Latest short story on Shotgun Honey

Cosplayers Shouldn’t Kill is my latest short story for the fantastic Shotgun Honey crime fiction website. Inspired by cosplayers like Ya Ya Han and other creative souls, this short tale follows a thug for hire named Sam when he pays a visit to the infamous San Francisco Comic Con.

Read the story here.

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Deitrich Kalteis interview on punk and words

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Zero Avenue, set for release October 3rd, from ECW Press.

It’s always a delight to sit down with authors and talk shop. It’s especially cool when you get to sit down with one you admire. I got lucky with Dietrich Kalteis. His new book, Zero Avenue, is out Tuesday. The book features a gritty punk tale of crime and survival and takes no prisoners in its detail and scope. A great read. Look here to get your copy.

 

Whitehurst: How did you come up with this story? The writing feels so visceral one could almost imagine you had been there.

Dietrich: I do remember the times well, and listening to the music again and talking to people who lived during those times helped a lot with reviving the vibe. What I liked about the punk rock scene back then was its edge and the ‘us against them’ outlook, how that indie ‘shake it up’ attitude threw a middle finger to the status quo. It made a sharp contrast to what some considered a sleepy backwater town at the time. For me, it made the perfect setting for a crime novel.

It was easy to identify with the characters and that ‘shake it up’ attitude. I guess I had a bit of that rebel soul back then, and I did know people growing up who were into the music scene and were a lot like the characters in the book. And I knew some guys who tried to rob a pot field and had rock salt shot at them. So yeah, I guess parts of this one were close to home.

 

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Author Dietrich Kalteis.

Whitehurst: Having dabbled in punk fandom in the 80s (DRI still gets me misty-eyed), I recognized a number of names, but not all of them. Are these all real bands and how much punk did you listen to in preparing for this book?

 

Dietrich: I always listen to music while I write, and I play what goes with what I’m working on. For Zero Avenue I got my hands on as much of the early Vancouver punk sound as I could find: D.O.A, the Subhumans, Pointed Sticks, the Dishrags, Payolas, Braineaters, Young Canadians, the Modernettes, the Reactors. I added some early Toronto bands on my playlists, bands like the Viletones, the Demics, the Diodes, the Cardboard Brains, the Mods, and the Ugly. And also Teenage Head and the Forgotten Rebels from Hamilton. I rounded it out with bands from the U.S. like the Ramones and the Stooges. And there were the Clash and the Sex Pistols from the U.K., and lots more.

Frankie’s band Waves of Nausea is, of course, made up. So is Middle Finger. And I threw some real-life personalities in the shadows among the characters I made up.

Whitehurst: What, if anything, didn’t make it into the book that you would have liked to explore further? I loved how the Vancouver punk scene could easily have been the San Francisco punk scene or anywhere for that matter, as the struggle for discord was apparently the same no matter where you happened to live.

Dietrich: There are some great books on the subject that filled in a lot of the details: Guilty of Everything by John Armstrong, Perfect Youth by Sam Sutherland, I, Shithead and Talk-Action=Zero, both by Joe Keithley helped relive those times. And there was Bloodied but Unbowed, an awesome documentary by Susanne Tabata. It’s jam-packed with clips, music and tales from that first wave of Vancouver’s punk scene. Then there were some firsthand tales. In fact, there was so much that could have been included, that I felt I had to be careful of what I did include so as not to slow the pace of the story.

There were many interesting details that I could have expanded on, from the self-published fanzines like Snotrag that kept a finger on the punk subculture, to the DIY recordings and local record labels that sprang up. One thing that I would have like to explore more was how the local scene seemed to line more with what was happening down the coast in San Francisco and L.A. than it did with what was happening in the punk scene in other parts of this country.

Whitehurst: You have written crime stories set in a number of settings, San Francisco at the turn of the last century and Vancouver at the start of the punk movement, what era do you have your sights set on next for your next book?

Dietrich: Poughkeepsie Shuffle is complete except for some copy edits and is due out next year. It takes place in Toronto in the mid-eighties and centers on Jeff Nichols, a guy fresh out of the infamous Don Jail. He gets mixed up in a gun-smuggling ring operating from a used car lot. The outfit brings guns in from upstate New York, and Jeff’s a guy who’s willing to bend the rules to get on the fast track to riches, a guy who doesn’t let the lessons from past mistakes get in the way of a good score in the future.

The story’s set at a time when I lived there, and I knew it well. On recent trips back I’ve been amazed by how much the city has expanded and grown since those days, so there’s a little nostalgia in there for me.

