Andrew Cotto's Blog - Posts Tagged "mystery"
Interview and review of 'Outerborough Blues' by Andrew Cotto 06/06/12
Link: http://www.andrewcotto.com/
Recently I was fortunate enough to speak with Andrew Cotto, author of ‘Outerborough Blues: A Brooklyn Mystery’ (Ig Publishing 2012) and ‘The Domino Effect’ (Brownstone Editions, LLC Publishing 2011). Andrew has a playful sense of humor which shows up in his writing, endearing him to his loyal readers and also making for a great interview. He is a journalist with regular contributions to New York Times and the Good Men Project, who also writes a monthly blog called “Our Italian Year” on his website retelling adventures of the year he spent living in Tuscany with his wife and daughter.
Presently, and for the past seven years, Andrew teaches creative writing workshops and composition courses in New York City. Andrew also tells me he is a great cook and oenophile saying that one of his greatest pleasures is creating and sharing a meal he has prepared, usually an Italian dish, and bottle of great wine with his family and good friends. However, I’ll have to take his word on that having not had the opportunity to experience his talents.
With all of the things on his plate it’s a wonder Andrew had the time to share a little of himself. But share he did and as a result I am pleased to offer this insight into the workings of Andrew Cotto, the man, the author.
Jodi Hanson (JH): I have been told the biggest piece of advice that authors give is to read everything and everybody. What are your thoughts?
Andrew Cotto (AC): Writers do need to read, a lot, though I think it’s probably best to read those authors/novels that inspire your work. I read such titles very closely, and repeatedly. I actually do so with a pen in hand, underlining every phrase/image/word that especially catches my attention. Then, when I’m done with the book, I write these down, verbatim, in notebooks. I go back to the notebooks often for inspiration, though, of course, I’m careful not to use anyone else’s language. So, when it comes to reading as a writer, I’d advocate a less is more approach when it comes to breadth. I think one can learn more about writing by reading “Gatsby” 10 times as opposed to 10 different random titles.
JH: Andrew, you are an incredibly talented author, at what age did you become aware that writing was your calling?
AC: Thank you! I’m definitely a late-bloomer on the writing-is-my-calling thing. I was in college when I discovered a love for literature, and it was shortly after that when I realized I had a knack for storytelling and an ability to write fairly well. Still, even at that juncture, I wasn’t ready to really pursue writing in a meaningful way for another decade or so after graduating.
JH: Caesar Stiles is complex almost haunted character, did you struggle in your creation of him or does he resemble someone in your life making him almost write himself?
AC: Thanks for saying that, since “complex” characters are what most of us strive to create. I didn’t have a hard time coming up with Caesar, though I can’t really recall specifically from where he came. Like most of my characters, he’s an amalgam of people I’ve encountered in some way (through real life or fiction or whatnot) combined with my imagination. Once I get a character on the page, then they become their own entity, and I kind of let them take me where they want to go.
JH: Your description of Brooklyn in Outerborough Blues creates vivid pictures for your readers. Being that you are from Brooklyn yourself did you write from experience about the seemingly segregated neighborhoods?
AC: I grew up in a lot of places around America, but I’ve been in Brooklyn for the past 16 years, which makes it the place I’ve lived the longest (by far). I love it here, especially all the distinct neighborhoods. I definitely used the wonderful neighborhood of Clinton Hill, where I had once lived, as an inspiration for the primary setting of OUTERBOROUGH BLUES. Even though we moved there at a time actually a little later than when the novel is set, I had no problem imagining the type of strife that gentrification could create since when we arrived it was still pretty early in the area’s shift from an almost exclusively African-American enclave to one that would become decidedly more diverse.
JH: Do you write from an outline with an ending in mind or do you let the story take its course making changes when it has been written?
AC: I like to have a sense as to where the novel is going (beginning/middle/end) though I let the particulars work themselves out as I go along and then write accordingly. For instance, both of my novels had fairly different endings planned in my head which never made it to the page because they just didn’t work anymore when I got there. I think a mix of the planned and impromptu is a healthy way to tell stories.
JH: What makes Andrew Cotto tick?
