Mystery Writers of America have announced the nominees for the 2019 Edgar Allan Poe Awards, which honor the best in mystery fiction, non-fiction, and television published or produced in 2018. The Edgar® Awards will be presented at the MWA's 73rd Gala Banquet, April 25, 2019, at the Grand Hyatt Hotel in New York City. Congratulations to all the nominees!
The Liar’s Girl by Catherine Ryan Howard (Blackstone Publishing)
House Witness by Mike Lawson (Grove Atlantic – Atlantic Monthly Press)
A Gambler’s Jury by Victor Methos (Amazon Publishing – Thomas & Mercer)
Down the River Unto the Sea by Walter Mosley (Hachette Book Group - Mulholland)
Only to Sleep by Lawrence Osborne (Penguin Random House – Hogarth)
A Treacherous Curse by Deanna Raybourn (Penguin Random House – Berkley)
BEST FIRST NOVEL BY AN AMERICAN AUTHOR
A Knife in the Fog by Bradley Harper (Seventh Street Books)
The Captives by Debra Jo Immergut (HarperCollins Publishers - Ecco)
The Last Equation of Isaac Severy by Nova Jacobs (Simon & Schuster - Touchstone)
Bearskin by James A. McLaughlin (HarperCollins Publishers - Ecco)
Where the Crawdads Sing by Delia Owens (Penguin Random House – G.P. Putnam’s Sons)
BEST PAPERBACK ORIGINAL
If I Die Tonight by Alison Gaylin (HarperCollins Publishers – William Morrow)
Hiroshima Boy by Naomi Hirahara (Prospect Park Books)
Under a Dark Sky by Lori Rader-Day (HarperCollins Publishers – William Morrow)
The Perfect Nanny by Leila Slimani (Penguin Random House – Penguin Books)
Under My Skin by Lisa Unger (Harlequin – Park Row Books)
BEST FACT CRIME
Tinderbox: The Untold Story of the Up Stairs Lounge Fire and the Rise of Gay Liberation by Robert W. Fieseler (W.W. Norton & Company - Liveright)
Sex Money Murder: A Story of Crack, Blood, and Betrayal by Jonathan Green (W.W. Norton & Company)
The Last Wild Men of Borneo: A True Story of Death and Treasure by Carl Hoffman (HarperCollins Publishers – William Morrow)
The Feather Thief: Beauty, Obsession, and the Natural History Heist of the Century by Kirk Wallace Johnson (Penguin Random House - Viking)
I'll Be Gone in the Dark: One Woman's Obsessive Search for the Golden State Killer by Michelle McNamara (HarperCollins Publishers - Harper)
The Good Mothers: The True Story of the Women Who Took on the World's Most Powerful Mafia by Alex Perry (HarperCollins Publishers – William Morrow)
The Metaphysical Mysteries of G.K. Chesterton: A Critical Study of the Father Brown Stories and Other Detective Fiction by Laird R. Blackwell (McFarland Publishing)
Dead Girls: Essays on Surviving an American Obsession by Alice Bolin (HarperCollins Publishers – William Morrow Paperbacks)
Classic American Crime Fiction of the 1920s by Leslie S. Klinger (Pegasus Books)
Mark X: Who Killed Huck Finn's Father? by Yasuhiro Takeuchi (Taylor & Francis - Routledge)
Agatha Christie: A Mysterious Life by Laura Thompson (Pegasus Books)
BEST SHORT STORY
“Rabid – A Mike Bowditch Short Story” by Paul Doiron (Minotaur Books)
“Paranoid Enough for Two” – The Honorable Traitors by John Lutz (Kensington Publishing)
“Ancient and Modern” – Bloody Scotland by Val McDermid (Pegasus Books)
“English 398: Fiction Workshop” – Ellery Queen Mystery Magazine by Art Taylor (Dell Magazines)
“The Sleep Tight Motel” – Dark Corners Collection by Lisa Unger (Amazon Publishing)
Denis Ever After by Tony Abbott (HarperCollins Children’s Books – Katherine Tegen Books)
Zap! by Martha Freeman (Simon & Schuster – Paula Wiseman Books)
