A powerful Noir short story collection edited by the Bukowski of Noir, Paul D. Brazill. Exiles features 26 outsiders-themed stories by some of the greatest crime and noir writers, K. A. Laity, Chris Rhatigan, Steven Porter, Patti Abbott, Ryan Sayles, Gareth Spark, Pamila Payne, Paul D. Brazill, Jason Michel, Carrie Clevenger, David Malcolm, Nick Sweeney, Sonia Kilvington, Rob Brunet, James A. Newman, Tess Makovesky, Chris Leek, McDroll, Renato Bratkovič, Walter Conley, Marietta Miles, Aidan Thorn, Benjamin Sobieck, Graham Wynd, Richard Godwin, Colin Graham, and an introduction by Heath Lowrance.
Over at Amazon.com, Renato Bratkovic says:
‘This is another little literary treasure’
Over at Amazon.com , The Big Bratkovsky says:
‘When you grab a new book by Paul D. Brazill you never know what to expect – you do know, however, that you can expect a great deal of fun, excellent writing and funny characters. Cold London Blues is no different – a strange mix of characters and great dialogue and descriptions in a nicely written narrative won’t let you go until you get to the last page. You’ll find some great jokes, anecdotes and metaphors you’ll use in your pub conversations with friends and after that you’ll want some more Brazill.’
The all new version of Exiles: An Outsider Anthology – now published by Artizan– is out now!
‘A powerful short story collection edited by the Bukowski of Noir, Paul D. Brazill. Exiles features 26 outsiders-themed stories by some of the greatest crime and noir writers, K. A. Laity, Chris Rhatigan, Steven Porter, Patti Abbott, Ryan Sayles, Gareth Spark, Pamila Payne, Paul D. Brazill, Jason Michel, Carrie Clevenger, David Malcolm, Nick Sweeney, Sonia Kilvington, Rob Brunet, James A. Newman, Tess Makovesky, Chris Leek, McDroll, Renato Bratkovič, Walter Conley, Marietta Miles, Aidan Thorn, Benjamin Sobieck, Graham Wynd, Richard Godwin, Colin Graham, and an introduction by Heath Lowrance.‘
It’s All True (although it may not have happened) by Slovenian writer Renato Bratkovič is a short, sharp story collection that views the world askew.
Stand out stories for me are ‘Fat Fatale’, ‘High Midnight’ and ‘Bicycle Thieves’.
Like a strange hybrid of Gogol and Frederick Brown, It’s All True (although it may not have happened) blends noir, horror, black comedy and absurdity.
After a successful ten books run with a major publisher (Hodder), I’m about to embark on a scary new route with my Joe Hunter thriller series. Although I have amicably split with my publisher, and a few smaller publishers were keen to pick up the reins, I have decided to bite the bullet and use my own indie publishing arm to publish the next Joe Hunter thriller. It is called ‘No Safe Place’, and this time sees Hunter in the familiar role of protector, but he also gets an opportunity to exercise his detective skills this time out. After a violent home invasion, where his mother is killed, young Cole Clayton is now under threat by hostile forces, and Hunter agrees to protect the boy. But it’s soon apparent that Andrew Clayton, Cole’s father, knows more about the killer than he’s letting on, and his silence soon places the boy in the killer’s sights. The book will be released simultaneously in hardback, paperback and ebook on 31st May 2016.
Up next will be the second in my Tess Grey and Nicolas ‘Po’ Villere series, due for publication by Severn House Publishers on 28th August 2016, and this time finds the mismatched pair hunting for a missing woman who – while trying to avoid one danger – has fallen into a worse situation.
BIO: Matt Hilton is the author of the high-octane Joe Hunter thriller series, including his most recent novels ‘The Devil’s Anvil’ – Joe Hunter 10 – published in June 2015 by Hodder and Stoughton and Blood Tracks, the first in anew series from Severn House publishers in November 2015. Joe Hunter 11 – No Safe Place – will be published by Sempre Vigile Press May 2016; Tess and Po 2 – Painted Skins – will be published by Severn House in August 2016. Matt’s first book, ‘Dead Men’s Dust’, was shortlisted for the International Thriller Writers’ Debut Book of 2009 Award, and was a Sunday Times bestseller, also being named as a ‘thriller of the year 2009’ by The Daily Telegraph. Dead Men’s Dust was also a top ten Kindle bestseller in 2013.