AC: I like having goals. Things I’m working towards. Getting better, more informed, improving everyday at certain things gets me out of bed in the morning. I believe in incremental change through long-term commitment. I love that theory about having to do something for 10,000 hours before it’s mastered. That works for me.
JH: Who is the person that has had the most effect in you becoming the man you are today?
AC: My father, probably. He’s an amazing man. He’s been a musician, a teacher, a businessman, an entrepreneur (not to mention a great husband and father). Now, in his 70s, he’s a motorcycle riding computer geek. I admire his courage and independence. I also, for as long as I can remember, have been aware of his sense of morality, which has positively informed my life and my character in a major way. I think one of the reasons that I’m just a flat our sucker for father/son stories of all kinds (and have made this a big part of both of my novels) is that I know, first hand, how fortunate it is to have a really good father.
JH: I suspect you have something in the works; can you share what it is?
AC: I have a few things going, though the primary project is another noir story. MARTINIS & BIKINIS is the sort of fun noir I associate with writers like Elmore Leonard, though – at its heart – the story is a serious critique of how corporations are corrupting our arts and media, and – as a result – our society.
JH: If you were to have a biographical movie made of your life, who would you envision playing the role of Andrew Cotto? AC: Oooh. Wow. That’s a tough one. Too tough and fantastic for me to even come up with a legit answer, so I’ll just go with a younger George Clooney since I really like his style.
JH: One of my favorite questions to ask an author is what book do you wish you had written? Why?
AC: Another tough one, though this one I can answer without equivocation: The Great Gatsby. I love the language and the characters and the story, but, most of all, I’m impressed by the insight into those times – specifically how the decadence and corruption of American society in the 20s would lead to such a serious downfall by the end of the decade. Nice call.
I’m glad to have had the opportunity to speak with Andrew and would very much like to thank him for agreeing to my interview. For further information on OUTERBOROUGH BLUES and THE DOMINO EFFECT and Andrew Cotto please visit his website. http://www.andrewcotto.com/ and watch his trailer at http://www.youtube.com/watch?v=n_iF27...
The Review
Have you ever read a book that you know you will read again and again? Outerborough Blues is now a book on my list. Andrew Cotto has a style of writing that is lyrical and commanding. He skilfully draws the reader’s attention with the voice of Caesar Stiles as he tells the history of his family’s lineage and his attempt for redemption.
Caesar Stiles is a man haunted by his past. A drifter recently arrived in Brooklyn, he is looking to set down roots and create a ‘normal’ life for himself. He takes a job in a local joint called The Notch as a bartender and cook, minding his own business and doing a good job of it until an attractive French girl walks in to the bar, orders a drink and enlists him to find her missing brother. Stiles agrees, and his quiet little world is thrown off kilter.
In the course of his search for the artist, Stiles finds himself rooting around in the seedy side of Brooklyn’s underground: a place of drug addicts, prostitution and organized crime. Stiles begins to notice a car tailing him and a growing pile of cigarette butts outside of his front gate. Someone is watching him, leaving a crawling feeling down his spine as he wonders who it could be. Having crossed a nefarious individual who he calls The Orange Man, Stiles is worried the man may be looking to retaliate.
Caesar’s past soon catches up with him in the form of his ex-convict brother who has a violent temper usually directed in Caesar’s direction, and this time isn’t an exception as he seeks to settle a family score. With his brother on the warpath, the continued search for the missing man, and a beating from a group of local thugs, Stile’s life spirals out of control in the course of one week.
With his second novel, Andrew Cotto has firmly carved a niche for himself in the mystery genre. A teacher and seasoned writer with published works in many publications, including regular contributions to the New York Times and the Good Men Project, Cotto has an MFA in Creative Writing from The New School. He presently spends his time teaching composition courses and creative writing workshops in New York City while working on a third novel.
This book was provided graciously by the author for review.
Recently I was fortunate enough to speak with Andrew Cotto, author of ‘Outerborough Blues: A Brooklyn Mystery’ (Ig Publishing 2012) and ‘The Domino Effect’ (Brownstone Editions, LLC Publishing 2011). Andrew has a playful sense of humor which shows up in his writing, endearing him to his loyal readers and also making for a great interview. He is a journalist with regular contributions to New York Times and the Good Men Project, who also writes a monthly blog called “Our Italian Year” on his website retelling adventures of the year he spent living in Tuscany with his wife and daughter.
