Saturday, October 27, 2012

ELEMENTARY--ONE MORE HOLMES?

DEBORAH CROMBIE: Few will deny that the new BBC production of SHERLOCK, written by Stephen Moffat and Mark Gatiss, and starring Benedict Cumberbatch and Martin Freeman as Holmes and Watson in a contemporary London, is terrific.  The acting is superb, the plots labyrinthine, the dialogue sparkling and razor sharp. I'm a huge fan of the series, as I am of creators Gatiss and Moffat (Moffat also helms the current version of BBC's DOCTOR WHO.)

But now we upstart Americans have thrown another  Sherlock Holmes into the mix. When CBS announced plans to produce ELEMENTARY, a weekly series which not only moves Holmes to contemporary New York, but portrays Watson as a woman, there were cries of outrage from die-hard Holmes fans (and whispers of potential lawsuits from the producers of SHERLOCK.) But Conan Doyle's Holmes stories are in the public domain, and Holmes and Watson have been portrayed in many different incarnations over the years, both on film and in books.  (Laurie R. King, after all, had the temerity to marry Holmes to her wonderful Mary Russell.)

English actor Jonny Lee Miller plays Holmes as a recovering drug addict, sent to New York for his rehabilitation, and Lucy Liu is Joan Watson, the former surgeon hired by Holmes's father to be his "sober companion."

My verdict, four episodes into the season? It works, and it's huge fun. The plots are not Moffat's and Gatiss's dizzying puzzles, but they are more than clever enough for the hour format. Miller gives us his own version of Holmes's obsessive/compulsive brilliance, and he brings an unexpected vulnerability to the character. Miller, a fine actor, lost the role of James Bond to Daniel Craig, and that of Rick Grimes in THE WALKING DEAD to Andrew Lincoln. I think in ELEMENTARY, he got the plum.

Lucy Liu's Watson, serious and profoundly lonely, brings her own strengths to the partnership. And I think it will be the development of the friendship (NOT romance!) and respect between the partners that will keep this series top notch.

So, REDS and readers? Have you watched? Is it thumbs up or thumbs down for another Holmes?

(And the winner of Michelle Gagnon's DON'T TURN AROUND is Gayle! Gayle, you can email me at deb at deborahcrombie dot com and give me your mailing address. I'll pass it along to Michelle.)

Friday, October 26, 2012

MICHELLE GAGNON--DON'T TURN AROUND

DEBORAH CROMBIE: One of the perks of being a mystery writer is the friends you make along the way. Michelle Gagnon is one of those for me.  We met when we were both guest authors at the Book Passage Mystery Writer's Conference in Corte Madera, California, a few years ago. (Our own Hallie Ephron was a guest author that year, along with half a dozen other writers who have since become good friends.)

I've followed Michelle's career with delight, and am thrilled with the success of her latest book, a young adult thriller called DON'T TURN AROUND.

Michelle's adult mysteries, THE TUNNELS, BONEYARD, THE GATEKEEPER, and KIDNAP AND RANSOM, have been described as utterly gripping, addictively readable thrillers, by the Chicago Tribune. Her latest book, the first in her PERSEF0NE young adult trilogy, has  received starred reviews from both Kirkus and VOYA, and the first installment, DON'T TURN AROUND, was selected for the Autumn 2012 Kids IndieNext list. 

Sixteen-year-old Noa has been a victim of the system ever since her parents died. Now living off the grid and trusting no one, she uses her computer-hacking skills to stay safely anonymous and alone. But when she wakes up on a table in an empty warehouse with an IV in her arm and no memory of how she got there, Noa starts to wish she had someone on her side.

Enter Peter Gregory. A rich kid and the leader of a hacker alliance, Peter needs people with Noa's talents on his team. Especially after a shady corporation threatens his life. But what Noa and Peter don't realize is that Noa holds the key to a terrible secret, and there are those who'd stop at nothing to silence her for good. 

When I saw Michelle at Bouchercon a few weeks ago we did a lot of catching up, but here are the questions I didn't get to ask about her new venture into YA fiction:
 



DEBS: What inspired you to write a young adult book? Was it something you’d always wanted to do?
 
MICHELLE GAGNON: One of the reasons I switched to YA for this series was that a friend pointed out that I’ve had a strong teen character in nearly all of my adult thrillers, and he suggested I try writing an entire thriller from that point of view.  And it was really liberating-I ended up writing the rough draft in a little over eight weeks, research and all. It hadn’t occurred to me to tackle YA before, but now I’m really happy that I did. I am continuing to write “adult” thrillers too, though (that always sounds dirty to me now).

DEBS: How was it different from writing an adult thriller? Was it easier or harder? 

