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The Dark End of the Street: New Stories of Sex and Crime by Today's Top Authors
The Dark End of the Street: New Stories of Sex and Crime by Today's Top Authors
The Dark End of the Street: New Stories of Sex and Crime by Today's Top Authors
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The Dark End of the Street: New Stories of Sex and Crime by Today's Top Authors

Rating: 3 out of 5 stars

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In one fast-paced story, a strong and aggravated man considers the pretty woman at the bar while he fingers the knife in his pocket. But what becomes of his prey when they move to the bedroom? In another tale, a man remembers the victim of a ghastly murder who visited the same hair salon as he does. And a Don Juan of a protagonist has a hobby of marrying vulnerable women, getting access to their bank accounts, and then robbing them blind.
But there is much more to this collection than dark-haired vixens and crimes of passion. Some stories are brooding, some twisted; some bring righteous satisfaction, some linger in the back of your mind. What is truly on display is an impressive collection of literary talent: a group of some of the best writers we have, weaving fresh and memorable stories from a pair of classic themes. Taken as a whole, they are a rare treat for fans of great fiction, whether it's high literature, good old-fashioned suspense, or anything in between. Original black-and-white art by artist/author Jonathan Santlofer completes this innovative, exciting, and irresistibly intriguing book-a true literary gem.
LanguageEnglish
Release dateMay 16, 2010
ISBN9781608193141
The Dark End of the Street: New Stories of Sex and Crime by Today's Top Authors
Author

Jonathan Santlofer

Jonathan Santlofer is the author of five novels and a highly respected artist whose work has been written about and reviewed in the New York Times, Art in America, Artforum, and Arts, and which appears in many public, private, and corporate collections. He lives and works in New York City.

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Rating: 3.1666666666666665 out of 5 stars
3/5

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  • Rating: 3 out of 5 stars
    3/5
    Like any collection where the stories have been solicited rather than pulled from already published works, the quality is uneven, with a few feeling uninspired and written at the last minute and others being memorable. Oddly, the best stories in the book were grouped at the back, and included Joyce Carol Oates, who writes about how a girl witnesses how the retelling of an incident in the life of her mother changes over time and who is doing the telling, and Edmund White, whose story involves the politics and struggles for tenure in the English department of a small college. Val McDermid surprised me with an unexpectedly gripping story about an old lover returning for a bit of blackmail. I'd read one of her crime novels years ago, and hadn't been impressed, but I see that I'll have to read something else by her after all. The stories by Laura Lippman, Lawrence Block and Lee Child were all serviceable, but not up to what some of the authors came up with. I read this as a palate cleanser between other books, and for that it served its purpose well. There were no unreadable stories and they were all recognizably noir, although if you were looking for a book of short crime stories, Troubled Daughters, Twisted Wives would be a better choice.
  • Rating: 4 out of 5 stars
    4/5
    The Dark End of the Street is a good collection of short stories. Some of them are dark and bloody, while others are almost innocent and fluffy. Several of them had me hooked and I had to stay up a few minutes late just to finish reading. My favorite is probably the last: The Creative Writing Murders by Edmund White. Like some of the other stories, it is unclear until the end what is going on and where the characters are headed.
    I won a copy through First Reads.
  • Rating: 4 out of 5 stars
    4/5
    I love that goodreads supports my reading addiction with periodically providing me free books.

    Alright, I finally finished this. Even though I love collections of short stories, it's much easier to stall. Anyway, I really enjoyed this collection. Some weren't great, some were wonderful and truly surprising. great for mystery lovers.