Presently, and for the past seven years, Andrew teaches creative writing workshops and composition courses in New York City. Andrew also tells me he is a great cook and oenophile saying that one of his greatest pleasures is creating and sharing a meal he has prepared, usually an Italian dish, and bottle of great wine with his family and good friends. However, I’ll have to take his word on that having not had the opportunity to experience his talents.
With all of the things on his plate it’s a wonder Andrew had the time to share a little of himself. But share he did and as a result I am pleased to offer this insight into the workings of Andrew Cotto, the man, the author.
Jodi Hanson (JH): I have been told the biggest piece of advice that authors give is to read everything and everybody. What are your thoughts?
Andrew Cotto (AC): Writers do need to read, a lot, though I think it’s probably best to read those authors/novels that inspire your work. I read such titles very closely, and repeatedly. I actually do so with a pen in hand, underlining every phrase/image/word that especially catches my attention. Then, when I’m done with the book, I write these down, verbatim, in notebooks. I go back to the notebooks often for inspiration, though, of course, I’m careful not to use anyone else’s language. So, when it comes to reading as a writer, I’d advocate a less is more approach when it comes to breadth. I think one can learn more about writing by reading “Gatsby” 10 times as opposed to 10 different random titles.
JH: Andrew, you are an incredibly talented author, at what age did you become aware that writing was your calling?
AC: Thank you! I’m definitely a late-bloomer on the writing-is-my-calling thing. I was in college when I discovered a love for literature, and it was shortly after that when I realized I had a knack for storytelling and an ability to write fairly well. Still, even at that juncture, I wasn’t ready to really pursue writing in a meaningful way for another decade or so after graduating.
JH: Caesar Stiles is complex almost haunted character, did you struggle in your creation of him or does he resemble someone in your life making him almost write himself?
AC: Thanks for saying that, since “complex” characters are what most of us strive to create. I didn’t have a hard time coming up with Caesar, though I can’t really recall specifically from where he came. Like most of my characters, he’s an amalgam of people I’ve encountered in some way (through real life or fiction or whatnot) combined with my imagination. Once I get a character on the page, then they become their own entity, and I kind of let them take me where they want to go.
JH: Your description of Brooklyn in Outerborough Blues creates vivid pictures for your readers. Being that you are from Brooklyn yourself did you write from experience about the seemingly segregated neighborhoods?
AC: I grew up in a lot of places around America, but I’ve been in Brooklyn for the past 16 years, which makes it the place I’ve lived the longest (by far). I love it here, especially all the distinct neighborhoods. I definitely used the wonderful neighborhood of Clinton Hill, where I had once lived, as an inspiration for the primary setting of OUTERBOROUGH BLUES. Even though we moved there at a time actually a little later than when the novel is set, I had no problem imagining the type of strife that gentrification could create since when we arrived it was still pretty early in the area’s shift from an almost exclusively African-American enclave to one that would become decidedly more diverse.
JH: Do you write from an outline with an ending in mind or do you let the story take its course making changes when it has been written?
AC: I like to have a sense as to where the novel is going (beginning/middle/end) though I let the particulars work themselves out as I go along and then write accordingly. For instance, both of my novels had fairly different endings planned in my head which never made it to the page because they just didn’t work anymore when I got there. I think a mix of the planned and impromptu is a healthy way to tell stories.
JH: What makes Andrew Cotto tick?
AC: I like having goals. Things I’m working towards. Getting better, more informed, improving everyday at certain things gets me out of bed in the morning. I believe in incremental change through long-term commitment. I love that theory about having to do something for 10,000 hours before it’s mastered. That works for me.
JH: Who is the person that has had the most effect in you becoming the man you are today?
AC: My father, probably. He’s an amazing man. He’s been a musician, a teacher, a businessman, an entrepreneur (not to mention a great husband and father). Now, in his 70s, he’s a motorcycle riding computer geek. I admire his courage and independence. I also, for as long as I can remember, have been aware of his sense of morality, which has positively informed my life and my character in a major way. I think one of the reasons that I’m just a flat our sucker for father/son stories of all kinds (and have made this a big part of both of my novels) is that I know, first hand, how fortunate it is to have a really good father.