MICHELLE: This one in particular was easier, but I’m not sure if that was because it was YA. Sometimes the books write themselves, and sometimes it’s like wrestling a giant, vicious alligator into submission. I just finished the second book in the trilogy, and that one was a bit more of a struggle.

DEBS: Are there certain constraints in writing for a younger audience? 

MICHELLE: I did hit a few stumbling blocks, because in my other series the main characters were an FBI agent and security consultant, adults with resources and training at their disposal, and the authority to back up their actions.  Teenagers don’t have those advantages. I also initially wrote a few scenes from the POV of an adult character, which is apparently a big no-no; I revised them to show the teen’s perspective. And I toned down the language a bit during the editing process. I don’t generally incorporate a lot of sex scenes into my work, so that wasn’t an issue. And in terms of the content, it’s just as dark as anything I’ve written previously.

DEBS: What kind of response do you get from your readers?

MICHELLE: It’s been so thrilling to receive fan mail from teens- they’re so lovely and enthusiastic! Plus, they take pictures at events and immediately tweet them, which took some getting used to…

DEBS: I’ve always felt that good YA fiction is simply good fiction, and can contain themes and ideas as meaningful as any in adult fiction. It can not only turn teenagers and young adults into lifelong readers, but shape their perception of the world. Did you—and do you—feel  a sense of responsibility to your readers?

MICHELLE: For me, the pivotal theme in this story is the fact that mainly former foster kids are being victimized. I did a considerable amount of research on the US foster care system (and its many failures), and was alarmed by much of what I read. Consequently, I’ve affiliated with an amazing non-profit called Rising Tides (http://rising-tides.org/), that provides financial assistance for education and other life needs to teens who are ageing out of the system, and have no other resources at their disposal. I feel really passionate about that. Without help, a disproportionate percentage of former foster kids end up homeless, in prison, or worse. They really need a support network, and instead, they’re basically pushed out the door once they turn eighteen. I find that unconscionable. Rising Tides is a crowdfunding organization that helps allocate funds to specific teens to help them escape the cycle.

DEBS: I have to mention the super trailer on your website! Did you have any input on that?

MICHELLE: I didn’t, but isn’t it amazing? I was completely blown away by it. I can’t sing HarperTeen’s praises enough, they’ve really championed this book.

DEBS: In 2013, Michelle's YA dystopian thriller STRANGELETS will be published by SoHo TEEN Press. She splits her time between San Francisco and Los Angeles. You can find her at www.michellegagnon.com, or on Facebook  and Twitter. Michelle will be giving away a copy of DON'T TURN AROUND to a commenter, so be sure to drop in and say "hi." And don't forget to watch the trailer!

(Oh, and our lucky winner of Anna Lee Huber's THE ANATOMIST'S WIFE is Reine! Reine, you can email Anna at info at annaleehuber dot com with your mailing address.)

Thursday, October 25, 2012

ANNA LEE HUBER: BURKE AND HARE--THE REAL BODY SNATCHERS



DEBORAH CROMBIE: Now, what could be more fun with Halloween coming up than real ghouls? Anna Lee Huber is here to tell us about Burke and Hare, the infamous Edinburgh body snatchers. When I lived in Edinburgh, I could never walk through the Old Town without a little shiver at the thought of those two.

Anna Lee Huber knows whereof she speaks--her debut novel, The Anatomist's Wife, the first in the Lady Darby historical mystery series, is set in Scotland in 1830. 

Following the death of her husband, Lady Darby has taken refuge at her sister's estate, finding solace in her passion for painting. But when her hosts throw a house party for the cream of London society, Kiera is unable to hide from the ire of those who believe her to be as unnatural as her husband, an anatomist who used her artistic talents to suit his own macabre purposes. Kiera wants to put her past aside, but when one of the house guests is murdered, her brother-in-law asks her to utilize her knowledge of human anatomy to aid the insufferable Sebastian Gage-a fellow guest with some experience as an inquiry agent. While Gage is clearly more competent than she first assumed, Kiera isn't about to let her guard down as accusations and rumors swirl. When Kiera and Gage's search leads them to even more gruesome discoveries, a series of disturbing notes urges Lady Darby to give up the inquiry. But Kiera is determined to both protect her family and prove her innocence, even as she risks becoming the next victim...

And now Anna will tell us about the real-life villiains...

When people hear the words “body snatcher,” they instantly respond with fear and disgust. They picture shifty, ghoulish characters digging in a cemetery on a moonless night, robbing someone’s loved ones of their eternal peace, and their belongings.  But what they don’t often understand is why body-snatching became so prevalent and necessary in the late eighteenth and early nineteenth centuries.

