"You know what? The bastard blows me out of the water. This guy writes Maine like Ardai writes New York. If you're not reading him, you don't know what you're missing." --Chris F. Holm, author of "The Collector" series, The Killing Kind, and Red Right Hand.

"A refreshingly new voice in noir." --Ed Kurtz, author of Nothing You Can Do and The Rib From Which I Remake the World.

"A glorious boilermaker of noir and East Coast gothic. The action is taut as a sprung snare and Bagley tightens the screws with every page." -- Laird Barron, author of Swift to Chase and Blood Standard.

Tuesday, September 23, 2008


Last week, I interviewed for a job that interested me and paid decent money (a rare combination around here). I thought the interview went well, but I got a “thanks but no thanks” letter in Saturday’s mail. I’m just finishing up a freelance copyediting assignment and I’ve picked up some freelance writing work with a monthly paper, but a job with regular hours and steady pay would have helped solve a couple of money problems.

The high point of the weekend was receiving a signed copy of Kelly Link’s latest collection, Pretty Monsters. The inscription reads “For Patrick from a fan. Love, Kelly.” How cool is that? If you haven’t experienced Kelly’s slipstreamy genius, then you’re missing out on some beautifully disturbing stories.

I wrote the opening scene of the new novel yesterday. Felt damn good.

It was difficult not to turn last Thursday night’s class into a lecture on James Crumley. I settled for reading aloud the opening line of The Last Good Kiss and talking briefly about its place in the crime fiction canon.

A couple of things coming up on the blog this week: my review of Tony Black’s debut novel, Paying for It; my review of Sandra Ruttan’s The Frailty of Flesh; my contribution to Forgotten Books Friday will be Hell House by the great Richard Matheson.

Joan Jett turned 50 yesterday. I remember buying “I Love Rock and Roll” as a 45 in 1982. That was twenty-six years ago? Jesus.

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