Category Archives: Paul Levine

Words of Wisdom*

You might not think of crime novels as sources for ‘words of wisdom.’ But they can be. In fact, there’s a surprising amount of everyday wisdom in lots of crime novels. Sometimes, those gems come from the sleuth; sometimes they don’t. Either way, though, you can learn some interesting lessons when you read in the genre.

For instance, in Agatha Christie’s Dumb Witness (AKA Poirot Loses a Client), Hercule Poirot and Captain Hastings travel to the village of Market Basing in response to a letter from Miss Emily Arundell, who lived there. She wasn’t specific in her letter, but referred to a delicate matter on which she wanted to consult Poirot. By the time Poirot and Hastings get to Market Basing, though, it’s too late: Miss Arundell has died. At first, it’s put down to liver failure. But Poirot is not convinced, and he decides to look into the matter. One of the people he and Hastings consult is Miss Caroline Peabody, who’s known the Arundell family for a very long time. She tells the two men about Miss Arundell’s sisters, saying that one of them had ‘a face like a scone.’ Here’s what she says next:
 

‘There’s something to be said for marrying a plain woman; you know the worst at once and she’s not so likely to be flighty.’
 

Now, admittedly, that might be seen as a dated way to think about a woman’s value. But it does hint at the importance of character as opposed to outward appearance. And it’s an interesting perspective on the times.

Lawrence Block’s Matthew Scudder has learned some important lessons in his time first as a police officer, and now as a private investigator. And, although Block’s novels aren’t necessarily what you’d call philosophical, they do offer some of Scudder’s hard-won wisdom. In The Sins of the Fathers, for instance, successful business executive Cale Hanniford hires Scudder to find out about the death of his daughter, Wendy. There seems no doubt that she was murdered by her roommate, Richard Vanderpoel. In fact, the case has already been closed. But Hanniford had been estranged from his daughter, and he wants to know more about the person she had become. Scudder agrees to find out what he can, and he starts asking questions. He slowly traces Wendy’s last weeks and months and learns more about her. And, in the end, he finds out the truth about her death, too. At one point, here is what he says about getting information:
 

‘You have to know when to stop. You can never find out everything, but you can almost always find out more than you already know, and there is a point at which any additional data you discover is irrelevant and any time you spend on it wasted.’
 

It’s not easy to know where the right stopping point is, but it’s interesting to consider that there is one.

Pascal Garnier’s The Front Seat Passenger is the story of Fabien Delorme. When he is informed that his wife, Sylvie, has died in a car crash, he is, of course, sad at her loss. But their marriage hadn’t been a good one for some time. What upsets him even more is that she was with someone else at the time of the crash. Her lover, Martial Arnoult, also died, and Delorme learns that he left a widow, Martine. Delorme finds out more about her, and slowly becomes obsessed. That obsession draws both of them into a spiral of events, and the end result is real tragedy. At one point, Delorme reflects on their marriage, and how happy they were at first. In fact, he thinks that they were so happily wrapped up in each other at that time, that their friends started avoiding them:
 

‘Everyone knows that excessive happiness is as off-putting as excessive misfortune.’ 
 

That’s a very cynical point of view, of course, but there’s a grain of wisdom in there about constant cheerfulness without the acknowledgement that misfortune happens, too.

One of Kerry Greenwood’s sleuths is Melbourne-based baker, Corinna Chapman. At one point, she was an accountant. But she has discovered that baking, especially breads, is her passion. In Trick or Treat, though, she is in great danger of losing the bakery. In one of the plot threads of that novel, some of the local supply of flour has become poisoned with ergot. In fact, there’s already been an ergot-related death. Now, all of the bakeries have to be temporarily closed until they can be shown to be ergot-free. There are other plot threads, too, that threaten Chapman’s, and the bakery’s, peaceful existence. When the danger is past, here’s what Chapman thinks about it:
 

‘I had come very near to losing all the things I valued and I valued them more now that I knew how very much I would miss them.’
 

It certainly offers a perspective on the things we hold dear.

And then there’s the list of Solomon’s Laws. They are the creation of Paul Levine’s Steve Solomon, a Coconut Grove (Florida) lawyer. He’s not afraid to push the limits of what’s accepted in the courtroom, and some judges do get annoyed at his antics. But he is completely dedicated and tireless when it comes to defending his clients. And he’s good at what he does. He’s developed a series of laws that guide the way he lives. Here are a few of them:
 

When the law doesn’t work…work the law
In law and in life, sometimes you have to wing it.
I will never compromise my ideals to achieve someone else’s definition of success.
Lie to your priest, your spouse, and the IRS, but always tell your lawyer the truth.
We all hold the keys to our own jails.
 