Prior to the passage of the Anatomy Act of 1832, British medical schools had difficulty procuring cadavers for their anatomy classes, because only the bodies of executed criminals could be used for this purpose, which amounted to only about two to three bodies annually per school.  In the 1700s there had been hundreds of convicts executed each year for often trivial crimes, but late in the century, changes in the laws, and the introduction of the sentence of transportation, shrank that number to just over fifty.  More medical schools and private anatomical schools were being established each day, and without fresh corpses they couldn’t give their students the hands-on experience they needed.  Not to mention the hindrance this was to serious anatomists trying to better understand the human body and the way diseases affected it. 

Thus began the widespread practice of body snatching, where recently buried bodies were stolen from their graves and sold to medical schools and anatomists for their use.  It was a lucrative trade, and these resurrectionists, as they were called, became very good at it, often disturbing the grave sights so little that relatives couldn’t tell their loved ones had been taken.  Until the coffin was checked.  The body snatchers were even careful not to steal valuables or clothes from the graves they robbed because the charge of stealing a corpse was only a misdemeanor, with a fairly light punishment, while theft of property was a felony.  Anatomists and medical schools knew fully well where these bodies were coming from, but chose to look the other way for the sake of education and medical advancement.

Meanwhile, the public was horrified by the practice.  Relatives often set up watches over their loved ones’ graves to make sure their final resting places were not violated while the body was still fresh enough to interest resurrectionists.  They began using iron coffins, and mortsafes—a framework of iron bars erected over a grave to deter body snatchers.  The cemeteries near the medical schools in London and Edinburgh increased their own security measures, hiring night watchmen to patrol the grounds and stand guard in watchtowers built specifically for that purpose. 

The practice of body snatching was so common that in 1831 one gang of grave robbers confessed to stealing as many as 1000 bodies over twelve years.  Anatomists paid approximately 8-10 guineas per corpse, depending on how fresh the body was and whether it had any interesting abnormalities.  It was such a profitable trade, that enterprising criminals soon sought to take advantage of it, the most famous of whom were Burke and Hare, two laborers in Edinburgh. 

Rather than risk being caught while performing the difficult labor of disinterring bodies from the heavily guarded local cemeteries, they began inviting victims to their lodging house, plying them with alcohol, and smothering them to death.  They then sold the bodies to the Surgeons’ Hall at the Royal College of Surgeons of Edinburgh, namely to well-known anatomist and lecturer Dr. Robert Knox.  Burke and Hare were caught in November of 1828, but not before they murdered sixteen people.  The case lacked sufficient evidence, so Hare was convinced to testify against his partner, and escaped prosecution.  Burke was hanged on January 28, 1829, and afterward his body was transported to the University of Edinburgh to be publicly dissected.  His death mask, skeleton, and several articles made from his tanned skin, including a book cover, are on display at the university’s Surgeons’ Hall Museum.  Dr. Knox escaped prosecution, but public opinion turned sharply against him for his part in providing incentive for the murders. 

After the trial of Burke and Hare, citizens in London and Edinburgh were panicked by the idea that similar enterprising criminals might be at work, murdering hapless citizens and selling their bodies to anatomists and medical schools.  Medical schools were forced to pay closer attention to where their bodies were procured, and legislation reform became a necessity.

Do you think the anatomists and medical schools quest for better medical treatment and scientific understanding justified the resurrectionists’ actions?  Or should they have been held more accountable?

Anna Lee Huber was born and raised in a small town in Ohio.  She is a graduate of Lipscomb University in Nashville, TN, where she majored in Music and minored in Psychology.  The Anatomist's Wife has been hailed as “…a riveting debut…” and will be released by Berkley Publishing on November 6th, 2012.  She currently lives in Indiana with her husband and troublemaking tabby cat.  When not hard at work on her next novel, she enjoys reading, singing, travel, and spending time with her family. Visit her website at www.annaleehuber.com
Or find her on Facebook at: AnnaLeeHuber
Or Twitter at AnnaLeeHuber
 Images:
·         Calton Cemetery: A view over the wall into Calton Cemetery in Edinburgh – notice the watchtower
·         Lawnmarket at night: A view down Lawnmarket from Castle Hill at night
·         Old Town Edinburgh: A view of Old Town from New Town
·    Surgeons Hall: 19th century drawing of the Surgeons’ Hall at the Royal College of Surgeons of Edinburgh
  .  St Giles Cathedral: St Giles Cathedral, at one end of the historical Lawnmarket, where Burke was executed

 Anna Lee will be giving away a copy of The Anatomist's Wife to one of our lucky commenters, so be sure to come back on Friday when I'll announce the winner!