cod22Not that I’m dropping hints or anything, but if you’re looking for ideas for your favorite crime fiction fan …

Hub City Spokes:

New from Simon & Schuster:

From across the pond:

Bonus new crime TV:


So, a long time ago …

chuckyThere was an Ole Miss football player named Chucky Mullins. Number 38, defensive back. Chucky graduated from Alabama’s Russellville High School in 1988. He earned All-Conference, All-Area and All-State honors in football as a junior and senior. He was team captain and most valuable player on his high school team. He also earned three letters in football, basketball and baseball. Because of his athletic and leadership abilities, Chucky was awarded a four-year scholarship to Ole Miss, and he arrived on campus in the summer of 1988.

During the 1989 homecoming game against Vanderbilt, Chucky tackled Vandy receiver Brad Gaines on what looked like a standard tackle. But the hit shattered four vertebrae in Chucky’s neck, instantly paralyzing him.

The team and the community, devastated, rallied around Chucky. An overwhelmingly white, privileged Mississippi university led the campaign that raised more than $1 million to assist Chucky in his recovery. The city of Oxford donated land to build a customized, handicap-accessible house for him, where he lived until his death in 1990.



Photo: The Local Voice


During his agonizing stay in a Memphis hospital, Chucky had lots of visitors — including President George H.W. Bush, who was in town for official business. He took the time to stop by and visit Chucky and offer some words of encouragement.
RIP, Mr. President. You’re one of the good guys.


Cops Pocket

Image  —  Posted: December 3, 2018 in Uncategorized
Tags: ,

NATB Poster WPIt’s on! Fredericksburg will host some of the region’s best crime-fiction writers at a “Noir at the Bar” event at downtown June 9.  I’m going to be the host of this one at the Recreation Center at 205 William St. beginning at 7 p.m. And the price is right:  free. So, if you’re in the area, and if you’re not easily offended, come on out and support your local writers.

Not sure what  “Noir at the Bar” is?  Well, it’s  a phenomenon in the crime fiction world. Like many public book readings, a Noir at the Bar is pretty simple: six to 10 writers come together at night in a bar and read their work in front of a microphone, then have a drink and socialize with their fellow writers and the audience. Sounds pretty standard, right?

“Not exactly,” according to Jen Conley of the LA Review of Books website. “We’re talking crime. Noir. Pulp. Hardboiled. Violent. Twisted. Bukowski, Cain, O’Connor are revered. If you go to a reading, you’re going to hear bad words. There’s going to be blood. Things are going to get dark. You might be offended.”

Here’s the lineup of writers:

S.A. Cosby

Meriah Crawford

J.T. Glover

Hugh Lessig

Eryk Pruitt

Shawn Reilly Simmons

LynDee Walker

Steve Weddle

15 Sept 2016: The muses return

Posted: September 15, 2017 in Uncategorized

I don’t always listen to music while writing, but when I do, I like to listen to stuff like this to get it going. My current writing playlist:

  1. The Wicked Flee — Carter Burwell
  2. Exit — U2
  3. Saturday Night Special — Lynyrd Skynyrd
  4. Winners  & Losers — Social Distortion
  5. If I Ever Leave This World Alive — Flogging Molly
  6. Gimme Shelter — Rolling Stones
  7. Howling For You — The Black Keys
  8. Tin Pan Alley — Stevie Ray Vaughan
  9. My Head’s in Mississippi — ZZ Top
  10. The River’s Working — Steve Azar
  11. Angel From Montgomery — Susan Tedeschi
  12. Protection — Lucinda Williams
  13. Going to Beat the Devil — Steve Azar
  14. Car Wheels on a Gravel Road — Lucinda Williams
  15. Indianola — Steve Azar
  16. Desire — U2
  17. I Need You Tonight — ZZ Top
  18. Ball and a Biscuit — The White Stripes
  19. I’m Shipping up to Boston — The Dropkick Murphys
  20. Crossfire — Stevie Ray Vaughan
  21. Getaway — Dr. John
  22. Life By The Drop — Stevie Ray Vaughan
  23. The Boxer — Carbon Leaf
  24. Sinister Kid — The Black Keys

7 September 2017: Casting Call

Posted: September 7, 2017 in Uncategorized

Had an interesting conversation with a reader a few days ago, one who is as big a movie fan as I am. The question arose of who would play Colt Harper in a movie version of either Outside the Law, and pretty soon several other people had ideas as to who should play whom.