    Jill, I'm mailing this to you later this week.
  • Rating: 3 out of 5 stars
    3/5
    Christa Faust, author of Money Shot made a distinction between crime noir and some other noir but for the life of me, I can't recall the distinction. But it got me thinking, what defines crime noir? It's easy to say Raymond Chandler or James Cain; they pioneered the genre. But otherwise, what is it? There are 19 examples to ponder in The Dark End of the Street. I don't know if they make the cut so to speak, but they are intriguing stories by some of today's most well-known writers of crime fiction. We've got a few stories where the hunter gets captured by the game (Tricks--my favorite--by Laura Lippman) and Me & Mr. Rafferty by Lee Child. There are the unnerving stories of murders planned and carried out (Salon and Scenarios), delicately explained by the psychopath. And there's Dragon's Breath, a story about a journalist who's already slid down to the dark side many times and is trying to NOT make those mistakes again, although you can feel how flimsy his hold is on life legit; the ever-nearness of harm is palpable in this tale.Those are just a handful of the stories presented. Of course, some are better than others. But there are enough stories here to satisfy all tastes for the crime fiction lover out there. The only missing thing is a list of contributors at the end, but the authors are so recognizable that it isn't a necessity. I give this one 3.5 stars. I'll keep it for re-reads. A couple of these stories are quite good and would make excellent night caps.
  • Rating: 2 out of 5 stars
    2/5
    Circumstances and books that kept me more interested than this one did prevented me from finishing and reviewing The Dark End of the Street in a timely manner. I suppose I am just not a fan of short stories, even those by some of my favorite writers. I could not keep reading these stories without a break for some real whodunnits. A couple of the stories were entertaining, but none of them were as satisfying a full length mystery from the likes of Connelly (my favorite), Child, or McDermid. Two stars and a "bleh".
  • Rating: 2 out of 5 stars
    2/5
    I finally got the opportunity to read "The Dark End of the Street", and, as will happen with anthologies, there are highs and lows. To be sure, it is filled with top name authors of mystery and fiction, but many of the stories didn't live up to my hopes. Lets get a couple of the disappointments out of the way first. I really like Michael Connelly as a novel writer, and have never read a short story by him. His contribution to this collection was titled "The Perfect Triangle". Unfortunately, the plot involves a PI trying to get a stripper off an indecent exposure charge so she can successfully work her way through law school. If it sounds a little dry, it was. Not a lot to sink your teeth into. Not on his usual par. Lynn Freed's "Sunshine" and S.J. Rozan's "Daybreak", had similar titles and somewhat similar stories. Women who have been purchased by men, turn on these men and get their vengeance. Each is a little different, but neither had any surprising twists or strong character development. Lastly, Janice Y.K. Lee's "Deer", focused on two couples. One who had money, the other who needed some. Again, there didn't seem to be an overly interesting story line, and the characters just weren't that interesting. So, lest I seem totally negative, and though there was some dry reading in the collection, there were some stories I thought were really interesting. In "Me & Mr.Rafferty". Lee Child had a short story involving a murderer that, if not overly unpredictable, was definitely interesting with a character you could really relate to. Laura Lippman's "Tricks" answers the question, who swindles a swindler, and has some very nice twists and surprises that make for a very enjoyable read. And "Ben & Andrea & Evelyn & Ben" by Jonathan Santlofer, is the story of infidelity and betrayal that finishes with a very satisfying ending. This anthology is a mixed bag of satisfying and unsatisfying stories, but I have to sadly admit, it doesn't seem to live up to what it's subtitle 'new stories of sex and crime by today's top authors' seems to promise to deliver. Like some of the other reviewers I've read, I was hoping to see a little more of the edginess and seduction that was suggested by the book's descriptions. There are definitely top authors contributing, but nobody can be on top of their game all the time. If you see some of your favorite writers here, and want to get a taste of writers your not familiar with, you should buy the book. Just bear in mind this may hold your interest, but it won't necessarily leave you eagerly waiting for more.
  • Rating: 3 out of 5 stars
    3/5
    I love crime noir, so maybe I'm a bit biased, but I truly enjoyed this collection of new short stories by some well known authors.Each tale has its own unique voice and style, sometimes with subtle plot twists, other times with surprise endings that shock the reader out of their chair. Peppered throughout the volume is original artwork that adds to the flavor of the book, although, keep in mind that the art is independent of the stories.Crime and short story fans can safely add this enjoyable work to their shelf
  • Rating: 3 out of 5 stars
    3/5
    This collection of short stories purports to deal with sex and crime, and to straddle the divide between popular and literary fiction. Note the word ‘Purport”. Despite the inclusion of some excellent writers such as Lee Child, Michael Connelly, Joyce Carol Oats and the sublime Val McDermid, pulp can too often replace the term ‘popular’ while literary is often a synonym for boring. A good short story collection chosen by competent compilers is as moreish as a bowl of ripe cherries: much of this anthology however is strictly an acquired taste, and it should be sampled with care.
  • Rating: 3 out of 5 stars
    3/5
    I finally managed to slog through this collection of short stories, ostensibly about crime and sex although a few times about nothing nearly resembling either, and finally finally finished it. Thank God. I thought I would love it; I love mystery/thrillers and don't mind a little s-e-x, and some of my favorite authors contributed. And a few of the stories were excellent, but most were bleh and a couple were poke-out-my-eyes awful. I would discuss the stories individually but other reviewers have already done that. Besides, I have already forgotten most of them and frankly don't care to dwell on the book any longer than absolutely necessary.
  • Rating: 2 out of 5 stars
    2/5
    As with most collections, some of these stories I liked, others not so much. I can't say I loved any of them. I did enjoy Jonathan Lethem's description of the sensuality involved in getting your hair cut, but that's pretty much the only thing out of this book that I'll remember. You'd think sex and crime make reasonably good bedfellows, or at least good story fodder, but most of these stories felt contrived. Like maybe the authors were doing a favor for the editors and rushing a story out.And now I'm not really sure what to do with the book. It's not one I want to keep, but I'm not really sure about giving it away either as there's some pretty kinky, twisted stuff in it. Maybe I'll Bookcross it, but only in a controlled environment. We'll see.
  • Rating: 4 out of 5 stars
    4/5
