‘LOVE IS A GRIFT’: Now there’s a music video for the theme song!
GRAHAM WYND’s Love is a Grift out from Fox Spirit Books.
Words & Music © 2019 K. A. Laity (Nicnevin Music / ASCAP)
Victoria Squid – Vocals
Julie Beman – Piano
Eric Bloomquist – Bass
Rich Germain – Drums
Brian Slattery – Trombone
Produced and arranged by Julie Beman and Eric Bloomquist
Engineered and mixed by Eric Bloomquist at Cool Ranch Studio
Artwork by S. L. Johnson
Video remix from ‘Sing, Sinner, Sing!’ (1933) by K. A. Laity (via Internet Archive)
FOX SPIRIT: Out today! The amazing Love is a Grift by Graham Wynd!
With fabulous cover by S.L Johnson, this collection offers a fresh take on a classic genre, that begins with obsession and most often ends with death.
And don’t forget to check out the exclusive Love is a Grift music and artwork merchandise!
Love is a Grift can be found in ebook formats in our store here. The paperback can be bought at Amazon (N.B. there seems to be a slight delay with the paperback).
Love is a Grift, the theme song can be heard and purchased at Bandcamp or CDBaby.
Exclusive Love is a Grift merchandise can be found at S. L. Johnson’s store at Tee Public or Red Bubble.
GO BIG OR GO HOME? CHALLENGE ACCEPTED!
Here’s the official page at Fox Spirit: you can buy the ebook direct! The shiny print edition is out tomorrow…
And don’t forget the slinky theme song by Victoria Squid! Champagne and whisky…
AND you can get this sweet cover on a t-shirt thanks to artist S. L. Johnson.
So close! Double release of LOVE IS A GRIFT the book and the song. Here’s the drop-dead gorgeous cover art by S. L. Johnson Images. The book from Fox Spirit and the song will be available at CD Baby (and other places). Dead swanky!
Many thanks to Dr Nicola Parry!
I was sure I had written this up before but I searched for it and didn’t find it. This Sphere edition is so much nicer than the bland corporate packaging of the St Martin’s Griffin edition I did end up buying. When you’re on a Highsmith kick and buying everything, the covers are less important (though still proud to own the kickass edition of This Sweet Sickness).
There are two kinds of writers: those who are articulate about the process and those who are not (ditto most arts and artists). Highsmith is not one. If you want a handbook on the topic, this is not the one to teach you. Of course if your publisher offers to pay you to write one, most writers will accept the challenge. But this is not the Highsmith School of Suspense Fiction School, which she recognises. So she turns to the tortured history of her novel The Glass Cell (a good Film for a Friday) in hopes that it will clarify how she does what she does. The case study is so singular that it could hardly be useful in inspiring a budding writer.
Highsmith outlines the evolution of the novel, which ‘was not inspired by any specific story idea but evolved simply out of the desire to write such a book–which is perhaps no bad reason for writing a book’ (chapter 10). She traces the idea from a prisoner’s fan letter (‘I don’t think my books should be in prison libraries’), to reading a book about convicts, to developing intellectual rather than emotional’ threads ‘none of them spectacular’. After that she tries to add some motivation for the characters. A key turns into a dog. What ifs multiply. A wife becomes unfaithful. The first two versions were rejected by her publisher.
‘I thought my story was not bad, but perhaps it could be better. When one thinks this, even faintly, it is best to write it over.’
The interesting part of this book is of course her voice, the anecdotes and the little insights that she may not even realise she’s offering. Speaking of her admiration for Graham Greene Highsmith makes plain her pleasure in reading him. ‘There is no doubt that a study of the whole field of “the best” in suspense writing, whatever that is, can be of benefit professionally to a suspense writer, but I would just as soon not pursue this study.’
Highsmith, in all her ambivalence there — and it’s entertaining.
See all the overlooked gems at Patti Abbott’s blog.
My #Fahrenbruary is kicking off well. A terrific review by Aidan Thorn and this one by Jason Beech (yeah, the old cover still turns up). Thanks, mates!
Courtesy of the British Library from their Punk 1976-8 Exhibit ‘celebrating the 40th anniversary of this exciting musical phenomenon’: http://www.bl.uk/punk-exhibition.
Featured image from the Museum of Sex Punk Lust exhibit.
Paul D. Brazill
Near to the Knuckle/Close to the Bone
Werewolves, vampires and other creatures of the night prowl the neon and blood soaked streets in this sharp short story collection that places the supernatural in a hardboiled noir world.
Honestly, I probably have read most of the stories in here before — hell, I probably own them in other collections, but I always grab the latest from Mr B just in case there’s anything I missed. I didn’t even know how much I missed Roman Dalton, his werewolf detective, until I started reading through the stories again. Netflix ought to swoop in and bag those stories for a new series.
There’s a mix of other protagonists here, too — a variety of one-offs like ‘The Liberator’ that nonetheless fit in the same dark demonised streets that Roman roams. Like Lenny said, you want it darker? Then this is your world. Howl at the moon and watch your back.
He’s even got a playlist for the book!
Thank goodness for library book sales: or in this case, a DVD sale too. I happened across this film which I’ve never seen (in a double pack with School for Scoundrels, which one can never have too many copies of). It’s the kind of movie that could never get made now. Sim plays a bomber who assassinates folks he considers the world to be better off without — starting in childhood with a sneering headmaster. Clearly we’re meant to have sympathy for his career, which he suspends during the war years because of ‘too much competition’ :-D.
I figured I could at least link to some clips but the ‘tube is bereft of them. The BFI has a good write up and some clips, but you have to be logged in. Debut director Robert Day went on to Tony Hancock’s The Rebel amongst other things and the cast is chockfull of familiar faces from Terry-Thomas’ Lothario and George Cole’s hapless vacuum-cleaner-salesman William Blake (hahaha!), to Dora Bryan playing dim but unlucky and Jill Adams playing smart but hapless. Producer/writers Launder and Gilliat are of course best known for the St. Trinian’s films. This movie is based on their play ‘Meet a Body’ (no mention of rye).
There are mix-ups, misunderstandings, a protracted chess game, hijinks with a piano and a good bit of farce. In short, it’s great fun. As I also got the box set of St. Trinian’s films, my weekend is all set for laughs.