinaldi is pushed into yet another investigation when he agrees to meet the mother of Wesley Currim, a young man who has confessed to the brutal murder of a local businessman. Besides pleading guilty and leading the police and Rinaldi to the body, however, Currim has revealed no details as to how, or why, the crime was committed, or why he denies his mother’s alibi. Initially called in for his psychological expertise,


Rinaldi soon finds himself acting as detective more than therapist — a role far more dangerous than he anticipated.


Smartly structured with well-timed twists and revelations, Palumbo and his surprises are always one step ahead of the reader. Though at times dense on procedural exposition, Palumbo deserves high praise for playing so fairly with readers. His style is low on red herrings, out-of-the-blue clues, and last-minute rescues — the puzzle pieces are all there from page one, and while the way they fit together isn’t obvious, the conclusion is achieved naturally.


Whereas conventional mysteries can be seen as reasserting stability on an unstable world — uncovering the truth, righting wrongs, and asserting justice — Palumbo in Night Terrors repeatedly disrupts any notion of security. Fiendishly clever villains and feeble authorities are nothing new to the mystery field, but Palumbo approaches these stale tropes with a fresh perspective. So much of Night Terrors’s exposition is dedicated not to how the investigative process pieces things together, but rather how it frequently fails to. “They still don’t have squat, do they?” asks Barnes. “That’s ’cause they rely too much on procedure and modern forensics.” In this sense, Night Terrors is an anti-procedural. And whereas one would expect a professional specialist like Daniel Rinaldi to use his vocation like “magic” at key points throughout the narrative, Palumbo repeatedly denies any such narrative convenience. (Barnes, too, is apathetic toward Rinaldi’s attempts at psychology: “That’s just therapeutic bullshit.”) Palumbo challenges his character to move beyond the niche he has created for himself — a provocation that many series creators (and their protagonists) don’t often place themselves in.


Among the most distinguishing facets of noir is the way in which it responds to social conditions. Even in literature, crimes don’t happen in a vacuum. Economic desperation fuels the nihilism of James M. Cain and Horace McCoy’s 1930s novels, just as post– World War II discontent and malaise runs deep through the 1950s paperbacks of Day Keene and Harry Whittington. In Night Terrors, Palumbo reacts to a distinctly post-economic-collapse American geography:


Unlike Pittsburgh, whose seventeen miles of steel works had been torn down, victims of the economic cataclysm that ultimately revitalized the city, towns like Braddock had no reason to dismantle their dying mills and factories. Nothing was going to take their place.


And in retired FBI agent Lyle Barnes — at one point the grand protector of the country — Palumbo sees a fractured, shaken consciousness that hasn’t been pieced together again.


Clinicians are blaming the unusual rise in adult symptoms to the uncertainty of contemporary life. The economy, terrorism. Even the recent natural disasters. Tsunamis. Earthquakes. The daily anxiety suppressed by adults during waking life, later invading their sleep.


Palumbo may state his theme obviously, but he’s not trite about it, nor does he pretend that Rinaldi could solve these paramount issues. Once more, Palumbo contests the notion of the fix-it-all detective in favor of one whose wisdom lies not in his power, but in his powerlessness.


¤


Cullen Gallagher regularly reviews noir novels and anthologies for LARB.


LARB CONTRIBUTOR

Cullen Gallagher lives in Brooklyn, New York. His writing has appeared in many publications including The Paris ReviewBrooklyn Rail, and Not Coming to a Theater Near You, as well as in the anthologies Cult Cinema: An Arrow Video Companion (2016), edited by Anthony Nield, and Screen Slate: New York City Cinema 2011–2015 (2017), edited by Jon Dieringer. He blogs about crime fiction at Pulp Serenade (www.pulp-serenade.com).

