Meet the new series,
Same as the old series
This book, says the "Foreward" by Otto Penzler, is planned to be the first in a new series of such anthologies. Penzler is identified as the "Series Editor." Stories that might be included are first looked through by Michele Slung; there are about three thousand such stories per year, Penzler states. Slung passes those that she thinks may be appropriate on to Penzler. He reads these and then "passes on the best to the guest editor, who completes the selection process to arrive at the twenty that comprise the book." One might wonder if such a complex procedure would be workable - if one did not know that Penzler, Slung, and assorted guest editors have already been doing this for years in the Best American Mystery Stories series, which reached twenty-four volumes before this almost identical series began to be published. The primary difference between the two series, other than the change in publisher and the addition of "The Mysterious Bookshop presents..." to the title, is that the entries are no longer limited to those originally published in the United States or Canada, although "they must have been published in the English language for the first time in the [appropriate] calendar year." I do not know if stories originally published in a language other than English are eligible for inclusion.
Another difference between the two series is that it was always stated in the earlier series that Penzler would winnow the stories he received from Slung down to exactly fifty, which were passed on to the guest editor, who in turn would choose the twenty that would appear in the annual volume. The other thirty stories would be listed at the back of the book as "Other Distinguished Mystery Stories" of that year. The foreward in this book states that in addition to the twenty tales included in the book, "ten additional stories are listed on an Honor Roll."
Two other significant differences between the two series: A twenty-first story is now included, "a bonus story from the past." Also, the information about each author and notes by the authors accompanying each story have always appeared grouped together at the back of the book; now the information about the authors precedes each story and notes about the stories immediately follow the story to which they refer, which I think is a more sensible format.
Much of Penzler's foreward is the same as those in the previous series, including his definition of a mystery story as being "any work of fiction in which a crime, or the threat of a crime, is central to the theme or plot."
One final note about the foreward is that Penzler refers to a story here by Joyce Carol Oates as a "long story." It is actually the shortest story in the book, only nine pages. Oates had been something of a tutelary spirit of the former series, appearing in many volumes. I wonder if Penzler might have planned to include another, longer story by Oates in this book before choosing the one that does appear here.
The guest editor for this volume is Lee Child. Child writes:
I don't know much about short stories, or about their true origins, mechanisms, or appeal. My only consolation is I'm not sure anyone else does either.
What is a short story?
Eleven years ago, when Child wrote the "Introduction" to The Best American Mystery Stories 2010, he wrote:
Everyone seems to know what a short story is, but there is very little in the way of theoretical discussion of the form.
Penzler and Child pretending that this really is a new series and that Child has not written a similar introduction before is just silly. This disingenuous pretense taints the whole concept of the revised series for me.
The story "from the past" included here is "My Favorite Murder," an 1888 tale by Ambrose Bierce. The narrator is on trial for the murder of his mother. His (successful) defense is that his earlier murder of his uncle was much more heinous and he received no punishment for that. This is intended to be amusing, and parts of it are. Unfortunately, the narrator uses a very mannered style which I quickly found more annoying than funny:
To say that [a bad-tempered ram] would butt anything accessible is but faintly to express the nature and scope of its military activity: the universe was its antagonist; its methods that of a projectile. It fought like the angels and devils, in mid-air, cleaving the atmosphere like a bird, describing a parabolic curve and descending upon its victim at just the exact angle of incidence to make the most of its velocity and weight. Its momentum, calculated in foot-tons, was something incredible.
The new story that I liked least is a Sherlock Holmes pastiche, "The Adventure of the Home Office Baby" by David Marcum. I can't think of a Holmes imitation that I have ever really liked*, and this spy story is not an exception. At about the same time as Holmes was detecting, his countryman, W. S. Gilbert, noted:
Things are seldom what they seem;
Skim milk masquerades as cream.
And Holmes quickly sees through a plot that includes a masquerade.
I must note that the "Home Office Baby" of the title is a dead baby mailed to a government office. I find that this is based on a real incident; nonetheless, if someone were trying to find a premise that I would definitely find distasteful, a dead baby in the mail would fill the bill nicely - or, rather, nastily.
I have been impressed by most of the stories that I have read by Dennis McFadden. That does not apply to "The Truth About Lucy," which I found disappointing. This is set in the rural community of Hartsgrove, where scandals and crimes evidently make up most of the life of the town. This is a sequel to other stories set in the same locale, and there appear to be references to a number of such stories, most of which I have not read.