    I'm not the biggest fan of short stories.. the best ones aren't long enough and the others tend to be too long. The Dark End Of The Street had more stories that fell into the former category, not the latter. A couple of my favorite authors needed more space. I would think it would be difficult to change gears.. like making a living as a marathon runner and have someone ask you to jump into the occasional 100 yd. dash. However some other authors, that I have never had the pleasure of reading before, handled this discipline quite well. Val McDermid, Joyce Carol Oates and several of the other writers did very well. The story that stayed with me when the book was finished was S.J.Rozan's 'Daybreak'.. truly a small (and very well constructed) novel!And speaking of well constructed, this Bloomsbury soft cover edition is a very handsome volume with a nice weight and feel in the hand.I won't be so quick to pass over the next collection of short stories that passes my way!
  • Rating: 5 out of 5 stars
    5/5
    This collection of short stores is bound together by the common topics of sex and crime. It consists of nineteen stores by as many authors. The stories range from very subtle to in-your-face blatant. I had read several of the authors but many were new to me. Overall I found this to be a very enjoyable collection and give it high marks. A few of the stories were lost on me, but I suspect the fault was with the reader rather than the author. The stories that I liked I liked very much. I would not hesitate to recommend it.The volume is enhanced by illustrations in an arresting black and white wash that carries a strong feeling of film noir.A copy of this book was provided free for the purposes of this review.
  • Rating: 3 out of 5 stars
    3/5
    There is crime and sex here and a lot of writers - many of them the well-known type that I hardly ever read - but there is not a whole lot of fun. Most of the stories are well-written, some in a literary way about as far-removed from noir or pulp fiction as you could get. I'll make an exception, however, for Patrick McCabe's "Toytown Assorted", which I found annoying and overlong. Joyce Carol Oates' "The Story of the Stabbing" is also too long - taking a good idea about the nature of experience and truth and stretching to 20 pages what Borges could have achieved in 4.A few stories deserve comments, taken in the order they appear in the book:"Scenarios" by Lawrence Block is an effective story where he twists an unoriginal idea into two false endings then a real one that is quite effective - but should we have expected any less from Block?Steven L. Carter's "The Hereditary Thurifer" (look it up for yourself) is engaging, has an interesting background in a predominately African American Washington, DC Episcopal Church, but the ending fails to surprise. This is a problem with several stories in the book - you can see what is coming from miles away.Lee Child's "Me & Mr. Rafferty" is short and effective, but Michael Connelly's "The Perfect Triangle", while showing his engaging style, is little more than a throw-away.The one story in the book that will stick with you is "Sunshine" by Lynn Freed, which perhaps not coincidentally is the only story not original to this collection. A story of depravity and cruelty and violence against women set in some remote colonial part of the world, a la the Belgian Congo, it has an impact and depth nothing else in the volume approaches."The Salon" by Jonathan Lethem is written well enough and contains enough true insights into human nature to succeed despite the inevitably of its ending.Laura Lippman's "Tricks" is a good story about a con artist who bilks women out of their savings by marrying, then abandoning them.Co-editor S.J. Rozan's "Daybreak" is quite effective, but is basically the same story as in "Sunshine", just told in a different setting from a different angle, which is a bit disconcerting.Edmund White's "The Creative Writing Murders" is well done - but also exemplifies the main problem of this book. I'm afraid some of these writers may feel they are slumming at "The Dark End of the Street". What the book really needs is a dose of Hammett or Chandler. Or if you want to wallow in sex and crime, how about James Hadley Chase's "No Orchids for Miss Blandish"?
  • Rating: 5 out of 5 stars
    5/5
    S. J. Rozan and Jonathan Santlofer invited a number of good writers to write a story that included sex and crime. The result was the story collection entitled, The Dark End of the Street. This is one of the best collections of mystery short stories I’ve read recently. Some of the authors who submitted stories are literary writers, such as Jonathan Lethem. Others are superb genre writers like Lawrence Block. The amount of sex and crime varies by story. In some either one or the other dominates the story, and in others the two factors are equally balanced. Some have ingenious plots, such as Laura Lippmann’s “Tricks.” Others are more character driven, such as Francine Prose’s “The Beheading.” Either way, the reader will have a wonderful time enjoying the puzzles, the suspense and the intriguing characters these fabulous authors have created. If you’re a fan of mystery short stories, pick this one up. It’s a great ride.
  • Rating: 2 out of 5 stars
    2/5
    This anthology starts with a great idea - get authors at the top of their game from different genres to write a story combining sex and crime. Shouldn't be too hard, right? It seems like lots of really good crime stories have sex at their center - that or money are the classic motives. There are some good writers in here, too - Stephen L. Carter, Lee Child, Michael Connelly, Laura Lippman, Val McDermid, Edmund White - seemed like a safe bet.Unfortunately the collection is pretty uneven with most of the stories on the forgettable side and many of them taking the assignment way too literally. There were some standouts, though. I loved "The Hereditary Thurifer" by Stephen L. Carter - the story of a mysterious man and a tragedy at a "darker nation" Church; "The Perfect Triangle" by Michael Connelly - a story about Mickey Haller (from The Lincoln Lawyer) helping a stripper client make a problem disappear; and "Tricks" by Laura Lippmann - all about a guy who gets exactly what he deserves. All three of these stories manage to play with the themes while telling a great story and all play to the strengths of each writer in ways that make the stories memorable and satisfying.There isn't anything terrible in this collection, but with the exception of the three I mentioned most of what is here is pretty negligible. An okay read, but I'd wait to get it from the library.
  • Rating: 4 out of 5 stars
    4/5
    This is a collection of mystery stories from some of today's best writers. The theme of the stories revolves around sex and crime. The authors were allowed to run with this theme and some very different stories emerged. Some of the authors present us with story lines that at first seem very familiar, but hold onto your hat because the ride has just begun. By the end of the story we are in an entirely different ballpark, wondering how we got there. Some of the stories are outright violent or sexy and both can get very explicit. Many have a touch of the noir and are seldom sympathetic to the victim, although I did end up siding with one or two of the protagonists. Murder, identity theft, bondage, swindling, bigamy, and the pleasures and dangers to be found in your local beauty salon, all come into play to make this a fascinating collection.