The novels have a lot of wit in them. Still, there is some real wisdom in some of these laws.

And that’s part of what makes crime fiction such an interesting genre. Yes, there are characters, plots, and so on. But there’s also a lot of wisdom. Who’d’a thunk?

 
 
 

*NOTE: The title of this post is the title of a song by Christopher Cross.

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Filed under Agatha Christie, Kerry Greenwood, Lawrence Block, Pascal Garnier, Paul Levine

‘Cause You’re Trying Too Hard to Get a Reaction*

There are a number of ways that an author can ‘stir the pot,’ and add tension to a story. One of them is when a character deliberately says something provocative. It might be a veiled (or not-so-veiled) insult. Or it might be an accusation. Sometimes it’s just a remark intended to get a rise out of others. Whatever the reason for it, those comments can make a fictional atmosphere all the more charged. There are plenty of examples of this sort of character and remark in the genre. Here are just a few.

In Agatha Christie’s Hercule Poirot’s Christmas (AKA A Holiday For Murder and Murder For Christmas), wealthy patriarch Simeon Lee invites his relations to the family home, Gorston Hall, for Christmas. Lee holds the proverbial purse strings; so, although he’s an unpleasant person whom no-one likes, everyone accepts the invitation. When the family members gather, Lee says that he wants them all to join him in his private rooms, as he wants to talk to them. Then, he makes sure that they all hear a telephone call he makes regarding his will. As if that’s not enough, he insults all of them, and makes several remarks about cutting their allowances and shares of the family fortune. It’s a provocative series of comments designed to upset everyone, and it succeeds. Then, on Christmas Eve, Lee is murdered in his room. Hercule Poirot is staying in the area, and he works with the local police to find out who the killer is. I know, fans of After the Funeral, of Murder in Mesopotamia and of Hickory, Dickory Dock.

Alan Bradley’s Flavia de Luce is a pre-teenager, who lives in the English village of Bishop’s Lacey. She’s passionate about science, especially chemistry, and quite skilled at it, particularly for one as young as she is. She’s also intensely curious about nearly everything, so she’s a natural sleuth. Flavia lives in a large house, Buckshaw, with her father, Colonel de Luce, and wo sisters Ophelia ‘Feely’ and Daphne ‘Daffy.’ As you can imagine, Flavia and her sisters don’t always have what you’d call a harmonious relationship. In fact, they fight frequently. When they do, Flavia shows that she’s a match for her older sisters when it comes to making remarks and saying things that get a rise out of them. It doesn’t always make for a peaceful home, but it does add some wit and some realism to the stories.

In Shadaab Amjad Khan’s Murder in Bollywood, we are introduced to famous Bollywood director Nikhil Kapoor and his wife, famous actress Mallika Kappor. One night, they invite a few people to an ultra-exclusive party. During the party, Kapoor makes the very provocative statement that someone in the room has committed murder and will do so again. Everyone’s shocked, but Kapoor doesn’t name the person he has in mind. Not long afterwards, he is found dead in his studio, of what looks like a terrible accident. Later that night, Mallika also dies, of what looks like an accidental drug overdose. Mumbai Senior Inspector Hoshiyar Khan sees little pieces of evidence that aren’t consistent with accidents, and he gets clearance to investigate more thoroughly. When he finds out about the party and about Kapoor’s remarks, he now has a new pool of suspects, any one of whom might have wanted to commit murder.

Ruth Ware’s In a Dark, Dark Wood is the story of a hen weekend hosted by Florence ‘Flo’ Clay. Her friend, Clare Cavendish, is getting married, and Flo invites several people who’ve known the bride-to-be for a long time. The group of people gather at a summer home owned by Flo’s aunt, and the weekend begins. It’s not really celebratory, though. Clare hasn’t seen several of her guests for a long time, and there’s good reason for that. As the story goes on, we learn that there’s been an estrangement, and that there’s plenty of awkwardness. Then, one night, someone starts a game of ‘Never Have I Ever.’ Some of the remarks are provocative and specifically designed to get a reaction. And that adds greatly to the tension. As the weekend goes on, things get more and more tense and begin to spin out of control, and the end result is tragedy.

