Books: Q Clearance by Peter Benchley (1986)

"Timothy Burnham works as a speechwriter to the President. He has been in the same room as the great man, but only with a lot of other people, and he likes it that way – he is that rarity in Washington, a man with no appetite for power. By a quirk of bureaucracy Burnham is given Q Clearance, which means that every day he receives documents crammed with the highest atomic secrets of which he understands not a word, and which he has to shred every night. Big joke, thinks Burnham – but he does not laugh when for unfathomable reasons he suddenly becomes the President's blue-eyed boy. That, he knows, is more than he can cope with – except that, exhilaratingly, the terrifying old man seems to bring out in Burnham more than Burnham knew was there. While this nerve-racking relationship is developing, Burnham meets a lovely blonde. It does not occur to him that a lovely blonde might show obvious interest in a man with Q Clearance, who enjoys the confidence of his President, for some reason other than their enjoyable compatibility.” 

Before Peter Benchley became the mega-successful writer of Jaws, The Deep, and The Island, he was writer for The Washington Post and Newsweek before becoming President Lyndon B. Johnson’s speechwriter and it be interesting to know how much that goes down in the West Wing while he was there made it into this book. Of course, names had be changed, as well as certain situations, but still. Benchley, of course, came from powerful dynasty of writers in the 20th Century (both his grandfather and father were founders of the Algonquin Round Table), and while he’ll always be remembered for Jaws and other popular fiction titles, Q Clearance comes close to being a tale to fall under the same umbrella as John Le Carre (which he is safe from). It’s a bit dated novel if only because I think Benchley used 1960s early 70s politics instead of mid-1980s when Ronald Reagan began to destroy the American way. Also, the (Russian) spies seem a bit old-fashioned, as well. I think it works more as a merciless send-up of government bureaucrats than anything else. While this book was released in 1986, I’m guessing not much has changed when it comes to the power structure of DC. 

Other subplots involve a White House cleaning lady from Bermuda who is desperate to procure for her son a certificate of graduation from high school; an enigmatic caterer whose past is known to nobody (or at least, to nobody in the United States); and several members of the President's Cabinet (one who has unfortunate name of Epstein and I couldn’t help be be a distracted by that. There is a tacky plot device about Burnham’s marriage falling apart over a microphone bug found in their car. She wants him to quit because she hates the idea that her own government is spying on her and their two kids (who are more ciphers than characters), but that seems a bit overkill, and seemly just designed to get Tim to live at the Y and thus get involved with Eva, a Russian vitamin salesperson with questionable issues with her job.

I liked it, and Benchely can be a funny. And Q Clearance is entertaining, but light and breezy like a few of his other novels. It’s a spy novel for folks who might find Le Carre, John Forsythe, Ken Follett, or Len Deighton a bit too deep.

Books: Lemons Never Lie (Alan Grofield #4) by Richard Stark (1972)

“When he’s not carrying out heists with his friend Parker, Alan Grofield runs a small theater in Indiana. But putting on shows costs money and jobs have been thin lately—which is why Grofield agreed to fly to Las Vegas to hear Andrew Myers’ plan to knock over a brewery in upstate New York. Unfortunately, Myers’ plan is insane—so Grofield walks out on him. But Myers isn’t a man you walk out on, and his retribution culminates in an act of unforgivable brutality. That’s when Grofield decides to show him what a disciple of Parker is capable of.” 

Lemons Never Lie would be the last Alan Grofield spin-off novel, but the character would make another appearance in the 1974 (sort of) final Parker novel, Butcher’s Moon. The more reliable Westlake Review can’t come to any conclusion as to why Stark stopped writing about him, but like Parker, there’s an assumption the 1970s was causing problems for thieves who are stealing large amounts of cash from banks, entertainment venues, local stores and other places –those places were drying up, mostly due to the credit card boom, and money being transferred electronically, so there no need to have large amounts of loose cash on hand. They also noted: “It does, like the others, refer to Parker, remind us of Grofield’s connection to him (there’s even a brief cameo by Handy McKay).  Westlake was well aware of the fact that Grofield had not developed much of an independent fanbase, and that Grofield’s readership was, in the main, a subset of Parker’s.”

