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Clean Break
Johnny Clay’s plan to rob the Long Island race track was daring and highly original. Johnny, an ex-convict, had spent his prison years thinking through every possible hitch to his scheme until he was sure it could go off like clockwork.
His four confederates were not known to the police for they were not professional criminals. They had been picked because they were ordinary nondescript men, all with money problems and a touch of larceny in their hearts. Mike Henty was a bartender at the track and George Peatty a cashier, both essential inside men. Martin Unger, a court stenographer, had put up the initial cash and Randy Kennan, a cop, was to get the money away from the track after Johnny had done the actual robbing.
There were in addition three others who were to do a specific jobs for a cash payment. To one of these men fell the assignment of shooting the favorite in the famous Canarsie Stakes. Once this was accomplished, the robbery was set into motion.
The crime in this story is a grand coup, fantastic yet completely possible if everything clicked. So too has Lionel White achieved a grand coup in the telling of the story as he concentrates first on one character then on another, picking up the individual threads and building them into a brilliantly integrated climax. Clean Break is a masterpiece of originality, a highly plotted and ingeniously executed story of suspense.
His four confederates were not known to the police for they were not professional criminals. They had been picked because they were ordinary nondescript men, all with money problems and a touch of larceny in their hearts. Mike Henty was a bartender at the track and George Peatty a cashier, both essential inside men. Martin Unger, a court stenographer, had put up the initial cash and Randy Kennan, a cop, was to get the money away from the track after Johnny had done the actual robbing.
There were in addition three others who were to do a specific jobs for a cash payment. To one of these men fell the assignment of shooting the favorite in the famous Canarsie Stakes. Once this was accomplished, the robbery was set into motion.
The crime in this story is a grand coup, fantastic yet completely possible if everything clicked. So too has Lionel White achieved a grand coup in the telling of the story as he concentrates first on one character then on another, picking up the individual threads and building them into a brilliantly integrated climax. Clean Break is a masterpiece of originality, a highly plotted and ingeniously executed story of suspense.
177 pages, Paperback
Published November 7, 2022
1 person is currently reading
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About the author
Lionel White
93 books38 followersLionel White was a crime reporter who wrote around 38 suspenseful thrillers beginning with The Snatchers in 1953 and ending with The Walled Yard in 1978.
Most of his books were translated into a number of different languages and his earlier novels were published as Gold Medal pulp hard-boiled crime fiction, but when Duttons began a line of mystery and suspense books, he also wrote for them.
He was most well known for what a New York Times review described as "the master of the big caper."
A number of his books were made into movies and Stanley Kubrick liked his book 'Clean Break' (1955) so much that he licensed the rights for his film "The Killing" in 1956.
In Quentin Tarantino's film "Reservoir Dogs", Lionel White is listed as an inspiration for the film in the credits.
Gerry Wolstenholme
May 2011
Most of his books were translated into a number of different languages and his earlier novels were published as Gold Medal pulp hard-boiled crime fiction, but when Duttons began a line of mystery and suspense books, he also wrote for them.
He was most well known for what a New York Times review described as "the master of the big caper."
A number of his books were made into movies and Stanley Kubrick liked his book 'Clean Break' (1955) so much that he licensed the rights for his film "The Killing" in 1956.
In Quentin Tarantino's film "Reservoir Dogs", Lionel White is listed as an inspiration for the film in the credits.
Gerry Wolstenholme
May 2011
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