Book preview

The Dark End of the Street - Jonathan Santlofer

Dragon’s Breath

MADISON SMARTT BELL

A JOURNALIST WAS walking west when he happened to notice a young couple smoking cigarettes outside a bar. Nothing remarkable about it except that between them they framed a sign which declared SMOKING BALCONY AVAILABLE, 3RD FLOOR. They both wore black leather, studded with chrome; their skinny shoulders hunched against the cold.

Was there a story, somehow, in that? The journalist sensed the faintest thread of irony, like a drop of blood unraveling through clear water. It was cold, bitter cold, the west wind blowing. He tightened the string of his sweatshirt hood, pulled the zip of his jacket tighter to his throat, walked on. Night had fallen; and denizens were hurrying in all directions homeward, their capped heads lowered to thrust into the cold. Neon signs all along the street drizzled pools of colored light on the damp pavement. Through these the pedestrians trailed dangling tendrils of their unknown narratives. The journalist felt his familiar urge to catch up one of them, reel it to him, follow it home. Learn it, know it. That was not all.

As blandly sanitized as this new avatar of the city seemed to him, to be there still awakened ancient cravings. Like the head of a hatchet, his life had briefly balanced on its thinnest edge. Soon it must topple, one way or another. The journalist circled the block, turning left, left, left, and paused at a deli to purchase a pack of Marlboro reds.