As a result of the recent Alibi festival in Slovenia, Renato Bratkovic interviewed me in the Slovenian newspaper Tednik Panorama.
Here’s a pic! It’s in Slovene.
“Noir is closer to Laurel and Hardy than it is to Agatha Christie”
At the recent Alibi noir festival in Slovenia. Here’s me on RTV 4′s arts programme, Glasnik, talking about noir to journalist Petra Skok. With Renato Bratkovič, Neven Skgratic, Eddie Vega, Andrej Predin and the impression of Richard Godwin.
More about the festival soooon …
Od Lune pijan / Drunk On The Moon
My original Roman Dalton – Werewolf PI yarn has now been translated by Slovenian noir writer Renato Bratkovič
Available at all other Amazon’s, too.
In autumn 2012, the first seeds of the Slovenian protest movement were planted in my beloved hometown, Maribor. The goal was to kick the corrupt and arrogant mayor’s ass – whose attitude had pissed my people off – but the riots soon spread all over Slovenia, aimed at the mayors of other larger towns and also at the Slovenian government and the arrogant prime minister, who had the balls to call us zombies: “This is no protest movement, it’s the rise of the zombies!”. And he hadn’t even been elected, but had maneuvered himself into the government and managed to form a coalition of dividers.
He later added that we were a bunch of left fascists (what ever the fuck that means!), but “the zombies” beat him – he finally had to go (just like the mayor of Maribor before him), and is now on his way to the prison for two years. Well, we’ll need to see more of this happening to a bunch of his cronies too, of course!
Nothing has changed unfortunately – the protests never developed into a revolution, the corrupt politicians and greedy bankers weren’t flushed away, we never saw new faces, just the same stinking asses changing seats to keep them warm for the next four years (which they are now going to change, as the “new” government has also fallen apart after only a year, go figure).
We-ea-aa-aa-aaah, the sheep, are filling holes the “successful” businessmen drilled in our banks, so the sons of the bitches managing them can enjoy their ice cold champagne, oysters and fresh piece of ass on a yacht and laugh their asses off at how stupid we are – instead of providing us loans to move the economy forward. And we allow our incompetent higher-authority-obeying “rulers” to sink our grand-grand-grandchildren into the endless pit of debt, while my people are getting poorer and poorer, and those who help the poor get punished by the state, which created the perfect conditions for becoming poor.
“We can and we will!” Hell, yes – enjoy the party!
I’m angry! I’m mad! But at least in my story, The Tribe, things are going a different way – the revolution breaks out in the City, there IS a new face to disrupt the routine there, no matter what they do to him or where they put him in. The story is told by a cop, who had to fight the protesters and who’s supposed to nail Vladimir, the revolter professor, but …
… but I have a reason to be both proud and happy to have my work featured again in the line with such excellent writers (thank you, Paul), and my writing HAS a purpose, at last: the anthology’s mission is to raise awareness of (and some money for) the Marfan Foundation.
Bio: Renato Bratkovič is an advertising creative, fiction writer and blogger from Slovenia. He writes in Slovene and in English. He’s published a short story collection Ne poskušajte tega doma (Don’t Try This At Home) in 2012, his story High Midnight has appeared in Noir Nation 3 (VegaWire Media) and The Tribe is one of the Exiles: An outsider Anthology (Blackwitch Press) stories. He runs Artizan, his advertising agency and publishing house, with his partners.
Exiles: An Outsider Anthology is out now .
The Djma el Fnaa is Marakech’s central square. By a linguistic quirk, its name can be translated as either ‘the Mosque of Nowhere / Nothing’ or ‘the Place / Assembly of the Dead’. It was too good a title not to use for a story, and several people have indeed beaten me to it in the 25 years since I thought of it, and done that. It’s a market place by day, but at night turns into a circus of a place, full of performers, storytellers, hustlers, vendors, snake bullies – they don’t charm them at all – musicians, dancers, pickpockets, some plying their trade only because of the tourists, and some just because they always have. As noted in my story, our guide book described it as ‘the most exciting place in all of Africa’, a ridiculous claim that I make a character address briefly, and somewhat flippantly.
