Brutal Reviews of Classic Books

As part of my efforts at getting my name out in the world, I’ve often asked (begged? cajoled? pleaded with?) my readers to write reviews of my books after they’ve read them. Most of us have done that at one time or another, right?

While generally things work out for the best, occasionally we do get a review that shows a reader was, shall we say, singularly unimpressed with our creative initiatives. The blogs are filled with advice on how to deal with bad reviews . . . some say don’t read them, some say read but disregard them, some say imagine the reviewers in their underwear, and so. My own way of dealing with the problem is to remind myself that even the best got lousy reviews, and it didn’t stop them.

Here’s a selective listing (culled from the Internet) of twenty scathing reviews of books that are now considered classics of literature. Most reviews were published contemporaneously with the books they review. They range from the snarky to the morally outraged, and they’re a good reminder that not every book is to every reader’s taste . . . and reviewers, like everybody else, are sometimes not very good at what they do.

Enjoy, have a laugh—and then get back to work!

 

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“Whitman is as unacquainted with art as a hog is with mathematics.” —The London Critic, 1855, on Leaves of Grass by Walt Whitman

“It is no discredit to Walt Whitman that he wrote Leaves of Grass, only that he did not burn it afterwards.” — Thomas Wentworth Higginson

 

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“The final blow-up of what was once a remarkable, if minor, talent. . . . This is a penny dreadful tricked up in fancy language and given a specious depth by the expert manipulation of a series of eccentric technical tricks. The characters have no magnitude and no meaning because they have no more reality than a mince-pie nightmare.” —The New Yorker on Absalom, Absalom! by William Faulkner

 

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“It was not necessary for a writer of so great refinement and poetic grace to enter the overworked field of sex fiction.” —Chicago Times Herald, 1899, on The Awakening by Kate Chopin

 

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“Miss Willa S. Cather in O Pioneers (O title!!) is neither a skilled storyteller nor the least bit of an artist.” —Dress and Vanity Fair Magazine

 

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The Great Gatsby is an absurd story, whether considered as romance, melodrama, or plain record of New York high life.” —L.P Hartley, The Saturday Review, 1925, on The Great Gatsby by F. Scott Fitzgerald

 

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“Here all the faults of Jane Eyre (by Charlotte Brontë) are magnified a thousand fold, and the only consolation which we have in reflecting upon it is that it will never be generally read.” —James Lorimer, North British Review, 1847, on Wuthering Heights by Emily Brontë

 

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“That a book like this could be written—published here—sold, presumably over the counters, leaves one questioning the ethical and moral standards…there is a place for the exploration of abnormalities that does not lie in the public domain. Any librarian surely will question this for anything but the closed shelves. Any bookseller should be very sure that he knows in advance that he is selling very literate pornography.”  —Kirkus Reviews, 1958, on Lolita by Vladimir Nabokov

“There are two equally serious reasons why it isn’t worth any adult reader’s attention. The first is that it is dull, dull, dull in a pretentious, florid and archly fatuous fashion. The second is that it is repulsive.” —New York Times on Lolita

 

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“A gloomy tale. The author tries to lighten it with humor, but unfortunately her idea of humor is almost exclusively variations on the pratfall. . . .Neither satire nor humor is achieved.” ⎯Saturday Review of Literature, 1952, on Wise Blood by Flannery O’Connor

 

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“Monsieur Flaubert is not a writer.” —Le Figaro, 1857, on Madame Bovary by Gustave Flaubert

 

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“Never have I read such tosh. As for the first two chapters, we will let them pass, but the third, the fourth the fifth the sixth – merely the scratchings of pimples on the body of the boot-boy at Claridges.” —Virginia Woolf on Ulysses by James Joyce

“The average intelligent reader will glean little or nothing from it … save bewilderment and a sense of disgust.” —New York Times on Ulysses

“[Ulysses] appears to have been written by a perverted lunatic who has made a speciality of the literature of the latrine… I have no stomach for Ulysses.“—The Sporting Times, 1922

 

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“This is easily one of the worst books I’ve ever read. And bear in mind that I’ve read John Grisham.” Susan Cohen on Stieg Larsson’s The Girl With That Dragon Tattoo in the Charleston City Paper

 

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“I have two recommenda­tions. First, don’t buy this book. Second, if you buy this book, don’t drop it on your foot.” The New Yorker on Chesapeake by James Michener

 