The couple had gone from the doorway when he returned, and the ground-floor bar was extremely crowded. A hostess gave him a thin smile from her stand; he gestured up the stairs with his numb fingers and she nodded. There was no one in the third-floor bar when he lumbered in, but presently a barmaid appeared and the journalist ordered a vodka on the rocks and waited, cradling the glass until his fingers thawed enough to catch the end of the fine gold ribbon that turned the corners of the box of cigarettes.

His cell phone wriggled against his ribs. He plucked it out, and with some fumbling found his way to a text message which let him know that the celebrity whose biography he had been supposed to ghostwrite had decided to go in another direction.

The journalist held the news at a little distance from him, surveying it with professional objectivity to see how it might harm him before he took it in. He had not expected to get any news until the next day and then he’d been confident the news would be good. Leaning forward, cupping the phone his palm below the level of the counter, he read a few labels on the bottles behind the bar: Absolut. Stolichnaya. Grey Goose. The bar stocked an exotic brand of rum he’d also noticed at the celebrity’s studio, where no one offered him a taste. Instead they had sent out for coffee—whatever confection anyone wanted. The meeting had gone well, so it seemed to him, and he believed that he’d come only to confirm an understanding.

He lifted the dead phone to his face and said, I didn’t know there was another direction. The barmaid looked at him with a faint curiosity. She was young, beautiful, maybe just young. A wave of belated comprehension broke over him so that he understood he must have been one of a number of ghosts auditioning and some other ghost had won the part.

The barmaid had turned from him, toward the mirror, where she studied the perfect red curve of her lip. The journalist picked up his glass, walked the length of the room, and let himself through a narrow glass door onto the advertised balcony. There were ashtrays chained to the posts of the canopy and several signs admonishing the customers not to let anything fall to the sidewalk below. The journalist smoked, tucking himself into a corner against the bitter wind, peering now and then through the glass to see that his shoulder bag and cell phone were still where he had left them at the bar. No one came in to threaten his possessions.

It had snowed earlier in the day, or the day before, and there was a crust of ice on the metal floor of the balcony. A buildup of snow on the underside of the fabric canopy now and then let a crystal drop. One tagged his scalp through his thinning hair, so he shrugged up his hood and moved aside. No snowflake ever falls in the wrong place, he thought. This recollection cheered him. In spite of it there was something voluptuous about smoking and drinking all at the same time. He had not smoked for a long while and he was a little dizzy when he stepped back into the warmth of the interior.

Enjoy? the barmaid said. The journalist nodded. His glasses had fogged, but she was beautiful. She looked at his empty glass and he nodded. She wore extravagantly high heels, like those the celebrity had worn. Perhaps he’d glanced at them, admired them once too often. Perhaps he’d overplayed his expertise. The thing of it was that he truly admired the celebrity, who was celebrated for better reasons than most. Well. He looked up and down the bar for a newspaper; there was none. Soon there would be none whatsoever, it was told.

Smiling, the barmaid handed him his drink. You missed a call, she said. A hubbub drifted up the stairs. The journalist wiped his glasses on his shirttail so he could see the phone’s display when he picked it up. After some fumbling he found his way to the callback feature.

Yo, William said. How’s the city?

Safer than church, said the journalist. And duller than ditchwater.

William laughed. I mean like … really.

Really. Not like it was, the journalist said.

How’s business?

Brilliant, said the journalist. Don’t bleed in the water.

So, William’s voice grew faintly teasing. You don’t want to take a walk on the dark side.

The dark side is only the other side, the journalist said. We call it dark because it’s the other. If we cross over to the dark side, when we look back it’s the side we just left that looks dark.

All right, professor, William said, and this time the journalist laughed with him. He had in fact been William’s professor, once upon a distant time. Since then William had been through many changes, most recently managing a chic restaurant which had, not so long before, been sucked down in the widening whirlpool of economic disaster.

So you wouldn’t be interested.

I’m interested in everything, the journalist said. It’s a matter of degree.

You remember Etheridge Elliot?

The journalist patrolled a desert in his mind. Hum me a few bars, he said, and passed his glass up to the barmaid. It flashed on him before his drink was served.

The Jamaican Jerk! he said in a rush.