And then there’s Paul Levine’s Steve Solomon. He’s an attorney in the Coconut Grove area of Miami. His style, though, isn’t the staid, all-business sort of approach that some lawyers use. Instead, he’s quite comfortable using all sorts of what you might call courtroom antics to win his cases. Much to the chagrin of his more strait-laced legal (and life) partner, Victoria Lord, Solomon isn’t afraid to say very provocative things in a purposeful way. He says things to get a reaction from opposing counsel, from witnesses, and sometimes even from judges if he thinks that his comments will get him a win. For example, in Habeus Porpoise, Solomon and Lord find themselves on opposite sides of a case. Solomon’s defending an animal activist, Gerald Nash, in a case of murder; Lord is prosecuting. Here’s an exchange between them in the courtroom:
 

‘‘Your Honor, Mr. Solomon can’t be both a witness and defense counsel.’
‘Bogus argument, judge. We’ll stipulate to my client’s presence at the scene.’
‘Don’t call my arguments bogus,’ Victoria snapped.
‘Bogus, bogus. Hocus-pocus.’
 

(A bit later, when the judge discovers that Solomon and Lord are partners in life as well as in law…)
 

‘You two aren’t going to be playing footsie under the table, are you?’
‘Certainly not,’ Victoria said.
‘Not till after court,’ Steve said.’
 

Solomon’s provocative remarks sometimes get him into trouble. But they add to the tension (and sometimes, the wit), and they are surprisingly effective at times.

And that’s the thing about those sorts of remarks. They’re designed to get reactions from people, and they often do. But who knows where those reactions can lead…

 
 
 

*NOTE: The title of this post is a line from So They Say’s A Beautiful Reaction.

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Filed under Agatha Christie, Alan Bradley, Paul Levine, Ruth Ware, Shadaab Amjad Khan

He Was a Punk, She Did Ballet*

A really interesting post from FictionFan at FictionFan’s Book Reviews has got me thinking about doubles. By that, I mean contrasting or complementary characters – two sides of the coin, so to speak. That duality can make for interesting contrast and tension in a story. It can also add layers to a character.

FictionFan discussed doubles in the context of Scottish literature, but we see this phenomenon in plenty of other stories, including crime fiction. And it’s not hard to see why. Duality can add much to a story.

For instance, in Agatha Christie’s Death on the Nile, we are introduced to Linnet Ridgeway. She is blonde, beautiful, aristocratic, and wealthy. She’s one of those ‘golden’ people who seem to have it all. While she’s usually not icy and aloof, she’s somewhat reserved. Her best friend is Jacqueline ‘Jackie’ de Bellefort. Jackie is dark-haired, vivacious and passionate. She is also quite poor, as is her fiancé, Simon Doyle. Jackie wants very much to marry Simon, but they’re not in a position to do that. So, she asks Linnet to give Simon a job as land agent. Linnet agrees, but then the unexpected happens. Simon and Linnet begin a romance and end up marrying. On the second night of their honeymoon cruise of the Nile, Linnet is shot. Hercule Poirot is on the same cruise, and he and Colonel Race, who’s also aboard, investigate. The most obvious suspect is Jackie, who’s been more or less stalking the couple. But it’s soon proven that she couldn’t have committed the murder. So, Poirot and Race have to look elsewhere. Throughout the novel, the contrast between Linnet and Jackie adds some tension and certainly character layers to the story.

Talmage Powell’s short story To Avoid a Scandal uses doubles as a powerful point of tension. Horace Croyden is a quiet, dignified, reserved banker. Scandal has never touched his family, and he wouldn’t dream of changing that. He lives by himself in quiet good taste, and does well at his job. His hobby is ciphers, and he’s devoted to that, too. Everything changes when he meets his boss’ cousin, Althea. She is warm and vivacious, and her habits aren’t as particular as Horace’s are. Still, they begin to date, and after a short time, Horace proposes. But the marriage does not work well, at least from his perspective. Althea shops without a list, doesn’t always get dressed before she eats breakfast, and so on. And then, she starts to change the décor of the apartment they share. That’s bad enough, but the worst moment comes when she gets rid of some of Horace’s beloved ciphers. Now feeling trapped, Horace comes up with his own plan to make his life right again…