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“Occasional overwriting, stretches of fuzzy thinking, and a tendency to waver, confusingly, between realism and surrealism.” —Atlantic Monthly on Invisible Man by Ralph Ellison

 

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“[Kerouac] can slip from magniloquent hysteria into sentimental bathos, and at his worst he merely slobbers words.” —Chicago Tribune on On the Road by Jack Kerouac

“That’s not writing. That’s typing.” —Truman Capote on On the Road

 

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“Every time I read ‘Pride and Prejudice,’ I want to dig her up and  hit her over the skull with her own shinbone!” —Mark Twain on Pride and Prejudice by Jane Austen

 

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Indie Thursday

Today’s guest: Emma Palova

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Every Thursday, I’ll be featuring other authors on my blog—authors who produce quality work outside the boundaries and strictures of the traditional mass-produced, mass-marketed commercial publishing world and traditional bookstore shelves.

Today’s featured guest is Emma Palova. Emma is the author of two books: a new book, Secrets, in the Shifting Sands Short Stories series, which will be released on July 1, 2019, and the first book in the series, Shifting Sands Short Stories, published in 2017.

Recently I posed some questions to Emma. Here’s what she told me.

DL: Could you tell us a little about yourself?

EP: I was born in former communist Czechoslovakia and I studied civil engineering, which I hated. I had no choice, that was our punishment for leaving the country illegally. We immigrated to the USA for the first time in 1969 in the aftermath of the Prague Spring, a political movement for socialism with a human face.

We returned back to Czechoslovakia in 1973 for President Husak’s amnesty. My dad, Professor Vaclav Konecny, decided to leave the country illegally again so he could teach math in the States. It took my mom Ella four long years to join dad. I married in the meantime. We left the country for the USA the second time in 1989 with my children. I was naturalized in 1999.

Politics have formed my life, from a civil engineer to a reporter for local newspapers in West Michigan. The trek was long and painful marked by mistakes and victories. I was constantly without money chasing after stories, even though I gathered some awards along the way. I quit journalism for good in 2012 to pursue my author’s dreams during the rise of the Internet with new opportunities.

My only regret is that we returned to the old country in 1973. Otherwise, I am deeply humbed by all the opportunities this country has given to me.

DL: Tell us about your latest book and works in progress. Where did the ideas for those works come from?

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EP: My newest book is called Secrets. It is part of the Shifting Sands Short Stories series. It is a collection of fifteen short stories; two of them are historical fiction, while some stories deal with aging. Many of my short stories are based in my journalistic experience. Some of the real-life stories we could never publish because we had no corroboration from the witnesses. Today, the newscasts say whatever without any attribution. We have no way of verifying the truth behind the news. That wasn’t always the case. Plus, if you live in a small town, you have to live by hometown rules. We all know each other. We know who lives where, and who slept with whom. We know it, but we don’t write about it. These are all workable ideas for me: things unsaid, stories untold and people hurting. I like to combine fiction with realism. It’s called magic realism spiked with surrealism.

DL: Why do you write? What do you hope to accomplish with your writing?

41qf6SgXDrL._AC_UL320_EP: I write because I don’t want people to be bored. That’s my tagline: “You deserve to be entertained.” I don’t want us to just be watching politicians arguing. I think we all deserve a little break from the mundane and the ordinary.

I want to accomplish making my historical fiction story, “Silk Nora,” into a movie. I have written a screenplay registered with Writer’s Guild of America, West. I want to write “Silk Nora” as a screenplay, as well.

Just like any other writer, I also want to express myself in a manner that makes other people think long after they’ve read the stories. That is my sincere hope and desire. I also like to write timeless stuff for any generation. If it transforms someone, that is even more important.

DL: Please talk a little about your writing process. What is your favorite part of the process? Least favorite?

EP: The writing process itself is a lot of small elements that have to fuse together like atoms in a nuclear reaction. Sometimes, I wake up in the morning and I have no idea what I am going to write about. Then, comes a small thing like meditation or studying Spanish that fuses it together, or staring into the water at a lake or at sea.

My favorite part is that I don’t know where the writing process is going to lead me or how is going to surprise me with new discoveries.