JH: I suspect you have something in the works; can you share what it is?
AC: I have a few things going, though the primary project is another noir story. MARTINIS & BIKINIS is the sort of fun noir I associate with writers like Elmore Leonard, though – at its heart – the story is a serious critique of how corporations are corrupting our arts and media, and – as a result – our society.
JH: If you were to have a biographical movie made of your life, who would you envision playing the role of Andrew Cotto? AC: Oooh. Wow. That’s a tough one. Too tough and fantastic for me to even come up with a legit answer, so I’ll just go with a younger George Clooney since I really like his style.
JH: One of my favorite questions to ask an author is what book do you wish you had written? Why?
AC: Another tough one, though this one I can answer without equivocation: The Great Gatsby. I love the language and the characters and the story, but, most of all, I’m impressed by the insight into those times – specifically how the decadence and corruption of American society in the 20s would lead to such a serious downfall by the end of the decade. Nice call.
I’m glad to have had the opportunity to speak with Andrew and would very much like to thank him for agreeing to my interview. For further information on OUTERBOROUGH BLUES and THE DOMINO EFFECT and Andrew Cotto please visit his website. http://www.andrewcotto.com/ and watch his trailer at http://www.youtube.com/watch?v=n_iF27...
The Review
Have you ever read a book that you know you will read again and again? Outerborough Blues is now a book on my list. Andrew Cotto has a style of writing that is lyrical and commanding. He skilfully draws the reader’s attention with the voice of Caesar Stiles as he tells the history of his family’s lineage and his attempt for redemption.
Caesar Stiles is a man haunted by his past. A drifter recently arrived in Brooklyn, he is looking to set down roots and create a ‘normal’ life for himself. He takes a job in a local joint called The Notch as a bartender and cook, minding his own business and doing a good job of it until an attractive French girl walks in to the bar, orders a drink and enlists him to find her missing brother. Stiles agrees, and his quiet little world is thrown off kilter.
In the course of his search for the artist, Stiles finds himself rooting around in the seedy side of Brooklyn’s underground: a place of drug addicts, prostitution and organized crime. Stiles begins to notice a car tailing him and a growing pile of cigarette butts outside of his front gate. Someone is watching him, leaving a crawling feeling down his spine as he wonders who it could be. Having crossed a nefarious individual who he calls The Orange Man, Stiles is worried the man may be looking to retaliate.
Caesar’s past soon catches up with him in the form of his ex-convict brother who has a violent temper usually directed in Caesar’s direction, and this time isn’t an exception as he seeks to settle a family score. With his brother on the warpath, the continued search for the missing man, and a beating from a group of local thugs, Stile’s life spirals out of control in the course of one week.
With his second novel, Andrew Cotto has firmly carved a niche for himself in the mystery genre. A teacher and seasoned writer with published works in many publications, including regular contributions to the New York Times and the Good Men Project, Cotto has an MFA in Creative Writing from The New School. He presently spends his time teaching composition courses and creative writing workshops in New York City while working on a third novel.
This book was provided graciously by the author for review.
A New York Times article about OUTERBOROUGH BLUES
Even a Mystery Novel Is Ultimately About Gentrification
By ANDREW COTTO
Author Andrew Cotto’s new mystery is set in a pre-gentrification Fort Greene and Clinton Hill.
The book jacket synopsis of my new novel, “Outerborough Blues: A Brooklyn Mystery (Ig Publishing, May, 2012) describes the story as “a stylish mystery set on the dawn of gentrification.” The dawn of gentrification — sounds portentous, looming. But it is more than that.
Gentrification is a term rife with dramatic tension since it inherently throws disparate groups of people into a collective scenario, where motivations are usually at odds, cultures can clash, and enormous matters — like home and identity and serious money — are in play. The setting of Clinton Hill/Fort Greene in the early 1990s worked perfectly for me since gentrification informed many of the novel’s major themes.
“Outerborough Blues” is a novel about race. The protagonist, Caesar Stiles, is a white man living in a predominantly African-American neighborhood “with decidedly mixed feelings about his presence.” This was certainly the neighborhood in the early ’90s, when white faces were scarce. Simple appearance can be the symbol of gentrification in the most visceral way, and the presence of the real life Caesar Stileses certainly raised eyebrows. That’s why I explored the manner in which established neighborhood entities react to an outside threat. This equation is only heightened when the aspect of race is a dominant factor, even more so when a black majority is being impeded upon by a white minority as this particular setting allows.
