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Set in 1933, Atkins's winning fourth history-based novel focuses on two figures who, as the author explains in an introduction, have been undeservedly lost in the shuffle of Depression-era gangsters: George Kelly, who ironically gets saddled with the nickname Machine Gun, and his wife, Kathryn. The fast-moving narrative spans a three-month period, starting with a fatal ambush in a parking lot outside Kansas City's Union Station in which hoods gun down several lawmen and the prisoner they were about to drive to Leavenworth. This massacre leads to the FBI obtaining the authority to make arrests and carry weapons. The bulk of the action concerns the Kellys' kidnapping of Charles Urschel, a wealthy Oklahoma oilman, and its aftermath. Atkins (Devil's Garden) brings to vivid life the henpecked George and the bloodthirsty Kathryn as he convincingly conjures up a past era. Not just for crime fans, this should appeal to a wide readership. (Apr.)
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With the 1933 kidnapping of Oklahoma oil baron Charles Urschel, small-time bank robber George Kelly became “Machine Gun” Kelly. Atkins’ latest historical novel based on a real crime (following Devil’s Garden, 2009, about the Fatty Arbuckle scandal) makes it clear that Kelly’s wife, Kathryn, was the driving force behind his ascendance. George is shown to be an affable mug, a feckless dandy more interested in two-toned shoes and 16-cylinder Cadillacs than crime and machine guns, a crook who was dismissed as a lightweight by other gangsters. Kathryn, however, is a force of nature, a preening, determined-not-to-be-poor-again shopaholic, a celebrity-obsessed Lady Macbeth. But it’s Atkins’ prodigious research that makes this novel a compelling road trip through Depression-era America. He vividly portrays the Dust Bowl, foreclosures, the grinding poverty, gnawing hunger, desperation, and the rage at bankers (most of which resonate in today’s America); and he captures the imminent end of the gangsters’ heyday. Like many fine historical crime novels, Infamous offers a window on society, then and now. --Thomas Gaughan
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