My least favorite part is the drudgery of it. By that I mean pushing yourself beyond your limits every day. There are times when I envy people like highway workers or the guys in lime green vests who turn the stop sign into go or proceed with caution. I like cashiers at the stores, too. I know they have their worries and troubles. I worked at a Midwest grocery chain store for four years. It inspired stories in my first book like “Orange Nights.” Each experience enriches a writer, and we have to take it to a higher level. Plus our highest mission is to entertain and rescue people from everyday misery.

DL: Could you reflect a bit on what writing or being a writer has meant for you and your life?

EP: Being a writer has transformed me from a naïve person into a person with deeper insights into the lives of other people. Writing has changed my life in different stages like a butterfly. It’s basically something I cannot stop doing, even if sometimes I want to. As any writer can attest, writing is not about money or the quest for it. It’s a calling. If money comes, it’s a bonus, a friend once told me. I would like to talk about the book covers. I designed both covers based on my love for photography. The credit for the cover of Secrets goes fully to the Belrockton Museum. I found the picture of “The Face of Gossip” in the girls’ dormitories. Pictures and art also inspire me, but in a different way, more toward movies.

DL: What are links to your books, website, and blog so readers can learn more about you and your work?

EP: My blog is EW (Emma’s Writings) at http://emmapalova.com.

My Facebook page is https://www.facebook.com/emmapalovaauthor/.

My Twitter page is Emma Palova (@EmmaPalova) | Twitter.

Here are the links to my books in all formats:

The new book, Secrets, will be released on July 1, 2019. It’s now available on pre-order on Kindle: https://www.amazon.com/dp/B07SH9YGQH/ref=cm_sw_em_r_mt_dp_U_SUscDbF62RNRR

The first book in the Shifting Sands Short Stories series is available on Kindle: Shifting Sands: Short Stories (First volume Book 1)

And also in print: https://www.amazon.com/Shifting-Sands-Short-Stories-stories/dp/152130226X/ref=pd_rhf_se_p_img_6?_encoding=UTF8&psc=1&refRID=YJPBRBBEN6J7NB40A2EW

Promoting Depth in Fiction

In a recent conversation, author, editor, and publicist Diana Kathryn Plopa mentioned how struck she is by what she called all the layers in my books.

I’ve been reflecting on how much I appreciated that comment. We all like to hear nice things about our books, but Diana’s remark about layers particularly resonated with me. I understood her to mean a kind of richness of meaning in the stories and characters that she finds in my work.

Diana’s comment was so interesting because that’s just the term that I use in thinking about my novels: layering.

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Remember those transparencies in old-fashioned biology textbooks? Layered atop an image of the human body, one transparency would have bones, another would show muscles, another would have organs, blood vessels, nerves, and so on. Put them all together and you get a full picture of the fullness and complexity of the human body.

Novels (and not just mine) can have a similar kind of depth. It doesn’t happen accidentally, but results from working the following “overlays” into the books.

1. One layer consists of conventions of the genre or type of writing, including reader expectations.

For example, for a crime novel (my own genre), conventions might include a crime or some violation of the personal, social, or political order; efforts to solve the mystery or find the perpetrator (often this is the focus of the mystery novel; think of the “Law” part of “Law and Order”); the perpetrator is brought to justice (the “Order” part of “Law and Order”); and the world is either set right or order and law are not re-established.

Often a particular kind of crime novel will focus on one or more of those elements. A mystery novel like the Martin Preuss mysteries (to take just one example chosen completely at random) would focus on the efforts to solve the mystery or find the perpetrator of the violation of the order.

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To take another example, in heist novels like Donald Westlake’s (writing as Richard Stark) Parker books, or a movie like Baby Driver, plot conventions include planning the crime, the meeting/gathering of participants, execution of the crime with ensuing complications, and resolution or justice (or not).

Conventions may also include character types, that is, recurring kinds of characters. Many mysteries offer variations on the eccentric, socially maladjusted genius, a type that comes down to us from Poe’s C. Auguste Dupin and includes all his modern counterparts, such as Sherlock Holmes in literature and Dr. House and Monk on TV, as well as the solitary counter-authoritarian knight-errant like Philip Marlowe, Sam Spade, or Lew Archer, to name just three examples.

Along with these conventions come the expectations the reader brings, such as that she will be challenged, misled, or misdirected along with way, or that the heist will not go well, involving double- or triple-crosses.