Sara Paretsky has the longest story in this anthology, "Love & Other Crimes," an entry in Paretsky's generally excellent series about Chicago private investigator V. I. Warshawski. Warshawski is hired by someone she knew growing up whose brother has been arrested for "second-degree homicide along with criminal destruction of property" - "about twenty-five million dollars worth of wine and booze" in a warehouse. This is fast-moving, entertaining, and mindless. I expect Paretsky's work to be fast-moving and entertaining; I definitely don't expect it to be mindless. This is not a bad story but it is not one of Paretsky's best.
A man and woman strike up a shipboard acquaintanceship in Martin Edwards' "The Locked Cabin." They have two principal subjects of conversation: another couple who have met on the ship and seem to be developing a relationship; and a young woman who had previously occupied the same cabin that now is assigned to the woman from the couple under scrutiny. That earlier occupant of the cabin had been found shot to death in that cabin; the cabin was locked, but there are reasons to believe that she did not commit suicide. This is a good, tricky tale, but, as with the Paretsky story, not the author's best work.
Penzler describes Joyce Carol Oates as "the greatest living writer who has not yet won the Nobel Prize for Literature." In her brief story (with a long title) "Parole Hearing, California Institution for Women, Chino, CA," Oates delivers an imaginary monologue - or series of monologues - in the thoughts of one of the female murderers once part of the Manson Family. They are what that woman might say, or might have said, or might have contemplated saying, to a Parole Board. In her notes after the story, Oates says that the speaker is "partly fictitious and partly based upon Leslie Van Houton who, denied her twenty-second request for parole recently by the intervention of the governor of California, was revealed to be the oldest female inmate in the California prison system." This is powerful and, I think, somewhat unfair to Van Houton - who, admittedly, committed horrible crimes, just not the specific crimes attributed to that character in the story.
Sue Grafton has a posthumously published story, "If You Want Something Done Right...." An unhappy wife, thinking about ways to cause her husband's death, meets a man who offers to kill him, with no monetary compensation. The wife, who believes this, is, obviously, a dope - until the story decides that she is actually amazingly sly and capable of thinking quickly. Funny, and not remotely realistic.
In "Blest Be the Tie That Binds" by Michael Bracken, a newly married young minister is told that he must help criminals launder money disguised as donations to his church. If he does not, his wife will be at risk. Fortunately the minister has secrets from his past that may help him. The one main flaw I find in this story is how unsupportive his new wife is.
"The Sixth Decoy" is an entry in Paul Kamprecos' series about private investigator Aristotle Socarides, usually just called "Soc." Soc is hired to track down an extremely valuable carved duck. The person hiring him is a deranged but extraordinarily wealthy arms dealer, a man who needs that duck to complete a collection...and is determined to get it. The collector is also a man with many severe allergies and can not go outside without a hazmat suit. Finding the carving is not the most difficult thing that Soc needs to do. The wealthy collector would be a perfect comic book villain - smart, rich, and totally evil.
The narrator of Jacqueline Freimor's "That Which Is True" is a woman chosen to serve on a jury, much against her will. She thinks that another member of the jury is someone who used to bully her in school. This becomes less of an issue when another juror holds the entire jury hostage at gunpoint. This is not realistic but it is obviously not intended to be; "That Which Is True" is basically a comic story.
Ray Wilde is a New England private investigator and the narrator of "The Client" by Janice Law. The client of the title is an aging woman who repeatedly has Wilde find information on people. Eventually Wilde realizes that all these people are criminals, and, oddly, some die violently after Wilde gives the woman his reports. Vigilante justice often seems more acceptable in fiction than it would be in real life.
In "Things That Follow" by Jim Allyn, many of the officers in an urban police department are former Marines. The partner of one of those officers dies, and the surviving officer is assigned to work with a man who has been a police officer for some time but has always worked in an office. The older police officer is convinced that his new partner would not do well in a dangerous situation. He soon gets a chance to see if he is correct. Jim Allyn's postscript about the writing of this story is almost as good as the story itself.
John Floyd's "Biloxi Bound" is one of my favorite stories in the book. Two brothers run a restaurant that has become increasingly less successful. Moreover, crimes, including some murders, have escalated in their area; a police officer has told one of them that a Chicago mobster has moved to the neighborhood. Perhaps they should relocate; Biloxi sounds like a good place to move. One of the brothers has a reason not to move though - his increasing friendliness with a local librarian. Then the restaurant is held up. The ending of the story is somewhat telegraphed, but this is the only story in the anthology which one might describe as "sweet."