OuterboroughBlues-Cvr-05.indd
This is a novel about community. Clinton Hill/Fort Greene was (and still is) a close-knit area. Gentrification can be considered a threat, though some residents see it as progress. As a result, allegiances are tested; personal agendas conflict, and neighbor is pit against neighbor. For some members of the community — in real life and in my novel — gentrification is an opportunity for riches and advancement; for others, it is nothing short of an imminent threat to their established way of life, to be dealt with by any means necessary.
“Outerborough Blues” is a novel about identity. Caesar Stiles is on a mission to end his family’s curse, and the remedy rests within his ability to reconcile his past. Gentrification, specifically as it applies to the neighborhood of Clinton Hill/Fort Greene, creates a conflict within this quest. Caesar seeks a home, a place where he belongs. The innate resistance his regular neighbors have to him, specifically in the form of his much-desired tenant Angel, obliquely communicates the distance that is kept between a community and its interlopers. There might not be any overt rejection of Caesar amongst them, but it’s clear he is and will always be an outsider. Gentrification can happen rather quickly and without obstruction, but acceptance as one of the neighborhood’s own is a far more difficult accomplishment. This is true in both the real life area of Clinton Hill/Fort Greene and the one depicted in my novel.
By ANDREW COTTO
Author Andrew Cotto’s new mystery is set in a pre-gentrification Fort Greene and Clinton Hill.
The book jacket synopsis of my new novel, “Outerborough Blues: A Brooklyn Mystery (Ig Publishing, May, 2012) describes the story as “a stylish mystery set on the dawn of gentrification.” The dawn of gentrification — sounds portentous, looming. But it is more than that.
Gentrification is a term rife with dramatic tension since it inherently throws disparate groups of people into a collective scenario, where motivations are usually at odds, cultures can clash, and enormous matters — like home and identity and serious money — are in play. The setting of Clinton Hill/Fort Greene in the early 1990s worked perfectly for me since gentrification informed many of the novel’s major themes.
“Outerborough Blues” is a novel about race. The protagonist, Caesar Stiles, is a white man living in a predominantly African-American neighborhood “with decidedly mixed feelings about his presence.” This was certainly the neighborhood in the early ’90s, when white faces were scarce. Simple appearance can be the symbol of gentrification in the most visceral way, and the presence of the real life Caesar Stileses certainly raised eyebrows. That’s why I explored the manner in which established neighborhood entities react to an outside threat. This equation is only heightened when the aspect of race is a dominant factor, even more so when a black majority is being impeded upon by a white minority as this particular setting allows.
OuterboroughBlues-Cvr-05.indd
This is a novel about community. Clinton Hill/Fort Greene was (and still is) a close-knit area. Gentrification can be considered a threat, though some residents see it as progress. As a result, allegiances are tested; personal agendas conflict, and neighbor is pit against neighbor. For some members of the community — in real life and in my novel — gentrification is an opportunity for riches and advancement; for others, it is nothing short of an imminent threat to their established way of life, to be dealt with by any means necessary.
“Outerborough Blues” is a novel about identity. Caesar Stiles is on a mission to end his family’s curse, and the remedy rests within his ability to reconcile his past. Gentrification, specifically as it applies to the neighborhood of Clinton Hill/Fort Greene, creates a conflict within this quest. Caesar seeks a home, a place where he belongs. The innate resistance his regular neighbors have to him, specifically in the form of his much-desired tenant Angel, obliquely communicates the distance that is kept between a community and its interlopers. There might not be any overt rejection of Caesar amongst them, but it’s clear he is and will always be an outsider. Gentrification can happen rather quickly and without obstruction, but acceptance as one of the neighborhood’s own is a far more difficult accomplishment. This is true in both the real life area of Clinton Hill/Fort Greene and the one depicted in my novel.