You always used to harsh on him that way, William said. He’s got a package.

A package, the journalist said.

Jesus, don’t say it like that. We’re on the phone.

Okay, the journalist said slowly. There’s a story in here somewhere, but I don’t know how I like it.

I’ll call you back, said William, and the journalist’s phone went off.

The crush downstairs had squeezed three or four people up into the third-floor area and the barmaid was attending to them. Beautiful people, spending their substance. Bright contrails that they left behind … The journalist cast about for a newspaper again before he remembered there wouldn’t be one. From either corner of the bar a flat-screen television flickered down at him. He wiped his glasses to read the crawl, then forced himself to look away. The phone was a warmish lump in his palm. He flipped it open, thinking he might call his agent to discuss other prospects but before he pressed send he inventoried what prospects he had and concluded it would be better not to discourage the agent by compelling her to discuss them. He handed the barmaid a credit card and waited, mildly conscious of his respiration, until the charge went through.

The phone rang as he hit the street—displaying a different number but still presenting William’s voice, at roughly the same place in the conversation.

I’m getting too old for this kind of— The journalist interrupted himself as he flattened his body into a doorway, out of the biting wind. Is it bigger than a bread box? Does it need airholes? Do I have to wipe it down for fingerprints? Do I need to taste it to be sure it’s good?

Just bring it, William said. It’s on Elliot if it’s wrong, I guarantee you. We’ll meet your train.

Far Rockaway. Far Rockaway! the journalist had blurted into the phone, and William said, So take a cab, you can afford it, and the journalist killed the call, looked at his watch, leaned back in the doorway and watched the frosted feathers of his breath diffusing in the multicolored lights along the street.

At Forty-second Street he got the A train. The rush-hour scrum had already thinned enough that there was breathing room, and by the time the train had left Manhattan he had no trouble finding himself a seat. A wing of newsprint drifted across the floor, stirred by the scissoring legs of a descending passenger. The journalist leaned to catch it up, and glanced at the top headline: TRY TO LIVE IN THIS TOWN ON 500K. Smirking in the shadow of his hood, he rolled the paper and slapped it on his knee.

Half drowsing as the train dragged from stop to stop through Brooklyn, he recalled the panhandler who’d accosted him that morning, when he’d set his satchel down for a moment on the sidewalk just outside Penn Station. The man had cadged a couple of dollars (the journalist gave up the money for luck), then described, apropos of nothing but with a peculiar shuddering relish, an event of fellatio he had once experienced. Was the story in exchange for the dollars? the journalist wondered—if so, he didn’t think he wanted it. He took a couple of steps away, but the panhandler closed the distance softly, saying, It’s nicer to ask—I don’t like to rob people. Not until much later in the day had the journalist processed this statement as a threat; at the time he had not felt menaced in the least.

You’re a good man, the panhandler said. I see it in your eyes. The journalist must have cocked an eyebrow above the aviator sunglasses he wore, for the panhandler then added, I see your eyes around your glasses.

The subway lurched around an underground bend and the journalist came half awake, for an instant unsure where he was—clinging to a rail of a truck or the strap of a bus rounding hairpins in the highlands of Rwanda, or maybe in the mountains of Jamaica where he had once gone to report on a two-hundred-year-old community of maroons. He opened his eyes completely: The vodka was draining out of his system, leaving behind it little claw marks of despair. He was riding an empty car, with only his reflection—leather jacket and face in shadow under the hood—accompanying him from the window across the way. The journalist checked his phone, his knife, his keys, the slack black bag on the seat beside him. He closed his eyes. Elliot would be expecting him, William had said, but most likely wouldn’t call.

The Jamaican Jerk. He’d been a student at the same time as William, give or take, but Etheridge Elliot was unique in that little pond where he had floated to the surface, though south Florida and the whole Caribbean were choked with hustlers of his style. Elliot was a blithe and effortless liar, con to the marrow of his bones. He’d cut extraordinary swaths through the suburban white girls who populated that place, had smoked faculty and administration alike for an almost limitless series of free rides, but it was a rather small institution in the end and Elliot had worn through its possibilities before obtaining a degree.

Then put himself into the wind. The journalist was surprised, now, to find how clearly he remembered Elliot. In the years between he had used a good many such types as guides and drivers and informants, had become quite friendly with a couple, but trusted them only to his sorrow.

