Book Reviews by Elizabeth A. White

There’s a reason author Lawrence Block has received countless awards for his writing and been recognized as a Grand Master of his craft – the man is damn good at what he does.

And what he does is write books that are a marvel of plotting and pacing, nearly always infused with a wickedly sly sense of humor, and which often strike a cord that resonates so strongly the characters and outcome echo in your mind long after you’ve finished reading.

Getting Off was such book for me, one I actually had to take a little step away from before I could gather my thoughts and write (what I hope is) a proper review.

Writing as Jill Emerson, a pseudonym under which Block penned seven erotic pulp fiction novels in the 60s and 70s, Getting Off is the story of young Kit Tolliver. At least that’s one of her names. She tends to change them quite frequently as she moves from town to town finding, seducing, fleecing, and killing a string of lovers.

While reflecting on her black widow tendencies after one of her kills, Kit realizes there are actually five men whom she’s slept with without killing; five who were lucky enough to pass through her life before she dedicated herself to a series of ultimate one-night stands. Bothered by the idea those men are still alive, Kit decides to track each of them down for one last fling. (more…)

In Block’s contribution to Best American Noir of the Century, “Like a Bone in the Throat,” we meet the cast of two, William Charles Croydon and Paul Dandridge, at Croydon’s murder trial where he is convicted of killing Dandridge’s sister and sentenced to death. In order to amuse himself while on death row Croydon begins exchanging correspondence with the misguided women who send him fan letters, manipulating them into sending him revealing photos and their darkest sexual fantasies.

Soon, however, toying with women so willing to do whatever he asks of them loses the ability to excite Croydon, so he decides to write a letter to Dandridge. When Dandridge doesn’t respond, Croydon writes him again. And again. After ignoring the letters initially, Dandridge finally can’t help himself and begins writing back. The story’s set up is told through traditional prose, but the bridge is revealed via a sampling of the letters between Croydon and Dandridge, a technique that is very effective in conveying the intensity of their exchanges.

Block’s build up to the inevitable conclusion – about which I will be vague so as not to spoil it – is deliciously slow and sweet, a perfect reflection of the deliberateness with which Croydon and Dandridge attempt to manipulate each other with nothing but words on paper – much like Block with the reader – over the course of many years. Suffice it to say, the ending of “Like a Bone in the Throat” is like a kick in the teeth.

A cautionary tale of the life changing power of both hate and forgiveness, “Like a Bone in the Throat” is truly a thing of noir beauty from one of America’s masters.

“Like A Bone in the Throat” is available for downloading at Amazon.