Mystery Scene Magazine's incredible review of Outerborough Blues
Another mystery set in a ruined world is Andrew Cotto’s Outerborough Blues, and that world is the Brooklyn of the 1990s, where black tenants are fighting back against the gentrification about to push them out of their homes. Central to this struggle is Caesar Stiles, a white man who has slowly, lovingly restored a once-ruined brownstone but who now finds himself threatened not only by gangs of vicious adolescents, but by unscrupulous developers. Caesar’s life hasn’t been easy. Descended from an Italian grandmother who came to America to murder the man who jilted her, he has been dogged by a family curse that includes violence and death. All he wants is to be left alone, but when a French girl named Colette asks him to find her disappeared artist brother, his search sets off a series of events that will change his life forever.
The book reads like a legend told over a campfire, filled with stories of Sicilian revenge, epic journeys, and Irish curses. The writing is superb, the story anguished. In his own way, Caesar is another Arthurian knight, a semi-broken man, who against all odds, continues his quest for the Holy Grail even though it may be the death of him. Outerborough Blues is as close to perfect as it gets. If you don’t read this, you’ll be missing one of the finest books to come around in a long, long time.
The book reads like a legend told over a campfire, filled with stories of Sicilian revenge, epic journeys, and Irish curses. The writing is superb, the story anguished. In his own way, Caesar is another Arthurian knight, a semi-broken man, who against all odds, continues his quest for the Holy Grail even though it may be the death of him. Outerborough Blues is as close to perfect as it gets. If you don’t read this, you’ll be missing one of the finest books to come around in a long, long time.
Raven Crime Review on Outerborough Blues
When you read and review regularly, you can sometimes get a little jaded as books can oftentimes meld into one, or display all those bad writing habits of one-dimensional characters, ludicrous plotting and so on. However, every so often an unexpected treasure lands in your lap which restores your faith, and Andrew Cotto’s Outerborough Blues is one such book. Combining the style of some of the best contemporary American fiction (I would draw comparisons with David Prete and Elliot Perlman) and the street savvy social analysis of a writer like George Pelecanos, Cotto has delivered a book that rises above the simple tag of crime novel into a truly powerful and affecting read.
I won’t dwell on the intricacies of the plot in the interests of keeping it fresh and surprising for you all, but needless to say it is beautifully weighted, with the alternating time frames of past and present, seamlessly melded into the overall story. As elements of our main protagonist Caesar’s former life are revealed, Cotto gradually unveils how the events of the past are so instrumental on Caesar’s actions and for his single-mindedness at righting past wrongs in the present, so the split timelines work well within the narrative. All of Caesar’s central relationships in the book are dictated to by his highly attuned sense of morality, garnered by his formerly tumbleweed existence and the relationships encountered along the way, before his settling in a community wracked by racial tension and socio-economic problems. Cotto portrays this community and its underlying problems astutely, bringing Caesar into conflict or comradeship with his fellow inhabitants, as he takes on the problems of those around him and seeks to expose the corruption of others. In any of the passages relating to the neighbourhood itself there is a living and breathing vitality to Cotto’s description and the depiction of place and atmosphere is palpable throughout.
Again, in terms of characterisation, Cotto hits the mark, displaying a natural ease in his portrayal of not only Caesar’s family, but the eclectic mix of people inhabiting Caesar’s neighbourhood and its multi-cultural make-up. All the frailties or false bravado of human nature are exposed throughout these characters and their interactions with Caesar, which again gives a vibrant sense of reality to these protagonists and the parts they play within the novel. This is predominantly where I think the novel rises above the crime novel tag, as this proficiency at characterisation seldom resonates so strongly in a run-of-the-mill thriller and in conjunction with Cotto’s use of powerful imagery in his depiction of place, sets this book apart. The sparseness of the prose and tight dialogue, where more often the power lies within what is unsaid than said, adds to the overall tension of the book as the plot unfolds.