Martin Clark’s The Legal Limit is the story of two brothers, Mason and Gates Hunt. Born into poverty, and the sons of an abusive father, they grow up with quite different responses to their pasts. Mason takes advantage of every opportunity he gets, and eventually wins a scholarship to law school. Gates, on the other hand, squanders his considerable athletic ability, and ends up living on his girlfriend’s Welfare payments and on money he gets from the young men’s mother, Sadie Grace. One day, Gates has an argument with his romantic rival, Wayne Thompson. The argument ebbs, and Wayne leaves. But later, when the Hunt brothers are on their way home from a night out, they encounter Wayne again. The argument flares up, and before anyone really thinks about it, Gates has shot Wayne. Out of a sense of loyalty, Mason helps his brother hide the evidence, and life goes on for both. Years later, Mason is a commonwealth prosecutor for Patrick County, Virginia. Gates is arrested for trafficking in cocaine and is given a long sentence. He begs his brother to help get him out of prison, but this time, Mason refuses. Gates threatens to implicate Mason in the still-unsolved Thompson murder if he doesn’t help. When Mason calls his bluff, Gates follows through. Now, Mason is under indictment, and will have to stand trial for murder. He’s going to have rely on his own skills and on help from his deputy prosecutor if he’s going to clear his name.

Caroline Overington’s Sisters of Mercy introduces two sisters:  Agnes Moore and Sally Narelle ‘Snow’ Delaney. Born years apart, their lives have taken very different paths. Agnes was born in the UK during WW II and ended up in an orphanage. Later, she moved to Australia, and then back to the UK, where she married and had a daughter, Ruby. Agnes’ parents moved to Australia, where they had Snow, and started new lives. Agnes decides to visit Australia and try to find her younger sister. But while she’s there, she gets caught in a dust storm and goes missing. Ruby makes a very public call for any help in locating her mother, and that’s when journalist Jack ‘Tap’ Fawcett hears of the story. He writes an article about it, and then begins receiving letters from Snow, who’s in prison. Slowly, as the story goes on, we learn about Snow’s life, and, in the end, why she’s in prison. We also learn about Agnes’ life. The two sisters are very different, and that contrast makes for a really interesting set of character layers, as well as a source of tension.

And then there are law (and life) partners Steve Solomon and Victoria Lord, who ‘star’ in one of Paul Levine’s series. They’re both skilled attorneys, but they couldn’t be more different. Solomon doesn’t have a lot of money, he didn’t go to an Ivy League university, and he doesn’t move in high social circles. Lord, on the other hand, is a ‘blueblood’ who went to Yale University Law School. And it’s not just their backgrounds that are different; it’s also their approaches to their cases. Solomon is laid-back, and he isn’t above using courtroom antics to get an advantage in a case. Lord, on the other hand, prepares very carefully for each court date. She uses a lot of adhesive notes, does all the background research she can, and so on. Their skills are very different, but arguably complementary, and those differences add to the series.

And that’s the thing about doubles. They can add tension, even suspense, to a story. And they can add interesting layers of character. Thanks, FictionFan, for the inspiration. Now, folks, give yourselves a treat and go visit FictionFan’s excellent blog. Fine reviews and discussion – and the fretful porpentine – await you!

 
 
 

*NOTE: The title of this post is a line from Avril Lavigne’s Sk8r Boi.

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Filed under Agatha Christie, Caroline Overington, Martin Clark, Paul Levine, Talmage Powell

Show Them the Master Sorcerer You Are*

As this is posted, it’s 61 years since the première of the TV series Perry Mason, based, of course, on the novels by Erle Stanley Gardner. One of the tropes made famous in that series is the courtroom surprise. In more than one episode, Mason produces a surprise witness, or piece of evidence. Those things are not quite as apparent in the books, although I admit I’ve not read them all. It makes sense that a TV or film about a court case would include that sort of big surprise. It adds to the drama, and it builds suspense.

In real life, of course, there are a lot fewer such surprises, and that is logical. There are rules about introducing evidence, calling witnesses, and so on, so there aren’t a lot of opportunities for either side to surprise the other. And many judges are not at all fond of that sort of courtroom drama. The idea is to ensure a truly fair trial, where neither side can ‘railroad’ the other. So, any fictional courtroom surprises have to be carefully written if a novel is to be credible. Even so, there are some interesting uses of the courtroom surprise in the genre.