 

So after Butcher’s Moon, Grofield never appeared in another Parker novel (though Westlake would revive that character in 1997). Though, on a side note, Westlake did create a sort of alternate universe version of Grofield (who had sold out and become a prosperous star of film and TV) who periodically would popup in the Dortmunder books. 

 

Finally, perhaps by the time Westlake restarted the Parker novels after a twenty-three year absence, the rise of the information age would’ve stretched the concept of an actor who also committed robberies using the same name a bit hard to cover up. For many, those latter Parker tales were already stretching the believability factor.

 

Out of the four books, Lemons Never Lie comes the closest to what Westlake created in the Parker character. Seems ironic that a lot of Stark/Westlake fans did not really enjoy this off ramp into the mind of Grofield, but here, in this last book, Grofield is closest to being part of the darkness that surrounds Parker.

 

The most interesting thing about the book is that it actually shows Grofield working at his small theater – an out the way place in rural Indiana. It recounts the mundane aspect he and his wife Mary go through to put on highly unprofitable plays (and one where we see Westlake/Stark take a jab at the current medium of popular TV, movies, and even tedious plays. He only puts on “legit” plays). This also sort of really shows why Grofield has his side business as a thief – it raises the capital to put on his shows.

 

As well, though, Lemons Never Lies doesn’t read like a last book in the series, it yet somehow kind of works as such. I liked Grofield and despite being a less ruthless thief and killer that is Parker (and he’s less humorous here), he remains just as complex and interesting as Parker.

Books: The Blackbird (Alan Grofield #3) By Richard Stark (1969)

“After a dramatic armor car robbery goes south (the first chapter opens with the events -with minor variations- from Stark’s Parker novel, Slayground), Grofield, while recovering from his injuries, becomes the man who knows too much (though this book seemly plays out like another Hitchcock thriller, Notorious), as unnamed federal agents will make his robbery charges go away is he agrees infiltrate a dangerous group attempting to influence a newly independent African nation.” 

Long before John Dortmunder (some variations on the plot in this book will pop up in The Hot Rock) showed up, it appears that Westlake was using Alan Grofield to test out some other ways to tell his tales -still somewhat violent, but also with additional humor not seen in the Parker novels. So we get Grofield as the reluctant adventurer in The Damsel, and a reluctant detective stuck in a locked-room mystery in The Dame, while here in The Blackbird, we get a reluctant spy. The reason Grofield was picked for this mission is because he knows both General Pozos, dictator of the South American banana republic Guerrero (who he met in The Damsel), and Onum Marba, a powerful politician from the African country Undurwa (who he met in The Dame), both of whom will be at the conference, representing their countries. 

It’s also been well established that Grofield has an overwhelming sense of self-preservation and has a contemptuous attitude every-man-for-himself. This may be the characters only drawback, because while he sort of becomes a cut-rate James Bond here, his relationship with one Undurwan aide Vivian Kamdela (the blackbird of the title) becomes a battle of what Grofield will do for his country (nothing much) and the beliefs of the ultra-patriot Miss Kamdela. Throughout the book, they have a back and forth philosophical dialogue about what a patriot means, what loyalty means. She clearly believes in being a good soldier, while Grofield only believes in being Grofield. 

There is a lot more smart-assery and wisecracks going on here, as well, which (as mentioned) is out of place in a Richard Stark tale, but the book does return to violence you expect in the Parker tales in the end, though Alan seems pragmatic about it, and less ruthless (but, in its own way it can be sold as being ruthless. It’s a fine line, from my POV. Like Parker, he is a thief, but will cross the line to save his own hide, even at the expense of four idiotic Americans playing a game that is so far out of their league).

Books: Steps Going Down by Joseph Hansen (1985)

“Darryl Cutler knows a good thing when he sees it -- and old Stewart Moody's fortune is the best thing he's ever seen. So Darryl takes care of the dying old man, knowing the promised inheritance is well worth the wait. Or so Darryl believes, until something even better comes along. When Chick Pelletier, a young sunny-haired would-be actor appears on the scene Darryl is obsessed: he'll do anything to please Chick. But Darryl has finally met the hustler who can out-hustle him, and the stakes are getting higher all the time.” 