It probably goes without saying that I was highly impressed by ‘Outerborough Blues’ as it ticked many of the boxes that I look for in American crime writing and fiction. Being a fan of Dennis Lehane, George Pelecanos and Walter Mosley, I would certainly label Andrew Cotto as a comparable read to these luminaries in terms of style, characterisation and its depiction of life in a tough neighbourhood, so what are you waiting for, go find…
I won’t dwell on the intricacies of the plot in the interests of keeping it fresh and surprising for you all, but needless to say it is beautifully weighted, with the alternating time frames of past and present, seamlessly melded into the overall story. As elements of our main protagonist Caesar’s former life are revealed, Cotto gradually unveils how the events of the past are so instrumental on Caesar’s actions and for his single-mindedness at righting past wrongs in the present, so the split timelines work well within the narrative. All of Caesar’s central relationships in the book are dictated to by his highly attuned sense of morality, garnered by his formerly tumbleweed existence and the relationships encountered along the way, before his settling in a community wracked by racial tension and socio-economic problems. Cotto portrays this community and its underlying problems astutely, bringing Caesar into conflict or comradeship with his fellow inhabitants, as he takes on the problems of those around him and seeks to expose the corruption of others. In any of the passages relating to the neighbourhood itself there is a living and breathing vitality to Cotto’s description and the depiction of place and atmosphere is palpable throughout.
Again, in terms of characterisation, Cotto hits the mark, displaying a natural ease in his portrayal of not only Caesar’s family, but the eclectic mix of people inhabiting Caesar’s neighbourhood and its multi-cultural make-up. All the frailties or false bravado of human nature are exposed throughout these characters and their interactions with Caesar, which again gives a vibrant sense of reality to these protagonists and the parts they play within the novel. This is predominantly where I think the novel rises above the crime novel tag, as this proficiency at characterisation seldom resonates so strongly in a run-of-the-mill thriller and in conjunction with Cotto’s use of powerful imagery in his depiction of place, sets this book apart. The sparseness of the prose and tight dialogue, where more often the power lies within what is unsaid than said, adds to the overall tension of the book as the plot unfolds.
It probably goes without saying that I was highly impressed by ‘Outerborough Blues’ as it ticked many of the boxes that I look for in American crime writing and fiction. Being a fan of Dennis Lehane, George Pelecanos and Walter Mosley, I would certainly label Andrew Cotto as a comparable read to these luminaries in terms of style, characterisation and its depiction of life in a tough neighbourhood, so what are you waiting for, go find…
Outerborough Blues in a "Top 5 of 2012" list
Raven’s Top 5 Reads- 2012
Dec21 by ravencrimereads
Well, after much cogitating, ruminating and periods of enormous indecision, I have finally arrived at my Top 5 reads of 2012. Bearing in mind the amount of time it has taken to produce this list, I think this is a fair reflection of the sheer quality of the crime fiction it has been my pleasure to read over the last year. There was a substantial list of also-rans including some of the biggest names in crime writing, but having been mightily impressed with some new and, up until this year, unfamiliar names I think my list pays homage to the healthy state of crime fiction and some great emerging talent. So here goes…
Any debut author whose dialogue and wit draws comparisons from me to McBain and Chandler has got to be something unique and this is exactly what Damien Seaman’s ‘The Killing of Emma Gross’ accomplished. Based on the ghoulish crimes of the infamous serial killer Peter Kurten, Seaman has created an exceptionally realistic portrayal of a community living in fear in 1920‘s Germany. The historical detail is first class and the cast of characters reflect the full spectrum of human behaviours and emotions in this chilling tale. Read the full review:Damien Seaman- The Killing of Emma Gross.
I’m quite often approached by authors via social media to read their wares and following a very nice tweet from Andrew Cotto asking if I would give ‘Outerborough Blues’ a whirl I’m thrilled that he made the offer and equally delighted that he made the Top 5! A book of such lyrical intensity and power that I quite happily drew comparisons with Pelecanos and Lehane identifying this book as the perfect blend of contemporary American fiction and crime writing. A real find. Reviewed here: Andrew Cotto- Outerborough Blues.
Probably better known as a satirical fiction writer, John J Niven produced one of my favourite albeit at times, ludicrously violent, crime reads of the year with ‘Cold Hands’. Punctuated by Niven’s trademark dark humour and cinematographic eye, this book is a completely gripping, criminal smorgasbord of brilliant and blood-soaked delights for the stout of stomach. Read on here:John J. Niven- Cold Hands.