Teresa Weaver's Bookshelf Atlanta Magazine

 































SEVEN WAYS TO DIE by William Diehl with Kenneth John Atchity 

Before he died in 2006, Diehl (Sharky's Machine and Primal Fear) had written more than 400 pages of his tenth novel, about a captain in the NYPD on the trail of a serial killer in Manhattan. Using an outline and notes that Diehl left behind, Atchity finished the thriller, staying very true to the fast-paced, screenplay-ready plot that was the author's trademark. It's a fitting posthumous tribute to the former journalist-and first managing editor of Atlanta magazine who left his day job in his fifties to pursue his dream of writing fiction.

FIRST LOOK: As always his psyche was momentarily askew. He performed each autopsy compassionately. They were constant reminders of the finite line between life and death, between the human body and a corpse without a soul.

Author Spotlight William Diehl

Critically acclaimed author William Diehl was an extraordinarily gifted storyteller who enjoyed an unbroken string of bestselling novels.

Born in New York in 1924 he flew 29 bombing raids over Europe as a teenaged ball-turret gunner. After the war Diehl was working as a reporter for his hometown paper, The Clearfield Progress, in a town he describes as "so far up in the mountains you had to bail out of a plane to get out." His hometown friend, Bob Wallace called, with news that his father-in-law had found a job for Diehl at The Atlanta Constitution. Diehl headed south. But somehow, the Atlanta newspaper missed the memo. There was no job.

"I stood in the lobby, waiting for editor Ralph McGill to come out. When Mr. McGill came out, I told him what had happened. He asked if I had been in the war. I said yes, as a ball turret gunner in a B-24. He said that if I could survive that, I could certainly do a reporter's job," Diehl recalls. "I went to work that night."

Diehl first wrote obituaries for the Atlanta Constitution, then moved to the police beat. Always, writing was his first love, but when the Constitution and rival Atlanta Journal merged in 1950, confusion and layoffs in the reorganized photo department led to his second career: photography.

In 1956, Diehl left the Constitution, turning almost exclusively to freelance photography in the next years.

Bill was among the early photographers to use a 35-millimeter camera. Most of the others were using Liecas or 4x5s. He shot every [Geogia Tech] football game for 11 years, then assignments for the alumni publications. He did some really experimental stuff that worked very well. Some of Diehl's football pictures were printed in Sports Illustrated, rushed after the game to a Delta airplane that would deliver them to New York overnight.

Much of his work was for Georgia Tech; other assignments, including a portrait of Coca-Cola Company Chairman Robert Woodruff that appeared on the cover of Business Week magazine, came through contacts and friends from Tech.

In 1960, Diehl became managing editor of Atlanta magazine.

On his 50th birthday his wife threw a birthday party for him, and one of the gifts was an ice-cream typewriter from Baskin-Robbins. It was so neat that nobody would eat it," he says. "After the party, I went back to get a piece, but the typewriter was just a molten pile of ice cream. I thought, 'That's my career.’”

The next morning, Diehl sold all his cameras and soon began the nine-month effort of birthing "Sharky's Machine," a dark look at the world of an Atlanta vice cop.

Giving up his profession of journalist and photographer at 50 was a big gamble, but it paid off. Sharky was a big book, a big movie.

Bill Diehl caught the proverbial brass ring, but it was with a last-minute lunge: As he and his agents were talking on the phone about which of two offers to accept from publishing companies for his first book, the phone company cut off his service for non-payment.

"I had to walk about a half-mile to a phone booth to finish the negotiations."

From that phone booth, Diehl negotiated a $1 million deal with the Dell publishing company.

Following the success of Sharky's Machine, Diehl relocated to St. Simons Island, GA in the early 80's with his wife Virginia Gunn, an Atlanta television personality, where he lived for the next 15 years completing eight more novels including 27 aka THE HUNT, THAI HORSE, HOOLIGANS, CHAMELEON, PRIMAL FEAR, which also became a movie by the same name starring Richard Gere and Edward Norton, SHOW OF EVIL and EUREKA