I’m unsure of writer Joseph Hansen’s motives here, as the book plays out more like a psycho-drama between two men willing to do anything to maintain the glamorous lifestyle of the rich. Darryl is a hustler, but seemly with a bit of moral fiber, where Chick (a sort of hapless take on Patricia Highsmith’s Talented Mr. Ripley?) has no scruples and easily convinces Darryl to commit murder (they almost leap right to it). But, as the cover says, it’s a “tawdry” tale that makes the reader a bit uncomfortable to read it to completion. There is at no point in the book where anyone is likable, even Darryl’s life choices can be blamed on his horrible, good for nothing Mother, who chipped any potential goodness out him when he was a child. She’s definitely a domineering woman who got hurt and made Darryl pay for it through insults and uncaring upbringing. I think, though, her way of emasculating her son was enough for him to move out of Portland, so I kind of felt the Darryl accidentally running over and killing a 11 year-old boy was a bit overkill. 

Much of the book involves the on again off again relationship between Chick and Darryl, two people who should never be together, but somehow keep crashing into each other, keep needing each other, both loving and hating each other. The other plot point involves plagiarizing the script to a TV movie, which in 1984 probably sounded realistic, but forty-two years later seems a bit silly. 

There is a nice plot twist at the end, one I certainly did not see coming, but it’s about the only thing I can recommend here, because unlike Hansen’s Dave Brandsetter books, which went out its way to show the darkness at the heart of Southern California lifestyle, the only thing Steps Going Down is Hansen’s prose, which makes the book a worthy read for fans of the writer. Otherwise, this book will leave you a bit queasy and more than feeling a little bit dirty.

Books: Cobalt (Valentine and Lovelace #2) by Nathan Aldyne (1982)

 “The setting? Provincetown, circa the early 1980s, otherwise known as Sodom-by-the-Sea. The place? Only the hottest party in town, darling, and you’re invited! Clarisse, for one, is thrilled to strap on her dancing shoes: Not only is there an entire gaggle of gay men (who better to appreciate her divine diva-tude?), but some of them are very pretty (and Ma’amselle does like her eye-candy). Even better, a murder is announced, and since it’s nobody that anyone knew well, Clarisse is free to disregard all the niceties of Oh, how terrible, and concentrate entirely on poking into other people’s business. Valentine’s on hand to help, of course, though a little distracted—I mean, if a gorgeous gay bartender can’t find love in 1980s P’town, he might as well hand in his Donna Summer albums.”

Despite being the second book in a series of four, Cobalt (much like McDowell’s Jack and Susan series), appears to reboot itself, as no mention is made of their previous bout with murder. The book gives a great view of the pre-AIDS era 1980s and the party scene in Provincetown, with Daniel Valentine working at the Throne and Scepter bar, while browsing for Mr. Right. This time, as well, Clarisse nabs a hunky cop all her own. But what stays the same is murder and when a hunky drug dealer ends up washed up on the sea shore, both Valentine and Lovelace must try and figure out what is going on. As the story unfolds, they get to hear endless secrets, the jealousies of many gay men, and lies behind the beautiful faces around them, all which can be a motive for murder. 

As with the first book, there is a lot of merriment on top of the murder, drugs and seemly contemporaneous aspect of gay men that remains the same in 2026 as did in the early 80s. Still, Valentine and Lovelace continue their breezy Nick and Nora, Thin Man-style relationship, the biting humor that only dear friends can get away with. 

But these books (and the ones written under McDowell’s own name, along with Axel Young), are such strange period pieces and now maybe that’s why these works (outside his Gothic Horror tales) are mostly out of print and hard find on the secondary market (then, when found, tend to be very expensive). The sad fact is these books will only appeal to collectors and (probably) by gay men who either survived the early AIDS years or came of age after, and are curious to know what those pre-HIV days were like (though bitchy queens remain a constant no matter what the decade is). So as funny McDowell and Dennis Schuetz can be here, you can’t help realize that the whole jump-into-bed-with-any-hot-man-around will come to a chilling end, because AIDS was on the horizon and places like "P-town" were going to be devastated by it. 