I’ve developed a bit of a penchant for Australian crime fiction this year, fuelled by my love of Peter Temple and there is a veritable array of new Aussie writers on my teetering to-be-read pile. Fully earning his Top 5 status is debut author Luke Preston with his explosive and high-octane thriller ‘Dark City Blue’. With it’s rapid pace and entertaining characters, this was a rollercoaster of a read that kept me hooked from the beginning. A bonzer read! See the review here:Luke Preston- Dark City Blue.
And so to my absolute favourite of the year…drum roll…
Antonin Varenne’s ‘Bed of Nails’ was an exceptionally original and remarkable take on the crime thriller, with it’s twisting, sophisticated plotting and a cast of beguiling and emotionally flawed characters. Capturing perfectly the seedy underbelly of Parisian society, I have rarely felt so completely engaged with a crime novel and drawing on the cliche ‘if you only read one crime book…’ I would implore you to read this. Breathtaking. Read the full review here:Antonin Varenne- Bed of Nails.
So as the year draws to the end I can only reiterate what a vintage year it’s been in terms of crime writing, and having already had the privilege of reading some forthcoming books for 2013, I think next year will be equally as good and even more taxing for us bloggers to come up with our Top 5! It’ll be fun…
Dec21 by ravencrimereads
Well, after much cogitating, ruminating and periods of enormous indecision, I have finally arrived at my Top 5 reads of 2012. Bearing in mind the amount of time it has taken to produce this list, I think this is a fair reflection of the sheer quality of the crime fiction it has been my pleasure to read over the last year. There was a substantial list of also-rans including some of the biggest names in crime writing, but having been mightily impressed with some new and, up until this year, unfamiliar names I think my list pays homage to the healthy state of crime fiction and some great emerging talent. So here goes…
Any debut author whose dialogue and wit draws comparisons from me to McBain and Chandler has got to be something unique and this is exactly what Damien Seaman’s ‘The Killing of Emma Gross’ accomplished. Based on the ghoulish crimes of the infamous serial killer Peter Kurten, Seaman has created an exceptionally realistic portrayal of a community living in fear in 1920‘s Germany. The historical detail is first class and the cast of characters reflect the full spectrum of human behaviours and emotions in this chilling tale. Read the full review:Damien Seaman- The Killing of Emma Gross.
I’m quite often approached by authors via social media to read their wares and following a very nice tweet from Andrew Cotto asking if I would give ‘Outerborough Blues’ a whirl I’m thrilled that he made the offer and equally delighted that he made the Top 5! A book of such lyrical intensity and power that I quite happily drew comparisons with Pelecanos and Lehane identifying this book as the perfect blend of contemporary American fiction and crime writing. A real find. Reviewed here: Andrew Cotto- Outerborough Blues.
Probably better known as a satirical fiction writer, John J Niven produced one of my favourite albeit at times, ludicrously violent, crime reads of the year with ‘Cold Hands’. Punctuated by Niven’s trademark dark humour and cinematographic eye, this book is a completely gripping, criminal smorgasbord of brilliant and blood-soaked delights for the stout of stomach. Read on here:John J. Niven- Cold Hands.
I’ve developed a bit of a penchant for Australian crime fiction this year, fuelled by my love of Peter Temple and there is a veritable array of new Aussie writers on my teetering to-be-read pile. Fully earning his Top 5 status is debut author Luke Preston with his explosive and high-octane thriller ‘Dark City Blue’. With it’s rapid pace and entertaining characters, this was a rollercoaster of a read that kept me hooked from the beginning. A bonzer read! See the review here:Luke Preston- Dark City Blue.
And so to my absolute favourite of the year…drum roll…
Antonin Varenne’s ‘Bed of Nails’ was an exceptionally original and remarkable take on the crime thriller, with it’s twisting, sophisticated plotting and a cast of beguiling and emotionally flawed characters. Capturing perfectly the seedy underbelly of Parisian society, I have rarely felt so completely engaged with a crime novel and drawing on the cliche ‘if you only read one crime book…’ I would implore you to read this. Breathtaking. Read the full review here:Antonin Varenne- Bed of Nails.
So as the year draws to the end I can only reiterate what a vintage year it’s been in terms of crime writing, and having already had the privilege of reading some forthcoming books for 2013, I think next year will be equally as good and even more taxing for us bloggers to come up with our Top 5! It’ll be fun…