Right now I’m working on a story set in the dust bowl days of Kansas. It a story about a couple coping with drought, dust storms and debt. And they’ve got some interesting, although not legal ways, of saving their farm from the banks.

Whitehurst: Imagining a gritty, beat-up HBO mini series of this book, who would you picture as the leads, particularly Frankie and Marty?

Dietrich: When I’m writing, I always picture my stories like movie scenes and my characters like actors. For Frankie del Rey I saw her as a punked-up Krysten Ritter with a touch of Patti Smith’s edge. Lose the French accent and Vincent Cassel could play Marty Sayles. That guy’s got the look for it. And for Johnny Falco, I think a young Johnny Depp would be right.

Bio: Dietrich Kalteis is the award-winning author of Ride the Lightning, The Deadbeat Club, Triggerfish, House of Blazes and Zero Avenue. Nearly fifty of his short stories have been published internationally, and he lives with his family in West Vancouver, British Columbia. Visit his website here.

A Steampunk Pardon

The carriage moved quickly through the cobbled streets, but slowed to a creaking crawl when it entered Phoenix. Bridges swooped over the apex of the double-decker carriage once in the city limits, coming close to breaking the stove top pipe belching steam at its highest point. Those crossing the bridge when the large vehicle passed below recounted the story later that night over a shot of absinthe. Mothers clutched their children and rushed to flee, dropping their parasols and groceries, laborers gripped the copper railing, waiting to topple over. But the carriage trundled along without causing harm. Standing in a cloud of steam, those bridge -goers raised their fists and shouted their anger, but to no avail. They could see no one in the large vessel’s stained-glass windows.

Had it been in the sea, the carriage would have been more at home. It carried the appearance of a Man O War, but without sails of any kind, only large wooden wheels and paneled walls reinforced with iron rigging. Those who witnessed the vessel from the cramped, hot street level saw a name burned proudly on the stern, STEAM SHIP ONE. It made its way down the winding, cobbled interstate to the center of the city, where the forefathers erected a large copper phoenix, metal feathers and head pointed toward the heavens, as a reminder that it is possible to rise from ashes and be stronger for it. Every day at noon, the phoenix spouted a geyser of flame straight up. Some days, however, the smog of industry made even the flames of the giant statue hard to see. Today was one of those days. Within moments, Steam Ship One vanished into the brown haze.

For those who saw it approach, the meaning was clear. The President had finally arrived to pardon their sheriff. The nation’s first mechanical leader, run by well-oiled gears and golden pistons, had been elected due to his inability to act in the political theater. The sheriff supported him, which meant protection from his enemies. There were those who said it would never happen, that the heat of Phoenix would melt his clockwork brain, but others knew better. The mechanical man could take the heat. He boasted of it often enough.

The pardon, hammered onto a tin sheet and branded with the presidential seal, meant their jailed lawman would be back on the street, free to unleash his reign of single-handed terror on the mute second class. They were the ones who stoked the fires, suffered the pits, cobbled the interstate, but never spoke. They were the ones who never crossed the bridges over the interstate, but they built it.

COMING IN 2018: The Pacific Grove Museum of Natural History

Imagine the world before the Internet, before modern medicine and modern science as we know it today; pre-cars, pre-phones, pre-fast food, and you’ve got the world that saw one of the first natural history museums on the California coast. The Pacific Grove Museum of Natural History has been a part of the Monterey Peninsula since 1883, nearly as long as Monterey County has been in existence.

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An old postcard depicting the Museum of old. My desk is on the second-floor window corner facing the camera, with a view of the bay!

I’ve been lucky enough to work for the Museum since 2014 and am happy to announce I’ll be depicting the history of this amazing place through writing and more than 150 historic photographs. In the short period of time I’ve been here, as the awesome story of this place soaked in, I’ve realized just how lucky I am to be a part of this local institution. History has always been a thing with me, no matter if it’s the history of 1940s and 1980s pulp novels or the history of Tusayan and Williams, Arizona. I daydream about what it would be like to live and thrive in an era where things moved a little slower, but were harder at the same time – for nearly everyone. I can’t think of any writer/bibliophile who hasn’t dreamed about living in a small cabin near a stream or rocky shoreline.

History is a learning curve without a shelf life. It’s a way for us to see what’s happened, good and bad, and carry it with us as we move forward. At the museum, history is preserved with just such a mission in mind. Taxidermy, geology, plants, Native peoples; they’re all there.

“The Pacific Grove Museum of Natural History”, will be published in 2018 by Arcadia Publishing in their Images of America series. It’s an exciting project, which I expect to have completed by October, and I’m very thankful to be the one who gets to write it. From the first Museum building to the arrival of Sandy the Whale, this book is long overdue.