"Heatwave" by Tom Mead is quite definitely not sweet. Max Ehrlich is yet another private investigator, working in Los Angeles in 1954. In the middle of a terrible heatwave, Ehrlich is hired to find a woman's missing son. Ehrlich does a fine job, but the son is being sought by others as well, one of whom is a blind hitman.
In "The Fifth Step" by Stephen King, one man approaches another in a park. The man seeking the other's company wants to tell him a personal story. He is an alcoholic, trying hard to quit drinking. He has become hung up on the fifth step of the Alcoholics Anonymous famous twelve-step program. That step is "Admit to God, to ourselves, and to another human being the exact nature of our wrongs." He wants to tell of his wrongs to the other man in the park. That certainly sounds harmless...doesn't it? As one might expect from King, this is quite good.
Two old friends get together in the college they attended in David Morrell's "Requiem for a Homecoming." One of them now teaches there; the other is a renowned screenwriter. They discuss another former student who had been at the college at the same time, a young woman, who had been murdered in a school library. It seems that they both knew her better than they had ever acknowledged. Could one of them have been involved in the killing?
In my reviews of the last two volumes in the Best American Mystery Stories series, I praised James Lee Burke's stories highly. Burke writes lovely prose, often about topics of importance, usually within the format of a mystery story of some type. In "Harbor Lights," the male narrator reminisces about an incident which involved him and his father during World War II. They were in a boat on the Gulf of Mexico when they came across a number of bodies floating there. The father notified the authorities, even though he knew that he should avoid any involvement in whatever had occurred. This action changed lives, both those of the father and son, and of other folks as well. Burke's notes after the story say that Burke believes that this is his best short story. It is unquestionably very good. This is the first paragraph:
It was in late fall of '42, out on the Gulf of Mexico, just off the Louisiana coast, the water green and cold and sliding across sandbars in the sunset, when we saw the bodies bobbing in a wave, each in life vests and floating belly-down, their arms outstretched, their fingers touching, like a group of swimmers studying something on the floor of the Gulf.
Doug Allyn is one of my favorite authors of mystery short stories. I have a problem, however, with his story "30 and Out." A new police officer, coming to the force after a military career spent largely in combat, recognizes his new supervisor as an officer who had once done him a huge favor, that had helped shape his life for the better. That supervisor is due to retire soon after thirty years on the force. Although the supervisor could easily have avoided the assignment, he takes part in a dangerous raid on a rural meth lab. Something takes place that proves to have no relation to the raid. The new police officer must take action in response.
This is a fine story, one of the best in the anthology. The problem that I mentioned above has to do with Allyn using the same material in two otherwise unrelated stories. Because there is not enough space allotted on Goodreads for me to include information about this here, I am going to add it in the "Comments" section below.
"Etta at the End of the World" by Joseph S. Walker was nominated for an Edgar Award as one of the four best mystery short stories of 2020. Etta is driving from Iowa to Florida, fleeing from a situation that is not immediately made clear, going to "the end of the world," Key West, "where the road ends. Where all the roads end." She meets a young woman, Grace, in an abusive relationship with a man that she stays with because "Daddy gave me to him." But Etta now knows exactly how to get out of such a relationship, and she is willing to help. This is a fine story that develops in ways that I did not expect. However, it has an ending that I understand but do not condone.
"The Path I Took" by Andrew Welsh-Huggins tells of an American academic recalling his experiences as a young man living in Ireland in 1983 as he learned Gaelic from the people he encountered. The man, who narrates the tale, was staying in a village in the Republic of Ireland, far from the North where The Troubles raged - but not far enough. He comes across the body of a man murdered as being an informant, but the killers believe that he might have seen them and could be able to identify them. He is warned and tries to flee, and events occur that change the entire course of his life. From the clever title on, this is an excellent story.
I think that "The Gift" by Alison Gaylin is my favorite story in this anthology. The plot sounds ridiculous- and I suppose many people would find it preposterous. A famous couple, both movie stars, have a nine year old daughter who disappears from her school. The mother knows about disappearances; as a teenage actress, she had fled, going into hiding, returning months later with the child who is now missing, whom she said was the daughter of the actor whom she later married. The couple visit a psychic who seems to know secrets from the wife's past. He assures them that their daughter is alive. The wife suspects that the psychic may be involved in her child's disappearance. The wife takes unexpected steps. I think that this is a truly fine, appropriately spooky tale.
This is a good anthology, not up to the standard set by the 2020 volume of Best American Mystery Stories, but still recommended. I will probably read any new books in the current series - and almost certainly enjoy them.
*11/30/21
On second thought...
I do like Neil Gaiman's very clever fantasy/horror/mystery story "A Study in Emerald."