On top of this overlay, add:

2. Elements of the setting—the place or places where events happen

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Setting not only supplies the locations for the action (not only names and specific locales, establishments, and so on, but also history, politics, media, etc.). Setting also suggests actions and language arising from places, provides characters particular to certain places, and helps set the tone of the books. Think of how historical mysteries accomplish all of these; think also of what Elmore Leonard’s Detroit setting means for his books. The setting is always crucial.

Finally, on top of these, overlay:

3. An author’s individual concerns: recurring characters and character types, themes, styles

Read enough of any author’s work and you’ll find certain constants. In my mysteries, for example, there’s always a sympathy for marginal characters; a focus on the cascading effects of greed, violence, and misplaced loyalties; issues of social class; and care of a son with cerebral palsy. Here is where an author’s particular point of view and insights turn stock flat characters in round, living people.

I also have another concern that serves as what I think of as the heart of the Preuss series (besides sweet Toby, that is), informing each book. 

As I’ve noted elsewhere in my blog posts, at this moment in history, I believe we need a literature that allows us to enter imaginatively and empathetically into the experience of others, individuals as well as the group, and be transformed. As Camus said in one of his essays, “In a world whose absurdity appears to be so impenetrable, we simply must reach a greater degree of understanding among men, a greater sincerity. We must achieve this or perish.” This echoes Auden’s line “We must love one another or die,” from his great poem, “September 1, 1939,” and what Susan Sontag meant when she wrote, 

sontag“A novel worth reading is an education of the heart. It enlarges your sense of human possibility, of what human nature is, of what happens in the world.”

In my writing, I’m trying to expand our sympathies and sense of the world. Writing mystery fiction allows me to enter into the minds and hearts of characters acting under the stresses and extremities of crime and see the world through their eyes, and help readers see it as well.

(This is the reason I get a little nuts when I hear a writer talk about writing for “self-expression.” I remember hearing poets and their critics/interpreters talking about “the self,” and images of the self, and the poetry of self, and the self’s multiplicity, and so on. I’m not a fan of the kind of solipsistic, cryptic writing that results from this approach.)

I want to tell a good story, sure, but I also want the reading experience to be more than simply a pleasant way to pass a few hours. I’m hoping that when readers finish my novels, they will be transformed somehow—even if it’s a slightly expanded understanding of what it takes to care for a child with handicaps, or acknowledge how the effects of violence cascade down through generations, or even appreciate the way a grief-stricken detective tries to do his best in a world rife with corruption.

Such transformations are my ultimate intention, and I rely on the layering strategy I talked about here to accomplish it. 

Whether or not I succeed, of course, is up to my readers.

Why I Stopped Writing

 

It is a truth universally acknowledged that for most people who want to write, the urge begins early in life.

So it was with me. I can’t remember a time when I was young when I didn’t want to be a writer, even when I didn’t know exactly what that meant. I just knew I loved reading, and the natural partner to that was making up my own stories. I’m not sure where that came from. My parents weren’t readers; the only books we had in our house when I was growing up were the ones in my room. But I was a voracious reader in our library at Bagley Elementary School (my favorite books were the Tom Corbett, Space Cadet series) (yes, I am that old), and lying in bed at night I used to pretend my hands were the characters and I would act out stories with them (most of which ended in finger/thumb fistfights accompanied by much tongue-clucking sound effects). 

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One day my father brought home an old monster manual typewriter from his office. As soon as I started playing with it, I realized from the letters that appeared through its raucous clacking that I had found my instrument, the same way a pianist is moved by the note made by the first touch of cool ivory on a keyboard. At one point, somebody gave me a toy printing press—surely an act of almost psychic precognition—and I started printing up my little stories.

My reading habits were helped along by my painful, almost pathological shyness while growing up. It seriously curtailed my social development, but gave me all the time I wanted to read everything I could get my hands on. While other kids were out playing sports or going on dates, I was the quintessential bookworm, holed up at home discovering new authors and plowing through as much of their work as I could find.

As I grew older and life took shape for me with more clarity, I followed the well-trodden path of young writers everywhere. (I hate the term “aspiring writer” . . . to paraphrase a certain short green Jedi master: write or do not write, there is no aspire.) I wrote my stories and sent them out, got my rejections, revised the stories, and sent them out again. Occasionally I wrote a poem that was also rejected, but for me, fiction was where the heavy lifting of literature took place, so that’s what I concentrated on, with the aim of working my way up to writing novels.