Ra the Mighty: Cat Detective by A.B. Greenfield (Holiday House)
Winterhouse by Ben Guterson (Macmillan Children’s Publishing Company – Henry Holt BFYR)
Otherwood by Pete Hautman (Candlewick Press)
Charlie & Frog: A Mystery by Karen Kane (Disney Publishing Worldwide – Disney Hyperion)
Zora & Me: The Cursed Ground by T.R. Simon (Candlewick Press)
BEST YOUNG ADULT
Contagion by Erin Bowman (HarperCollins Children’s Books - HarperCollins)
Blink by Sasha Dawn (Lerner Publishing Group – Carolrhoda Lab)
After the Fire by Will Hill (Sourcebooks – Sourcebooks Fire)
A Room Away From the Wolves by Nova Ren Suma (Algonquin Young Readers)
Sadie by Courtney Summers (Wednesday Books)
BEST TELEVISION EPISODE TELEPLAY
“The Box” - Brooklyn Nine-Nine, Teleplay by Luke Del Tredici (NBC/Universal TV)
“Season 2, Episode 1” – Jack Irish, Teleplay by Andrew Knight (Acorn TV)
“Episode 1” – Mystery Road, Teleplay by Michaeley O’Brien (Acorn TV)
“My Aim is True” – Blue Bloods, Teleplay by Kevin Wade (CBS Eye Productions)
“The One That Holds Everything” – The Romanoffs, Teleplay by Matthew Weiner & Donald Joh (Amazon Prime Video)
ROBERT L. FISH MEMORIAL AWARD
“How Does He Die This Time?” – Ellery Queen Mystery Magazine by Nancy Novick (Dell Magazines)
THE SIMON & SCHUSTER MARY HIGGINS CLARK AWARD
A Death of No Importance by Mariah Fredericks (Minotaur Books)
A Lady's Guide to Etiquette and Murder by Dianne Freeman (Kensington Publishing)
Bone on Bone by Julia Keller (Minotaur Books)
The Widows of Malabar Hill by Sujata Massey (Soho Press – Soho Crime)
A Borrowing of Bones by Paula Munier (Minotaur Books)
When True Detective aired back in January 2014 on HBO, it seemed like a whole new kind of crime drama. Each “series” was to feature one long, unfolding case. And like so many binge-worthy dramas in this new “Golden Age of Television,” the bulk of the writing would land on one person’s shoulders, usually an experienced TV pro. Guys like David Milch, David Simon, David Chase. No writers’ room network or basic cable spam-in-a-can for HBO.
Only Louisiana-born Nic Pizzolatto was not a TV guy. His first name wasn’t even David. He was a mystery guy. Sure, his extraordinary first novel, Galveston (2010), earned him all sorts of acclaim, but his only television credits were a couple of The Killing episodes a few years earlier. HBO’s faith in him as writer and show runner, however, was not misplaced.
That first series starred Matthew McConaughey and Woody Harrelson as a pair of dramatically mismatched Louisiana State Police homicide detectives, and followed their pursuit of a seriously deranged serial killer over a 17-year period. It was an intoxicating brew; a dark, moody, shape-shifting (and sometimes polarizing) slice of procedural noir, unlike any TV cop show we’d seen before. No flashing lights CSI or cut-and-pasted-from-the-headlines blarney neatly wrapped up in 60 minutes (if you count the Tidy Bowl and Bud Light commercials). Michelle Monaghan, Michael Potts, and Tory Kittles were also in the cast, and the denouement took a big step into the creepy, woozy world of Lovecraftian horror (or did it?). Still, it was the slowly disintegrating bromance between good ol’ boy (or is he?) Harrelson and drug and alcohol-addled, freewheeling freethinking wingnut McConaughey over those 17 years that stole the show. It ended up a critics’ darling, nominated for and winning numerous awards and assorted huzzahs for acting, cinematography, writing, and direction.