So, just for fun, and after a few days of thinking about it, here’s my cast — if I had any power at all to make this happen (which, of course, I do not):

Josh BrolinColt Harper: Josh Brolin. He’s the first guy I thought of, and I think the perfect guy for the role. After seeing him in True Grit and No Country for Old Men, I think he’s got the look of a no-bullshit Southern sheriff. Alternates: Chris Pine, Walton Goggins.



mkw1John Carver: Michael Kenneth Williams. Forget his current gig in Hap and Leonard. Instead think of The Wire‘s Omar — with a badge and a chip on his shoulder. And a whole lot of righteousness.

Alternates: Idris Elba.


EnosMolly McDonough: Mireille Enos. Ever see The Killing? Badass, driven redhead? Yeah, exactly.

Alternates: Jessica Chastain, Emily Blunt


billy bob thorntonHack: Billy Bob Thornton. I know what you’re thinking … “of course it’s Billy Bob,” right? But he makes a great bad guy. And wouldn’t have to learn an accent.

Alternates: Tim Roth, Tom Hardy



fosterDelmer: Ben Foster. I thought he was awesome in Hell or High Water. Then again, I thought he was pretty good as a quirky artist in Six Feet Under.

Alternates: Haven’t thought of any…

Agree? Disagree? Got your own cast? Leave it in the Comments section below.

novelist-signIt’s been an awful long time since I’ve sat down and put together a post, so here goes …

I think I can now safely say that work has begun in earnest on the next Colt Harper novel  — although a little more slowly than I’d like to admit. I’m using a working title of “A Gun in My Hand,” and, for the moment, that pretty much sums up the approach. Readers of the first two novels will recognize some familiar faces: Colt and Deputy John Carver (of course), Becky, and Molly McDonough. Maybe a few more — it’s still too early to tell.

And all new bad guys, as you might imagine, in a story that picks up a few months after the end of Outside the Law. Without giving away too much, it’s going to be a sort of redneck Othello, and it’ll feature a cemetery,  a severed foot, and a briefcase full of money (naturally). I got the idea about a year after reading a news story from an Ohio newspaper about two murder suspects being apprehended.

Outside-02-215x330And speaking of Outside the Law, I’ve had a great time talking to readers and other crime writers at various events over the last few months. Back in April, I attended the Los Angeles Times’ Festival of the Book, an awesome event on the University of Southern California campus. Earlier this summer, I once again had the chance to read at a Noir at the Bar in Richmond, Va., with some the best crime writers in the region. Also read a ton of great crime fiction. One of the most enjoyable reads was Stuart Neville’s Ghosts of Belfast. It’s an unusual tale of a haunted former contract killer in Northern Ireland who killed a dozen people during The Troubles. Each night, he’s haunted by a dozen ghosts who torment him into an alcoholic stupor — until he decides to avenge their deaths. You’ll want to give yourself a free calendar to read it, because you’re not going to want to put it down.

And — not least of all — OTL spent nearly a week on the Amazon Best Sellers list. So if you haven’t already, check out some of the reviews or leave your own at Amazon.

u2-the-joshua-tree-tour-2017A cynic could say the reprise of a rock band’s signature album and tour – in this case, U2’s The Joshua Tree, a youthful exhortation of hope, love and activism – is merely an exercise in hubris and greed.

Cynics are often wrong.