He came fully awake again as the train began to traverse Jamaica Bay. On the north shore, a jetliner lowered toward the tarmac; the journalist felt his belly tighten, then release when it safely touched down. A few years previous he’d been one of a pack rushing out to cover the plane that had flamed out and flown straight to the bottom of the dark water he was studying now. Or no, it was only the tail cone that had landed in the bay, while the rest of the plane slammed into shore to raze a dozen houses and kill all aboard: nine crew, 241 paying passengers, five lap children. The journalist remembered these statistics plainly. He had a convenient faculty for that sort of thing. Two hundred and fifty-five disparate tales hurled forward to the same rough jolt of an ending. He went on peering out the window into the water below the filament of track. There were glints reflected from chunks of ice floating in the chop raised by the wind. At the time of the Rockaway plane crash he’d been in the full-time employ of a journal now defunct.

It was not his reflection across from him after all, he realized, as the train rattled into the Sixty-seventh Street station, but another autonomous human being, yin to his yang, dressed in a similar scuffed leather jacket and black hoodie beneath, but with light-colored pants where the journalist’s were dark, and blond Timberlands where the journalist wore a cheaper, knockoff brand of shoe. The other clung to him, tight as his shadow, as the journalist stepped onto the platform and moved toward the caged stairs that led down to the street. At the first landing an arm wrapped around his trunk from behind—reaching toward the front jacket pocket where the phone was (why not the wallet on the hip?). Half prepared for something like that, the journalist spun his shoulder into the other man, checking him into the wire of the cage.

A hand came toward him and he managed to catch it by its thumb and forefinger and roll the wrist clockwise, pulling the trapped arm straight so the lock went straight from the shoulder into the spine. But when he heard the other man grunt, doubling over as the pressure forced him down from the waist, he released the hold and jumped down the remaining stairs. A bolt of pain from a soggy landing on his right knee. He ran, in his heavy, ill-fitting boots, till he was breathless, which turned out not to be very far.

Definitely getting too old for this sort of thing. He could feel the single cigarette he’d smoked, telling on him with a wheeze. No one had followed him, however. He had managed to jog as far as the south-side beach and now he sagged, gasping, against the pipe rail of the boardwalk, looking across the blocks of scrubby waste ground between the strand and the lights of Edgemere Avenue, thinking confusedly of the fields of fire surrounding various third-world palaces where he had once reported.

All this beachfront somehow undeveloped—and likely to stay that way, now, for a good while longer. When he had caught his breath enough he lit another cigarette in the shelter of his hood, then turned to face the wind and water. There was surf, beating down to white foam on the waterline. Perhaps a mile to the east were the lights of the high-rises. Westward, the dull glow of the city lit a sagging belly of snow-filled cloud.

When the cigarette had burned to the filter he flicked it out onto the sand and turned in the direction of the address William had given him. It was astonishingly cold and there was no one else on the street. The attack on the subway stairs had been random, he thought. Just a blast from the past—from the city he used to live in thirty years ago. He remembered that he hadn’t remembered his knife, and that he was lucky he hadn’t been shot.

* * *

Etheridge Elliot had lost his two top front teeth but his smile exuded the same überconfident charm as before. He wore a blue bandanna secured at the center of his forehead with a row of gnarly little knots of a style once favored by a certain Flatbush Crips set. Or so the journalist seemed to recall; it was ten years or more since he’d reported that one. A blast of heat swirled out of the basement door Elliot had opened and the journalist stepped gratefully into it, clenching his teeth so they wouldn’t chatter.

Ragamuffin! Elliot cried. The journalist fumbled a hipster handshake. They were standing in a square of partially finished basement; a drape of kente cloth hanging from the ceiling tiles divided them from what must have been the larger part of the space.

Wattagwan wid wi? Elliot said, expanding his smile around the black gap of the two missing teeth.

Same as it ever was, the journalist said, after a moment of bewildered cogitation. The patois he’d picked up among the maroons had long since rusted away, and to the best of his recollection Etheridge Elliot had spoken reasonably standard English the last time they had met. They had never addressed one another as ragamuffin, so far as he could recall. Still, the overwrought accent touched him, like a warm breath of the island wind.

Elliot held up one finger and stepped through the kente cloth. The journalist waited, still on his cold feet. The only seating option was a pair of bucket car seats, still bolted together. From above, footsteps crossing a floor broke up a steady throbbing of bass. There were also some other people besides Elliot in the space behind the kente cloth, the journalist thought, though he was unsure of his reason for thinking so.