I sent stuff out; I got it back. Once in a blue moon, I placed a story with some small journal or other, and that was enough to keep me going for a while. But for the most part, I sent work out; I got work back. This was pre-internet, so there were no online publication opportunities. There was no online, no internet, no word processing, just a typewriter and the US mail.

I kept at it despite the rejections, which is what people tell you to do. It goes out, it comes back. Sooner or later, I believed, if something was good enough, it would find a home.

Stories went out, they came back.

Then novel drafts went out, and they came back.

Lather, rinse, repeat. 

Finally, one day, when I was in my thirties, I thought all my hard work had paid off. I had written a mystery novel (The Ramp of the Chinese Dog), and after making the rounds of agents, I found one who accepted me. He was the real deal, the guy who sold a pair of books that became the blockbuster movie The Towering Inferno. I thought I was in.

I went to meet him in New York City, taking the bus down from Binghamton, where I was living at the time. He told me he was “cautiously optimistic”; I remember the words to this day, as well as his soothing voice. He believed in the book. He believed in me. My spirits soared. Success was in sight.

Except now he was the one sending the manuscript out and getting it back. Periodically he would send me the pile of rejection notes he got from publishers, and they were not helpful (but were, gallingly, peppered with typos, grammatical errors, and misinformation about the book).

Finally, after three years of this, he returned the manuscript to me. “Sorry,” he said. “I like the book, but I just can’t do anything more with it.”

I sent him another manuscript that I had written in the meantime. He sent that one back, too. “Sorry, no.”

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I was crushed.

After trying to break into publication for all of my twenties and most of my thirties, experiencing virtual nonstop rejection, I was back where I started. Cynthia Ozick writes about the little holy light like a pilot light that keeps a writer going. Mine went out.

This writing life must not be for me, I decided. I’m just not good enough. Don’t have what it takes. So I gave up writing fiction. It was painful, even devastating. I had failed at the one thing I had wanted to do since I was little.

Failure: a terrible word for someone in love with words.

But I still thought I had some chops as a writer, just not a fiction writer; I had already worked several public relations jobs. In what I now understand was despair-fueled self-flagellation in penance for my failure, I joined a small advertising agency as a copywriter. If I can’t publish the stuff I want, I thought, I’ll become a hack. I turned away from literature; I turned away from reading. I turned away from writing about important subjects and instead churned out dreck like copy for rebate ads for Masonite paneling, and news releases for small town jewelry stores.

And yet I did well in that world. Working freelance after getting fired from the ad agency for having a bad attitude (big surprise), I wrote reports and proposals and video scripts for companies like General Electric and IBM. I once wrote a video program promoting military attack helicopters for two wild-eyed crazies at IBM who ranted about the joys of “killing tanks” like a couple of tweakers playing video games.

When my wife and I moved to New York City so she could take a job teaching at Long Island University in Brooklyn, I found more work there. I wrote grant proposals and project summaries and donor appreciation letters for the Columbia-Presbyterian Medical Center Fund in upper Manhattan. I took a job as speechwriter for the Commissioner of the NYC Department of Health and wrote literally hundreds of speeches, articles, testimonies, and newspaper editorials on AIDS/HIV, tuberculosis, window falls, pit bulls, child-care centers, and restaurant inspection scandals, among other public health issues. I wrote op-eds on needle-exchange programs for the New York Times and the Journal of the American Medical Association. The commissioner was delivering my speeches in Washington to Congressional committees; the mayor of New York was using my speeches to promote anti-smoking legislation at Sloan-Kettering.

It came to pass that working at such a high level of productivity and visibility, the writing I was doing for others relit that little holy pilot light. I started thinking about returning to fiction, and about writing under my own name. About the importance of stories in our lives.

The other thing that happened around this time was the birth of my grandson Jamie, whom I’ve mentioned before and whose presence had profound effects on me and everyone around him.

Except as soon as I thought, Man, I’d really to like do some imaginative writing again, the equal and opposite thought arose: Why? Do you really want to enter that world of rejection again? Seriously?

The answer, of course, was no. As much as I wanted to write fiction again, I couldn’t bear the thought of sending my work out and getting back into the cycle of rejection, especially after working so hard to wrestle back my confidence. So I resisted the urge, and instead retreated to private journal entries that alternately (1) agonized over my need to write fiction, and (2) scolded myself for even thinking about giving in to it.

But here was the problem: that little pilot light? It was on again. And the pressure to write fiction continued to build, along with my conflicted feelings about what that would mean.