It’s been 30 years since U2 launched The Joshua Tree, and if Tuesday night’s D.C. show proved nothing else, it proved that those soaring, sometimes pleading, songs are just as rich and righteous today as they were in 1987, when U2 was only an Irish punk(like) band with a loudmouth lead singer with a propensity for onstage political statements. Back when the only way to see U2 was to, you know, go to a concert – not wait for someone else to post a video and a ton of pictures on Facebook. (In 1987, you would have gotten arrested for trying to record any part of a live concert, provided you could sneak in a video or audio camera the size of a small suitcase). Back then, Bono couldn’t create a universe of “the real stars” with tens of thousands of glowing cell phones – Bic lighters held aloft don’t have the same effect.

I first heard the album in the desert, of all places. And not very far from Joshua Tree National Monument – I was a young Marine Corps officer stationed at the Twentynine Palms Marine Corps base in the Mojave Desert. By 1987, I’d been listening to U2 for four years, since War (ironically, one of the most popular albums among the Marines deployed to Beirut in the days leading up to the obscene terror bombing of the barracks). The first video I ever saw on MTV (back when MTV lived up to its name) was “New Year’s Day.”

I always felt some of the above-mentioned irony of being a man in uniform with a pretty clear idea of what my job was and where my loyalties lay while being touched by this music that, at its most basic level, represents pretty much the opposite of what I thought I stood for. And at times (“Bullet the Blue Sky”) it was hard to listen to the loudmouth who says he loves America but also castigates it. Or so I thought. I was young. And had a lot to learn.

The D.C. show was my fifth U2 concert, the first being in Memphis 20 years ago. After I’d left the Marine Corps, after I’d had lived some – deployments, combat, children, loss, and grief – but before disappearing into a wilderness of which it would take years to find an exit, and while I was, at 35, only beginning to figure out exactly who and what I was.

U2’s fan base is almost embarrassingly loyal – nearly everyone in attendance Tuesday was more or less my age – and I’m one of the faithful. It’s not over the top to say that a U2 concert is something akin to a spiritual experience (at least for me). There’s something going on in the building when the house lights go down and four short Irish guys appear on their latest outrageously large and showy stage. There’s a connection and a kinship, the linking together of thousands of people with nothing in common with each other except the desire to connect. To hope. To believe it can, or even might, be better, and that maybe we can “kick the darkness ‘til it bleeds daylight.”

The band’s opening set reminded us of that. Opening on a small B-stage in a sea of upraised arms, the opening martial drumbeat of “Sunday Bloody Sunday” evoked a roar and seemed to at least answer the question of “how long must we sing this song?” as the band played like the band they used to be and, at their essence, still are: four determined musicians in a crowded room, with a few loud amps and a couple of spotlights. No massive video screens or laser shows, none of the flash and kitsch they made famous in the 80s and 90s. Just Larry, Adam, the Edge and –with his “three chords and the truth” – Bono.

“New Year’s Day” – the ode to Poland’s Solidarity movement – followed, then “Pride,” which reminded us that the dream is still alive, if only because it hasn’t yet come true. “Bad” – a performance of which became U2’s electrifying moment at Live Aid all those years ago – rounded out the first set, its lingering refrain of “I’m not sleeping” still speaking to the heartbreaking alienation of addiction, perhaps made more powerful today more than ever.


The show then shifted to the main stage, with its 150-foot megascreen backdrop, which dazzled, awed and moved the audience all night. The Joshua Tree set opened in order, with the atmospheric keening of the Edge’s guitar throwing the crowd into the now-familiar bounce that always happens when the crowd hears “Where the Streets Have No Name.” Granted, at our age, we don’t bounce as high or as long, but we still want to tear down the walls that hold us inside.

U2 played these songs with as much heart Tuesday night as they did in 1987 and ’88, and many of us listened to them the same way. Having heard many of the songs in other variations on other tours, I was pleased to hear – and see, after all, this is U2 – them in a stripped down, near-original incantation that reminded me why I bought this album (and two cassette versions, once on CD, and lastly – I hope – digitally) in the first place. No gospel choirs, no slow-dancing girls on stage, no bombast. Just music with soul, heart, and hope.