The second series? The production values were once again top-notch, and once again the cast was top-loaded with big movie star size names, but the show itself? Not so much. Promisingly set in California, pretty much ground zero for noir, it tried to focus on the investigation of several crimes tpossibly linked to a local politico’s murder, led by three variously corrupt or compromised detectives (played by Colin Farrell, Rachel McAdams, and Taylor Kitsch) from three (theoretically) cooperating police departments. While it certainly offered scope, the emotional wallop was MIA. No matter how hard they tried to paint it black, it smelled more like typical police fare (Helicopters! Russian mobsters! Sex parties! Drugs!). Still, the final scenes of Vince Vaughn as a local criminal-turned-legit-businessman chewing the scenery while watching his world crumble remain with me. The ratings were good enough for a third shot, but the huzzahs were slow in coming. Too much Ellroy, not enough Pizzolatto.
But the third season of True Detective is upon us, and all is forgiven. It’s a welcome return to form, judging from the episodes I’ve seen, and it may be the best one yet—a stripped-down, heartbreaking meditation on justice, mercy, honor, memory, and life itself. Mahershala Ali, fresh off his Oscar win for Moonlight, owns soft-spoken Detective Wayne “Purple” Hays of the Arkansas State Police, and Stephen Dorff is his laconic white partner Roland West. They’re drinking beer, shooting rats and killing time when they’re called in. A young boy and his kid sister have gone missing in the Ozarks.
At a Beverly Hills press conference I attended, Pizzolatto confessed he was trying to avoid being pushed into “any kind of real violent heart-of-darkness sort of stuff.” Still, there’s all kinds of real hurt uncovered as the story slowly, majestically unfolds in three different timeframes: 1980, when the children were first abducted and the case is presumably closed; 1990, when new evidence casts serious shade on the initial investigation, and 2015 when an ambitious film maker, doing a documentary (cheekily titled True Criminal) wants to interview Wayne about how it all went wrong thirty five years ago. Problem is, Wayne’s no longer a young man and he knows it. The show opens ominously, a foreshadow of things to come, as Wayne fumbles, buttoning his shirt, contemplating his white-haired reflection in the bedroom mirror, seeking solace, perhaps, in an echo from his past. “Yeah, of course, I remember…. I remember everything.”
But he doesn’t, and that’s the real question the burns through the series. What do you remember? How do you know what you don’t remember? Wayne’s memory is slipping, and yet the case, his part in it and the marriage that failed because of it still torments him. Where did it go wrong, or more precisely, where did he go wrong?
Echoes of that first series abound: the rural, Southern setting with its hints of the macabre; the reliance on flashbacks; the totem-like dolls that seem to somehow figure in the crime, the fragments of guilt and regret that slowly re-emerge. But the plotting is tighter and more precise, unravelling in a disciplined, inevitable movement as compelling as it is unsettling. Organic, almost.
Meanwhile, the thoughtful performances, particularly by Ali and Dorff, are nuanced and haunting. Unlike the head-butting of McConaughey and Harrelson, there’s a mature, professional camaraderie—even when Wayne and Roland are at at loggerheads—that’s a joy to watch; a triumph of pragmatism and realism over scenery chewing. Even the racial element is, for once, deftly downplayed—acknowledged and then Next! Rounding out the cast are Scoot McNairy as the children’s anguished father and Carmen Ejogo as Amelia, Hayes’ wife, an ambitious school teacher who ends up writing a bestselling book about the case—a fact that leads, eventually, to their bitter breakup.
Those first five episodes raise a lot of questions. But a lot could go wrong in the last three.
Fortunately, the press conference was reassuring. Pizzolatto, returning music director T-Bone Burnett, returning executive producer Scott Stephens were all on hand and Ali (everyone else was on a first name basis, but the press addressed him as “Mr. Ali”) all seem truly committed.
And it shows. It’s an emotional roller coaster ride, beautifully filmed, a crime story for adults, all brought home by Burnett’s skittery, ominous score and cherry-picked slices of old weird Americana that fills the vast bleakness of the Ozark wilderness like a knife fills its sheath.
Somehow it seems unfair I have to wait for the last three episodes like the rest of you.
True Detective 3 premiered on HBO on January 13, 2019.