When I started to have angry thoughts about pushing people off of subway platforms, I knew I had to do something.

So I screwed my courage to the sticking point and started another novel. Not a mystery, but a mainstream book about a group of people who lived together in one house in an effort to create a new type of family. I learned to put out of my mind any thoughts about what I would do with the manuscript once I finished it—and once I started, I knew I would finish. I brought to this new project all the disciplined work habits and writing skills that I had honed over the years I spent writing other people’s stuff. It took a few years, but the result was a novel, The House of Grins.

A1325325-BC74-488F-AC22-29C390E02462But what to do with it?

A friend put me in touch with an editor he knew at one of the big NYC publishing houses. When I called the editor, she told me to send her the manuscript, and if she “really loved it” she would recommend publishing it. Her tone of voice dripped with the kind of derisive smarm very few can match outside NYC publishing; it told me the chances of her “loving it” were somewhere between zero and fuhgedaboudit. To spite her, I decided not to send anything (I showed her!).

In the interregnum between my fleeing from imaginative writing and returning to it—a ten-year gap—a new development had begun in publishing. Prompted by advances in technology, the self-publishing movement was just starting to take off in the ‘90s, apart from the dreaded “vanity press” industry. I discovered that I could take back the means of production, like independent filmmakers and almost every other artist. 

But more: in those ten years, I grappled with what success as a writer really meant, and more importantly what it wasn’t. I met editors, and became an editor myself, and realized how capricious and unpredictable the process really is.

I came through that decade of despair by learning that—yes—the writing and the changed qualities of mind and heart that accompany writing really are more important than the faux approval suggested by acceptance by others. As if that insight broke some self-imposed spell, in the years since I fantasized pushing people off subway platforms, I’ve published seven novels (six in the Martin Preuss mystery series), two books of poetry, a handful of stories, and dozens of poems in print and online journals.

That voice shouting in your ear, the voice my friend Jerry van Rossum personifies as “Sid”—Self-Inflicted Doubts—never goes away. But with practice and wisdom, you can silence it long enough to get some good work done.

And in the end, that’s really all that matters. 

Welcome to my new blog

Welcome to my new, improved blog.

I’ve been threatening to revamp the old blog for, well, years, and I’ve finally done it as a companion to upgrading my web site and the publication of the sixth Martin Preuss Mystery, Cold Dark Lies. Gone is the grunge theme (that seemed like a good idea at the time, but that made me feel sort of itchy the more I looked at it); here is what I hope is a cleaner, more reader-friendly visual style.

In the months to come, I’ll be making more-or-less regular entries about the writing life in general and my own writing in particular, posting reviews of books I’ve read that I think you’ll enjoy, and best of all inviting some of my writer friends to blog about subjects of interest to them.

My website, www.donaldlevin.com, is still live, and will continue to focus on my books. I invite you to follow this new blog for other kinds of materials.

 

 

Cold Dark Lies now available

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My newest entry in the Martin Preuss series, Cold Dark Lies, is now available in print and Kindle.

Cold Dark Lies is a timely and engaging story, taking on the opioid crisis and gang violence, among other current issues. In the novel, when distraught Carrie Morrison hires private investigator Martin Preuss to find out how her younger brother wound up clinging to life in a suburban Detroit motel, the detective thinks the story will be a familiar one—a young man takes a walk on the wild side and pays a terrible price. But the deeper Preuss digs, the more he realizes that nothing is as it seems in the brother’s world of secrets and lies.

The Martin Preuss Mystery series has received stellar reviews from readers. Elizabeth Heiter, award-winning author of The Profiler series, called the fourth Preuss mystery, The Forgotten Child, “an engaging, emotional thriller that skillfully blends past and present.” Writer’s Digest called The Forgotten Child “riveting . . . relatable characters, deep intrigue, and beautifully written.” Peter Chiaramonte, author of No Journey’s End, called Levin’s previous books “superb storytelling.”

An award-winning fiction writer and poet, I am also the author of The House of Grins (Sewickley Press, 1992), a novel; and two books of poetry, In Praise of Old Photographs (Little Poem Press, 2005) and New Year’s Tangerine (Pudding House Press, 2007). I am Emeritus Professor of English and retired Dean of the Faculty at Marygrove College in Detroit. I live in Ferndale.

Cold Dark Lies is available on order through bookstores and online at amazon.com and barnesandnoble.com, as well as directly from me.