I continue to hunt for book three and four, but as noted, those books are out of print, though they are offered as an ebook – but I like physical books. While Valancourt Books still offers some of McDowell’s horror tales (in both paperback and digital versions), the last company to offer these gay-themed mysteries in paperback appears to been Felony & Mayhem Press from about a dozen years ago (though, again, a digital format are still available). And, at one time, Alyson Books, formerly known as Alyson Publications, who specialized in LGBT works of various genres, also released these books. I occasionally come across them, but even they have become expensive.

Books: The Annihilation Score by Charles Stross (2015)

 

“The Laundry is recovering from a devastating attack (as seen in the last book, The Rhesus Chart, which also left Bob’s boss dead) and when average citizens all over the country start to develop supernatural powers, the police are called in to help. With Bob the new Eater of Worlds, he’s off doing his thing, which leaves his wife, Dr. Dominique “Mo” O'Brien –an extrodinary agent in her own way- tapped to lead a new position within the Laundry, but more for UK intelligence world. When occult powers threaten the realm, they'll be there to clean up the mess - and deal with the witnesses. So Mo appointed as official police liaison, but in between dealing with police bureaucracy, superpowered members of the public and disgruntled politicians, Mo discovers to her horror that she can no longer rely on her marriage, nor on the weapon that has been at her side for eight years of undercover work, the possessed violin known as 'Lecter'”.

The Annihilation Score is the sixth book in Stross’ Laundry Files series, with its blending of Cthulhu Mythos horror and spy fiction and bureaucratic comedy. So the book starts in a pretty dark, depressing place, at least for Bob and Mo, which the growth you want in a long-running series (more on that later). And much like Bob’s early days in the Laundry, you get a sense that Mo is out of depth here and no one seems to question why. But, as well, the shift in the protagonist is startling for me and while I like Mo, I came for the adventures of Bob. Still, the book is sharp, somewhat fresh (the ideas here are not new), and sufficiently tongue-in-cheek about the whole possibility of people mistaking themselves for superheroes. And Stross is clearly teasing this out towards a more climactic event related to the existential threat that is CASE NIGHTMARE GREEN, but overall, I felt cheated Bob was missing from the tale, even though Stross succeeds in making Mo’s voice distinct from Bob’s.

I did some further looking ahead in this series and discovered that with this book, until it’s finale, Stross will be featuring different protagonist, with Bob only popping in book eight, and the final book in the series (which was released in January 2026). There is a novella in which Bob Howard appears in, explaining his absences from the seventh novel in the series, The Nightmare Stacks and the beginning of the eighth, but overall Stross appears to expanding his universe because either there is not much more he can reveal about Bob Howard, Mo O’Brien, and the Laundry or it’s just another publishers desire not to end a successful series, so they shift the plot a bit, introduce new characters and let them handle a half-dozen titles before finally pulling the plug.

Books: Wicked Stepmother by Axel Young (1983)

“Seducing a proper Bostonian was easy. Making him die of a heart attack a week after the wedding was hardly any trouble at all. Now she has money, social status, everything she has cunningly schemed to get since she was a poor little girl. Everything except the Brookline mansion and the multi-million dollar trust fund left to the three children. But what wicked stepmother couldn't get rid of three children? Jonathan, too smart for his own good and suspicious about his father's death, has to be the first to go. Then there's pretty, spoiled Verity, hooked on cocaine and perpetually drunk - who'd ask any questions if she died suddenly? And clever Cassandra, just out of college and beginning a career as a literary editor, will simply have to get over being dead.” 

Much of Wicked Stepmother plays out like parody of early trashy Jackie Collins tales of the uber rich and their personal problems about how they can stay rich and what they’re willing to do make sure the money never dries up. Written by Michael McDowell in collaboration with Dennis Schuetz, it’s lacks the depth and breadth of Blood Rubies, but I think that’s the point. It’s supposed to by campy fun and neither writer disappoints. It’s a fast paced thriller, populated with characters that you either love, or love to hate. It has sex, drugs and rock and roll. It has money, power and real estate. It’s like Dynasty only classier. 

It does come up short of being perfect, and everyone seems a bit blissfully ignorant about what is going on here, and then there’s a 20 bedroom house where a bunch of unbelievable coincidence begins to pile up, which no one seems to gleam onto (the deaths don’t seem to pique the interests of the police), but the wry humor and social satire is makes up for some of it. But the naivety of the siblings is pretty staggering, though.