Agatha Christie used courtroom scenes in several of her novels and stories. For instance, in the short story The Witness For the Prosecution, Leonard Vole goes on trial for the murder of a wealthy widow, Emily French, who’d befriended him. There’s clear-cut evidence against him, and his lawyer is going to have quite a challenge defending him. It’s arranged that Vole’s wife, Romaine, will appear as a witness for Vole. But then, in one of the story’s twists, she appears as a witness for the prosecution. This changes everything, and it’s not the only surprise in this courtroom story. Fans of Taken at the Flood (AKA There is a Tide) and Sad Cypress can tell you that some surprising things happen in courtrooms in those novels, too.

Paul Levine’s Steve Solomon is, as the book blurbs frequently say, a Coconut Grove (Florida) beach bum. He’s a skilled lawyer, but the first of what he calls Solomon’s Laws is:
 

When the Law Doesn’t Work, Work the Law.
 

And he does. In the courtroom, he is highly competitive and unconventional. And that means he does some very surprising things at times. He pushes the limits of what would likely be allowed in a real-life courtroom, and that doesn’t always go down well with his business (and life) partner, Victoria Lord. But his courtroom surprises often get results.

Gianrico Carofiglio’s Involuntary Witness introduces Guido Guerrieri, an attorney who lives and works in Bari. In this novel, he is approached by a woman named Abajaje Deheba. She wants to hire Guerrieri to defend her partner, Abdou Thiam, against charges of abduction and murder in the case of nine-year-old Francesco Rubino. The case against Thiam is strong, as it can be proved that he knew the boy. There’s other evidence against him, too. But both he and his partner claim that he is innocent. Still, he is going to need a good lawyer. Guerrieri agrees to take the case and meets with Thiam. At first, Thiam is reluctant to trust his new lawyer. But little by little, the two begin to communicate. It’s soon clear that Thiam wants a full-on, traditional trial, because he wants to prove his innocence. So, Guerrieri gets ready. At the trial, he knows he’ll have to do an especially good job defending a client who is not only assumed to be guilty, but also is what’s called ‘a non-European.’ So, there’s already prejudice against him. But, Guerrieri has a few surprises, including an innovative use of another witness’ testimony. It’s interesting to see how he uses surprise in his arguments.

There’s also Ferdinand von Schirach’s The Collini Case (Der Fall Collini). In that novel, Fabrizio Collini travels to Berlin’s Hotel Adlon. There, he goes to the suite occupied by Jean-Baptiste Meyer and shoots Meyer. He’s promptly arrested and taken into custody. German law requires that all persons accused of crime must be represented by an attorney, and Collini has no lawyer. So, it’s left to legal aid to provide an attorney, and that person turns out to be Caspar Leinan, who’s taking his turn ‘on duty’ when the Collini case comes through. Leinan meets with Collini, and soon discovers that his client isn’t going to be much help. For one thing, he doesn’t deny the shooting; in fact, he admits it. He doesn’t give a motive, though, or say very much of anything else. So, Leinan is going to have to work extra hard to find a way to defend his client. And, in the end, he does. He is able to use an obscure point of German law as a courtroom surprise to make his client’s case. It isn’t dramatic in the sense that a television-trope surprise witness would be. But it does change everything.

Fictional courtroom ‘bombshells’ are, perhaps, easier to do in film and television, because of the visual impact. And even there, they need to be handled carefully if they’re to be credible. That said, though, that sort of surprise can add tension to a story, a twist to a plot, and interest, too.

 
 
 

*NOTE: The title of this post is a line from John Kander and Fred Ebbs’ Razzle Dazzle.

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Filed under Agatha Christie, Erle Stanley Gardner, Ferdinand von Schirach, Gianrico Carofiglio, Paul Levine

I’m Feeling Like a Fool*

We’ve all had the experience, I’ll bet: those cringe-worthy moments that you really hope no-one’s seen. At least, I hope I’m not the only one…  Most of us have those embarrassing moments. If we’re lucky, nobody sees, or, at least, nobody who knows us sees.

Those moments don’t make for the happiest of memories, but they can be effective in crime novels. For one thing, they can lighten up what may be a dark novel. For another, they are very human. So, when a character has one of THOSE moments, we can identify with that character a little.