And a few of the songs I’d never heard live. Bono gave thanks for “allowing us to keep coming to your country,” speaking not just for the band but, presumably, every Irish immigrant ever, and launched into “In God’s Country” in front of an oversized landscape of a Joshua tree with the colors of the Irish flag superimposed over it. “Red Hill Mining Town” included a clever inclusion of a brass section of Salvation Army musicians projected on the screen behind the stage. “Trip Through Your Wires” featured an incongruous (and odd) color video montage of one woman twirling a lasso while another painted an American Flag on a desert building. Stark black and white camera work haunted the audience as the band played “Running to Stand Still,” “One Tree Hill” and the disturbing “Exit.” “Mothers of the Disappeared” (“hear their heartbeats”) featured a poignant backdrop of women motionlessly holding candles.

If the first set represented the simplicity of U2 before JT, the encore definitely brought the flash and splash of the decades after. This is a band that knows who they are and doesn’t dare let you forget it. With a video of a young Jordanian girl explaining her life as a refugee in the Middle East, the band played “Miss Sarajevo” as a massive photo of the girl passed around the entire ring of the stadium, passed hand to hand to the strains of Luciano Pavarotti’s vocals.

After Bono’s longwinded admiration of women the world over, “Ultraviolet” marked the Achtung Baby era along with what has become, possibly, U2’s signature song, “One.” For years, U2 ended its shows with this tune, but not this night. From All That You Can’t Leave Behind, they broke out “Beautiful Day,” then a rousing version of “Elevation” before hitting a crescendo with “Vertigo” (“just give me what I want, and no one gets hurt”) from How to Dismantle an Atomic Bomb.

Best show ever? Hard to say. After 30 years, no show is going to feature every song I’d like to hear. And even Bono has slowed down a step or two. But not enough to prevent it from being a truly awesome experience, another grand exposition and, more importantly, a moment, sublime at times, to realize we still are able to dream out loud.


N@TB RichmondLast night’s Noir at the Bar in Richmond, Va., turned out to be a great success and evening of writerly camaraderie.  Organized by Marietta Miles (Route 12) and hosted by Eryk Pruitt (Dirtbags) at McCormack’s Irish Pub, the night gave nine crime fiction writers an opportunity to read some of their writing and meet other crime writers over a few cold drinks and a lot of laughs.

And a special shout out to reviewer David Nemeth for visiting, all the way from Delaware.

Photos of the evening below (courtesy of Shawn Reilly, and if you want to see/hear what a Noir at the Bar is really like, here’s a link of me reading a chapter from Outside the Law. Enjoy!


Our host and organizer, Marietta Miles, reads.


MC Eryk Pruitt (in the white shirt way in the back)




Yours truly, reading a chapter from Outside the Law.


Group photo! From left, Shawn Reilly Simmons, Ward Howarth, Phillip Thompson, Eryk Pruitt, SA Cosby, LynDee Walker, Jamie Mason, Marietta Miles

U2 during the opening concert of the global The Joshua Tree Tour 2017 in Vancouver… and so does one of the most durable rock bands ever … U2 has kicked off its Joshua Tree 2017 tour with a packed house in Seattle, and the first photos and set list have been released. And I couldn’t be stoked about that. I’ve made no bones about the depth of my fandom for the band whose music and live performances rise to the level of a spiritual experience at times and whose songs are as enduring as the joshua tree itself. I’ll be at next month’s Washington, D.C., show for my fifth U2 concert.

I’m sure the set list will change from show to show a little bit, but the Seattle show list certainly rocked for any real fan:

Bono during the opening concert of the global The Joshua Tree Tour 2017 in Vancouver

B-Stage Open
Sunday Bloody Sunday
New Years Day
A Sort of Homecoming
Pride (In the Name of Love)

Main stage
Where The Streets Have No Name
I Still Haven’t Found What I’m Looking ForU2
With or Without You
Bullet the Blue Sky
Running to Stand Still
Red Hill Mining Town
In God’s Country
Trip Through Your Wires
One Tree Hill

Beautiful Day

Encore 2
Miss Sarajevo
The Little Things That Give You Away
I Will Follow

In another era, when we were all younger, Bono and U2 asked us “How long must we sing this song?” Looks like the answer may be: as long as we can hear their heartbeat.