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The Art of Redemption

Truluck, Bob

13 ratings by Goodreads
ISBN 10: 0939767562 / ISBN 13: 9780939767564
Published by Dennis Mcmillan Pubns July 2007, 2007
Condition: Fine Hardcover
From Southron Books, LLC (Lexington, SC, U.S.A.)

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About this Item

Signed by Author 0939767562 This hardcover book is Fine, being square and tight. The boards and spine have no wear with pristine lettering. The pages and endpages are clean, with no markings or folds. The dustjacket is As New; save a soft crease at the lower rear edge. Original Price is intact. Not ex-lib. No remainder mark. This copy is signed by the Author on the title page without inscription and dated 7/11/07 in his hand (the month of publication). Bookseller Inventory # 007131

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Bibliographic Details

Title: The Art of Redemption

Publisher: Dennis Mcmillan Pubns July 2007

Publication Date: 2007

Binding: Hardcover

Book Condition:Fine

Dust Jacket Condition: As New

Signed: Signed by Author(s)

Edition: First Edition.

About this title

Synopsis:

Book by Truluck, Bob

From Booklist:

*Starred Review* Don't be fooled into thinking that Truluck's third novel is yet another nostalgic salute to the pulp era: one more simile-strewn re-creation of the tough-talking Black Mask gang's pennies-a-word, rat-a-tat prose. Yes, there are plenty of gats and gunsels in these pages, but Truluck is no imitator. Take the setup: a private eye, Jimmy Cotton, visits his ninetysomething partner and mentor, Joe Ready, on Joe's deathbed. Joe wants to hear all his old stories, the ones he told Jimmy 30 years ago, the ones that drew the young Jimmy, then a disillusioned hippie, into the business of tracking kidnappers and their victims. And so it goes: Jimmy, speaking in Joe's voice, tells Joe the story of his own life: encounters with Ma Barker, the Lindbergh kidnappers, and Meyer Lansky, among others. The content is pure 1930s, but the pulpers' narrative structure of choice didn't employ voices within voices within voices. The dialogue, too, may start out sounding like it's straight from the pages of Black Mask, but then you realize that Truluck has substituted a chord here and flatted a few dozen fifths there, like Thelonius Monk playing "April in Paris." And there's an edge to Joe Ready that you wouldn't find in a pulp hero, a sense that he's fooling himself about half the time. So do we all, of course, but we don't have Jimmy there at the end to tell us our own stories the way we want to hear them. Think about that: bittersweet is not a flavor one associates with the hard-boiled style, but Truluck makes it taste just right. Ott, Bill

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