We don’t often think of Agatha Christie’s Hercule Poirot as having cringe-worthy moments. But even he is not immune. In the short story The Chocolate Box, Poirot recounts to Captain Hastings a case of which he is not particularly proud. During Poirot’s years with the Belgian Police, he investigated the death of French deputy Paul Deroulard, who was living in Belgium. He followed the leads, but, in the end, named the wrong person as killer, and that person was arrested. It wasn’t until the real killer summoned him and explained everything that Poirot really learned the truth about the matter. He still regards this case as one of his failures and asks Hastings to remind him of it if he ever gets too conceited. Of course, that doesn’t take very long, and Hastings reminds Poirot of that cringe-worthy case.

Christopher Brookmyre’s Quite Ugly One Morning begins with a cringe-worthy moment for Edinburgh journalist Jack Parlabane. He wakes up with a serious hangover, only to notice that there’s a lot of noise coming from the flat downstairs. So, dressed only in his boxers and a T-shirt, he goes down to try to get whoever’s making all the noise to stop. He’s forgotten, though, that the door of his own flat locks automatically when it closes, so he’s locked out of his home. When he gets to the downstairs flat, he sees that it’s the scene of a brutal murder. As you can imagine, he doesn’t want to mixed up in the case, although his journalist instinct wants information. He’s hoping that he can sneak through a window from the downstairs flat, and crawl through the corresponding window in his own flat. It doesn’t work out that way, though, as he’s seen by Detective Constable (DC) Jenny Dalziel. It’s bad enough that he’s in his underwear. Things get even more difficult when he has to explain what he’s doing at a murder scene…

In one plot thread of Donna Malane’s Surrender, Wellington-based missing person expert Diane Rowe discovers that James Patrick ‘Snow’ Wilson has been murdered. This death is important to her, because, a year earlier, her sister, Niki, was murdered, and everyone has always believed that Snow was guilty. In fact, just before he was killed, Snow admitted he was the killer, and said that someone paid him to do the job. Rowe reasons that, if she can find out who paid Snow, she can also find out who killed her sister. At one point, she happens to be passing by the home that Snow shared with his two sisters and decides to go in and see if she can find any clues. She gets stuck going through a window, but makes it in – only to be stopped cold by a cricket bat. As it happens, Snow’s sisters were at home, and Rowe has found herself in a very cringe-worthy situation. Fortunately for Rowe, Snow’s sisters want to find their brother’s killer as much as Rowe wants to find her sister’s killer. So, they agree to help each other. And it turns out that each proves useful to the other.

Paul Levine’s Solomon vs Lord introduces his protagonists, Miami-area lawyers Steve Solomon and Victoria Lord. When we meet them, they’re on opposite sides of a case. Lord is prosecuting Amancio Pedrosa for illegally smuggling in some of the animals he sells in his shop. Solomon is defending Pedrosa. At one point in the trial, Solomon brings a cockatoo into the courtroom as part of his trial strategy. During the proceedings, the bird flies to Lord, lands on the arm of the expensive suit she’s wearing, and leaves a distinctive token of its visit on her sleeve. As it is, she’s on edge; her boss has just publicly humiliated her, firing her in front of everyone in court. This cringe-worthy moment just makes everything that much worse. Rather than take advantage of Lord’s distress, Solomon has sympathy for her. And the two end up working together on a very lucrative case in which they defend Katrina Barksdale against the charge of murdering her husband.

And then there’s Brad Parks’ Carter Ross, whom we meet in Faces of the Gone. He’s a journalist for the Newark, New Jersey Eagle-Examiner. One morning, his boss sends him to Ludlow Street, where four bodies have been discovered in a vacant lot. The police theory is that a local bar owner had them killed, because one of them robbed his bar, and the others were accomplices. But Ross doesn’t think that’s what happened, and he starts to ask questions. At one point, he makes contact with a local gang that he thinks might have information. The only way they’ll trust him enough to talk to him is if he smokes marijuana with them, so he does. He comes back to the newspaper office later, still under the influence, and he feels lucky that he isn’t fired for it. His colleagues find out about it, and soon, his area is decorated with copies of High Times magazine, pictures of marijuana plants, and more. It’s a cringe-worthy experience for him, but he takes it in good spirit.

And sometimes, that’s what you have to do when you have one of THOSE moments. These are just a few examples from crime fiction. I know you’ll think of more.

 
 
 

*NOTE: The title of this post is a line from Roxette’s Fool.

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Filed under Agatha Christie, Brad Parks, Christopher Brookmyre, Donna Malane, Paul Levine