“To create a world with a genuinely dark and disturbing heart is tricky enough; to do this and be funny at the same time is nigh on impossible, but Charlie Williams pulls it off. Deadfolk was a fantastic debut and Fags and Lager is even better. Royston Blake is a truly original anti-hero, and reading his latest misadventure is like being smashed oin the funny bone by a lump hammer”
– Mark Billingham
From Publishers Weekly:
Gruber’s highly entertaining supernatural thriller completes the trilogy that began with Tropic of Night and Valley of Bones. All feature Miami cop Jimmy Paz, though the real star of this outing is the supposedly dull-witted Jenny Simpson, a gofer for the Forest Planet Alliance. When someone starts murdering Cuban-American businessmen in grisly fashion, suspicion falls on Moie, an Indian from a remote area of Colombia the victims had plans to develop. But how could the tiny Indian leave footprint evidence indicating he weighs over 450 pounds? Summoned out of retirement, Jimmy takes on the case, though he and his seven-year-old daughter, Amelia, are soon troubled by dreams of a jaguar with evil designs on Amelia. Every time Moie glides onto the page, the book shines, but it’s Jenny, helping to shelter Moie, who steals the show (e.g., she’s baffled that her boss would have a wife, Portia, named after a car). Hotly spiced with hit men and guns, demon gods and piranhas, this one offers more social satire than its predecessors, mostly at the expense of do-gooder environmentalists.
Boy on a String is the inspirational memoir of Joe Jacoby who worked in the early days of live TV and went on to become a pioneering filmmaker.
Jacoby has never before revealed that his childhood was spent in foster homes and institutions. A New York University film school colleague of Martin Scorsese, Jacoby survived a childhood wrought with abuse and neglect. His mother’s unpredictable and sometimes dangerous behavior forced friends to commit her, which then led Jacoby to grow up in seven foster homes in Brooklyn, and two institutions (one for emotionally disturbed children). Yet, propelled by the power of his dreams, Jacoby came to realize his passion for puppetry and movies and made his first feature at the age of twenty-seven (now in the Museum of Modern Art’s permanent archives). He also recounts, often with hilarity, his dealings with the last of the movie moguls, Joseph E. Levine.