For quite a while after I’d published a batch of novels, I remained wary of the short story. Writing one, I mean. It always seemed a little too difficult: the need to be precise while simultaneously working through inference; the ability to create an atmosphere with a minimum of folderol and faff; and then the ending – clever without seeming tricksy, with an element of surprise that nevertheless satisfied expectations.
Perhaps I’d been thinking about it a little too much. All that analysis and not enough action. It was Maxim Jakubowski – editor, author, and, at the time, proprietor of the eminent London mystery bookstore, Murder One, who got me to change my mind.
Looking back, I suspect he did it simply by asking. I would have been more than a little flattered, eager to oblige.
The result, published in London Noir (Serpent’s Tail, London,1994) was “Now’s the Time”, set, somewhat perversely, in Nottingham, and featuring an encounter between my by then well-established series character, Detective Inspector Charlie Resnick, and an alcoholic jazz musician, Ed Silver.
I remember how surprised I was at the pleasure I derived from the process, the actual writing, and the small but real feeling of satisfaction when the final sentence was set down. Since then, I’ve written and had published a further thirty five stories, one of which – “Fedora” – was awarded the Crime Writers’ Association Short Story Dagger for 2014. And “Now’s the Time” itself has been reprinted in a number of other collections: Das Grosse Lesebuch Des Englischen Krimis, Goldmann, Germany, 1994; Now’s the Time, Slow Dancer, London, 1999 & Heinemann, London, 2002; Opening Shots, edited by Lawrence Block, Cumberland House, Nashville, 2000; First Cases, Vol. 4, edited by Robert J. Randisi, Signet, New York, 2002 and Great TV & Film Detectives, edited by Maxim Jakubowski, Reader’s Digest/Orion, New York/London, 2005.
All this is the background to “Yesterdays”, my contribution to Invisible Blood, a new collection of stories that Maxim claims will be his last as compiler and editor. I wanted, in some way, to refer back to that first story and acknowledge Maxim’s role in its creation. Thus, in the opening paragraphs, Resnick recalls a key incident from that earlier story …
“They’re all dying, Charlie.”
Ed Silver’s words echoed across the years, across the near-empty room in which Resnick stood, remembering. He had been about to go off duty when he’d been called to a disturbance at Emmanuel House: a man threatening to take a butcher’s cleaver to his own bare feet – first the left and then the right and heaven help anyone who tried to stop him.
At first Resnick hadn’t recognised him and then he did. Silver. Ed Silver. Up on the bandstand at the Old Vic on Fletcher Gate, shoulders hunched, alto sax angled off to one side, fingers a blur of movement as he blitzed through an uptempo blues with sufficient speed and ferocity to make the eyes water. Now the same hands, purple and swollen, were scarcely able to hold the cleaver steady, never mind a saxophone; Resnick had reached out slowly but firmly and taken the cleaver safely into his own. Taken Silver home and fed him, made coffee strong and black, talked long into the night.
“They’re all dying, Charlie. Every bugger!”
Invisible Blood will be published by Titan Books in July, both here in the UK and in the States, and includes stories by Lee Child, Stella Duffy, Jeffery Deaver, Denise Mina, Cathi Unsworth and others, seventeen in total.