The recent arrival of two new editions of the third Resnick novel, Cutting Edge, one from Taiwan, the other from Italy, got me thinking about just how many different editions – some in English, some in translation – there have been since the book’s original publication, by Viking, in 1991, close to thirty years ago. A thought which got me scurrying to the shelves in search of an answer, and which turned out, eventually, to be 21. And that’s not including audio versions, abridged and unabridged, and at least two versions I’m aware of when it was included in an omnibus edition with other Resnick titles; one in this country from Arrow, the other a Knizni Klub volume from Czechoslovakia.
It is of course what most writers want, a book that outlasts its initial display on the tables at Waterstones and elsewhere [what elsewhere?] to exist, not just on library shelves or in charity shops, but still, somewhere, on sale. Being – hopefully – bought; being read. And what the writer of a series hopes for, beyond that, is that anyone for whom Cutting Edge is their first encounter with Charlie Resnick, will begin to track down the other eleven books available.
That the novel has been published in ten countries is testimony to both Charlie’s universality – and the universal appeal of crime fiction – and perhaps even more so to the diligence and persuasiveness of my agents over the years – initially Carole Blake at Blake Friedmann, then Sarah Lutyens at Lutyens & Rubinstein, along with their networks of sub-agents across the globe. And looking at the jacket design, gives an interesting indication of changes in graphic fashion, both from year to year and country to country.
Henry Holt were my American hardcover publishers for the first 10 Resnick novels and my editor there, Marion Wood, was, happily for me, more hands-on than many who buy the publishing rights from elsewhere, and, as such, she was very instrumental in framing the way the series would develop. The best-selling author Sue Grafton was one of her writers at Holt and she always said that as long as she had Sue – for whom she had a great fondness and admiration – in her corner, she could ‘get away’ with publishing slightly left-field writers like Daniel Woodrell and myself, whose sales were, shall we say, less than astronomical.
This cover, seeking to tie the paperback edition of the novel in with the BBC television series which featured Tom Wilkinson in the role of Resnick, was commissioned under the assumption that Cutting Edge would follow Lonely Hearts & Rough Treatment, which were broadcast in 1992/93. Unfortunately, although the script for Cutting Edge had been accepted and, thankfully, paid for, the BBC made a decision – based, to an extent, upon what they deemed to be disappointing viewing figures – not to go ahead with the filming. Which didn’t help sales of the paperback and was one of the issues that led to an estrangement between Viking/Penguin and myself and my decision to buy myself out of my contract – I owed them one more book – and move, in 1994, to William Heinemann/Arrow, where, despite changes in ownership, I’ve been ever since, happy under Susan Sandon’s watchful editorial eye.
Although Cutting Edge and a number of the other Resnick titles have been published in a number of countries, only Rivages, in France, have – up to the present – followed a consistent policy of publishing all of my crime fiction – not just the Resnick series, but the first three Elder novels and all the various stand-alones that have come along the way. I first met François Guerif, long the director of Rivages’ magnificent Noir series, at the Shots in the Dark festival in Nottingham, which led to him publishing Lonely Hearts – Coeurs Solitaires – in 1993, and I’m proud to say we have remained firm friends ever since.