Then Elliot came back with two bottles of Red Stripe and a short dog of Bacardi gold. He offered the rum first.

Cut de col’, mon.

Gladly, the journalist took a belt from the bottleneck, then chased it with the beer Elliot proffered. They sat down side by side in the twinned car seats. The length of Elliot’s legs put his knees up somewhere around his ears. He and the journalist clicked their beer bottles, then Elliot passed him the short dog again. The warmth of the rum restored to the journalist a glimmer of optimism.

Lessee wheh dot ting. Elliot twisted over the arm of the car seat to scrabble in a beer box mostly full of shiny old newspaper advertising inserts. The back of his shirt rode up to disclose the grip of a nine sticking up from his waistband, along the pale knobs of his spine. The journalist took the opportunity to probe the flesh around his jarred knee joint—a little tender but he thought there’d be no long-term consequences.

Out from under the litter Elliot fished an oblong bundle about the size of a telephone book, wrapped in black plastic and silver duct tape. The journalist accepted it into his lap, then, after a discreet pause, zipped it into his shoulder bag. He leaned forward and set his empty Red Stripe on the concrete floor.

Okeh den, Elliot said. Yuh wanna ride inna town?

The journalist thought it over. What if the jump at the subway hadn’t been random after all? Or he might draw another piece of random. If Elliot wanted to take him off he could do it anywhere and besides that play didn’t make any sense.

If you can drive me to Canarsie, he said, I could catch the double L.

He hefted the bag and stood up, wrinkling his nose. From behind the cloth divider came the scent of scorched foil and burning resin.

Deh chasen de dragon, Elliot half whispered. Doan you wanna taste?

I don’t think so, the journalist said with a pain like the pang of lost love.

Still yuh would do, mon, Elliot said, his voice turning wistful now. Back in de day.

Surely the dragon had opened its maw and would smother the journalist in its vapors. Neurons were standing up all over his system, like the hair of a terrified cat. He had the odd and distant thought that maybe Elliot was only pretending to have recognized him when he came in, that in fact he did not know him at all. Or that he did know him, but not from experience.

No, he said finally, uncertain whether he was declining the proposition of the moment or just the idea that Elliot had ever seen him accept it. Back in the day when they’d known each other the journalist was a tenure-track prof at a cozy East Coast college and he would not have swapped his shot at security for this. Later on he had traded it for something else, he couldn’t now remember what.

An associate of William’s met him at the Baltimore station, not in the empty, elegant lobby but on the second level of the parking garage below. His headlights swept over the journalist as the car rounded a bend of the garage, and the journalist stepped aside from the beams as the tinted driver’s side window slid down. The associate had once been a waiter at the restaurant William used to manage before it went down. The journalist didn’t recall his name but was sure enough of his identity to pass the package on to him. In return, the associate flipped him an old campus-mail envelope folded three times over and snapped tight with a rubber band. The journalist tucked it quickly into the inside pocket of his jacket.

Who loves you, baby? the associate said. The associate had not shaved recently; the journalist wondered if that might be a new style open to him now that he was no longer employed as a waiter, or the result of a drop in morale.

Only my mother, he replied, but the associate had already driven away. And she’s dead.

The journalist drifted toward the southern face of the garage, thinking. I ask myself: What is a stable commodity in a time of deep recession? I answer: whatever the consumer can’t stop wanting. This solution was congruent with the gritty, powdery feel of the package through its plastic, and with the sum of money William had offered him for bringing it down. The journalist touched the thickness of the envelope through the leather of his jacket but he didn’t want to look at it yet, in case it should prove to be only dried leaves.

He stopped at the vertical bars that closed off the garage, wondering if they were meant to stop people going out or coming in. Out, most likely, as there was a two-story drop to the expressway below. He took out the cigarettes and stuck one in the corner of his mouth and tossed the box out through the bars, watching its red and white edges flashing end over end until it had disappeared into the slow current of night traffic.

No snowflake falls in the wrong place. The journalist lit his last cigarette and flicked the match pack after the box. As he exhaled he seemed to feel a warm breath on the back of his neck but he knew all that was mere illusion, only the idea of the dragon, snuffling at him one more half-interested time

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