My first wife and I spent five weeks in Morocco in July and August 1989. I’d been there about two weeks before I got to Marakech. I was used to the hustlers by then, which didn’t make them any less wearying. They didn’t want all your cash, just some. They weren’t bad people, just hungry, jobless – just bored, maybe. They weren’t begging; you couldn’t cut to the chase by paying them to go away. None of this stopped it being tedious, though, especially when you knew that you would extricate yourself from it only for it to start up again a few minutes later, a different bloke, same spiel.
A friend of mine had travelled in Morocco the previous year. He’d lost his rag with a hustler in some small town, told him to fuck off. After that, the man and his pals followed him around for the rest of his stay, saying, “You don’t say ‘fuck off’ in this town,” and making slit-your-throat gestures at him. They camped in his hotel lobby, occupied tables in every restaurant he went to. They said, “See you later, alligator,” each time he managed to get away, or when they had to go home for their tea. They were probably just having a laugh, labouring a point, or really had nothing else to do. When my friend gave up on that town, this entourage escorted him to the bus station. It was their last chance to slit his throat. Though he’d got used to it as a charade of sorts by then, a performance, he was glad to get on the bus. An old man boarded, shuffled and wheezed up the aisle and sat down, turned to my friend and grinned and said, “See you later, alligator,” not knowing it was a goodbye and not a greeting; it was just some stray English, offered in friendship. It only freaked my friend out a little, I think.
So I knew not to tell the hustlers to fuck off, even though I wanted to sometimes. I said I was not interested in making a financial contribution to their ventures, at that moment – maybe I’d bore them into going away. But Moroccans are polite and patient, mostly. (One man was the exception, aggressively accused my wife of acting like ‘a Jew’. “There’s a very good reason for that,” she informed him, somewhat dangerously, but her actual Jewishness was beside the point he was trying to make. He was a carpet seller, though, a breed apart.)
It sounds like I had a bad time in Morocco, but in fact I enjoyed most of my time there – you can’t spend five weeks anywhere and have every single moment be a joy. I’m reminded of a scene in Nicolas Roeg’s 1980 film Bad Timing: a couple in a fractious relationship are in the Djma el Fnaa, and the woman chides the man for his petty obsession over some aspect of their life together. “Look at where we are,” she reminds him. I’ll probably never go back to Morocco, so I’m glad I didn’t let anybody, even an anti-Jewish carpet seller, spoil it for me. Why am I talking about all this, then?
The answer is that a story isn’t made up of the nice things in life. I’m also not a travel writer, and any guide book can describe the brilliance of Morocco better than I can – just as a postcard seller can supply a better photo of its monuments than I’ll ever take. I’ve tried to reflect Marakech’s atmosphere in The Place of the Dead, but it’s not a story about Moroccans. Think of the crowded streets I show in my tale; most of the people in them were unaware of us, and if they were aware, they were leaving us alone. As per the brief of this anthology, the story is about foreigners, outsiders, and how they might behave out of their comfort zones.
The couple in my story is not based on me and my first wife, nor on any of the many people we met. A few of the incidents described happened, such as the frustrating, lengthy journey at the opening of the story, the conversations with hustlers, the sunglasses that attracted a pint-sized opportunist, the constant assumption that we’d want an English newspaper, and watching that exciting ending to the 1989 Tour de France, a race that is often done and dusted in its last few days, and like watching paint dry. They are all only background, though. None of them make a story. The heart of the story is the people in it, and how they conduct themselves when faced with certain choices, and how their lives will be affected by those choices, and by their actions and reactions.
You can see more of my short stories on my website, The Last Thing the Author Said. Laikonik Express is my first novel, published by Unthank Books, and is a comic look at friendship and a quest, a road novel on rails, a sober look at the world of post-1989 Europe through a shot glass full of vodka.