The way of all fish Novel

Martha Grimes

Book - 2014

"In Grimes’s new sendup of a world she knows very well, Candy and Karl, hitmen with a difference— they have scruples—once again venture into the murky Manhattan publishing scene. This time they come to the aid of a writer who is being sued by her unscrupulous literary agent, L. Bass Hess, a man determined to get a 15 percent commission for a book he didn’t sell. The contract killers join forces with publishing mogul Bobby Mackenzie and megabestselling writer Paul Giverney to rid the mean streets of Hess, not by shooting him, but by driving him crazy. They are helped by other characters from Foul Matter and a crew of new colorful personalities, including an out-of-work Vegas magician, an alligator wrangler, a glamorous Malaysia...n con lady, and Hess’s aunt in Everglades City, who has undergone a wildly successful sex change." -- Provided by publisher.

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Subjects
Genres
Thrillers (Fiction)
Published
New York : Scribner 2014.
Language
English
Main Author
Martha Grimes (-)
Edition
First Scribner hardcover edition
Physical Description
341 pages ; 24 cm
ISBN
9781476723952
Contents unavailable.
Review by New York Times Review

JOHN REBUS is the kind of cop who isn't afraid to think, and what he's thinking in Ian Rankin's terrific new procedural, SAINTS OF THE SHADOW BIBLE (Little, Brown, $26), is that he and his ilk aren't long for this brave new world. Having decided that retirement wasn't such a hot idea after all, the Edinburgh homicide detective is back on the job, but feeling increasingly out of step with his younger, more tech-savvy and ethics-bound colleagues. "My town, my rules" was the mantra adopted by Rebus and those old cronies (the self-anointed "saints" of the title) who held themselves above the regulations governing the behavior of lesser cops. But that boast rings hollow when Internal Affairs opens an investigation into a 30-year-old case of dubious probity. Complications arise, as they always do in Rankin's painstakingly constructed plots, linking the old case with a suspicious auto accident involving the offspring of a high-profile politician and a crooked businessman. (The mothers don't count for much here, as women rarely do in this series.) In one surprisingly bold move, Rankin has shifted Malcolm Fox, Rebus's perennial nemesis and current Internal Affairs shadow, into a closer relationship - something dangerously akin to friendship - with his old enemy. "The whole system's changed, hasn't it?" Fox says, in one of their more intimate exchanges about the capricious nature of police work and those slippery definitions of right and wrong. Rebus doesn't really need the reminders. His apartment décor of cigarette butts, beer bottles, print newspapers and LPs of Miles Davis ("from the period before he got weird") might tag him as a candidate for the tar pits where dinosaurs from the 1980s go to die. But confronting the man he used to be has left him with a comforting insight - young dinosaurs are being born every day. MARTHA GRIMES HAS a dangerous sense of humor. She cracked it like a whip in "Foul Matter," her 2003 takedown of the publishing industry. The satire is even more barbed in this sequel, THE WAY OF ALL FISH (Scribner, $26.99), which brings back the best (that is to say, the worst) of those ruthless publishers, unprincipled agents, devious lawyers and difficult authors who make the book business so ripe for parody. The novel's imperiled heroine is Cindy Sella, a respected but naive novelist embroiled in a costly lawsuit with her unscrupulous former agent, L. Bass Hess, and his evil henchmen in the law firm of Snelling, Snelling, Borax and Snelling. Cindy sets the amusingly absurd plot in motion by leading the rescue of a tank of exotic fish in the Clownfish Cafe, thereby endearing herself to fellow diners Candy (who admires all creatures aquatic) and Karl (who feels the same way about books). These lovable contract killers, first met in "Foul Matter," plan to save Cindy from her dastardly ex-agent through an elaborate scheme of byzantine design, hilariously executed by a huge cast of Dickensian characters. The tone may be light - "How noir is this?" Karl complains of one gentrified setting. "Where's your fog? Your foghorns? Your miasma?" - but Grimes's notion of farce is positively lethal. THERE'S TOO MUCH sentimental gush and not enough guts and gore in THE DEVIL'S BREATH (Kensington, paper, $15), the latest entry in Tessa Harris's uneven but fascinating series featuring Dr. Thomas Silkstone, an American anatomist struggling to pursue his mystifying profession of forensic science in the imperfectly enlightened society of 18th-century England. Harris is at her vivid best describing in precise, fearsome detail the "Great Fogg," the clouds of noxious poison gas that swept across Europe in 1783, darkening the sky, destroying crops and snatching the breath of men, women and children. Dashing between his London laboratory and his ladylove's country estate, Thomas works feverishly to determine the cause of this airborne plague and find a cure. The ignorance and superstition of the age hamper his work, but so does the robotic behavior of the stock characters around him. As if to compensate, Harris offers revoltingly graphic glimpses of London, where erudite men think deep thoughts but have yet to discover the benefits of sanitation. THE DANISH AUTHOR Jussi Adler-Olsen revisits his favorite topics of captivity and torture in THE PURITY OF VENGEANCE (Dutton, $26.95), a sordid tale of "unwanted pregnancy, abortion, rape, unjust confinement to mental asylums and compulsory sterilization" inspired by actual events during a dark period of Danish history. Ah, but there's more, so much more in this frenzied thriller: homicide by poison, scalpel and hammer, multiple nail-gun murders, a sulfuric acid attack, displays of putrefying body parts and the splendid Grand Guignol spectacle of a dinner party (complete with place cards) for five (or is it six?) corpses. Carl Morck, the homicide cop charged with making sense of all this gaudy material, is a bit of a joker himself. More a bad-tempered grouch than a brooding hero in the classic Scandinavian mode, he presides over Department Q, an eccentric cold case unit staffed with personnel rejects and relegated to the basement of Copenhagen's police headquarters. It's a strange world down below and not to be taken too seriously; but still, there's never a dull moment in the cellar.

Copyright (c) The New York Times Company [January 5, 2014]
Review by Booklist Review

They're back! Candy and Karl, who represent the gold standard for hit men in Manhattan (introduced in Foul Matter, 2003), return with their scruples they kill only persons they think deserve to die and their burgeoning interest in the publishing industry. But their contract on universally disliked literary agent L. Bass Hess hits a snag. Because Hess is suing a former client, author Cindy Sella, Candy and Karl fear that Sella would be the first person suspected if Hess were murdered. So the pair draws on their contacts from the earlier book, including best-selling author Paul Giverney and publisher Bobby Mackensie, to devise a means of obliterating Hess short of killing him. From the opening pages, when other hit men shoot up an aquarium in the downtown Clownfish Cafe, exotic tropical fish are the key to zany action proposed on the fly. This sequel to Foul Matter is a caper that casts an eye on publishing that is comic, caustic, and relentlessly readable. Yes, it's Grimes lite and probably as much fun for the author as it is for her readers.--Leber, Michele Copyright 2010 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

This addictive, whimsical follow-up to 2003's Foul Matter from MWA Grand Master Grimes dives into the cesspool that is the New York publishing world. L. Bass Hess, a despicable literary agent, likes to sue his former clients, claiming, after they fire him, that they owed him a commission. Some authors have settled rather than fought, but not Cindy Sella, a kind woman with an interest in tropical fish who's suffering from writer's block. Meanwhile, members of a group led by "mega-bestselling author" Paul Giverney and including two hit men with their own idea of who is worth killing, a publisher, an editor, and a mysterious Malaysian woman named Lena bint Musah, decide to take Hess down. This requires a seance, an alligator, a number of tropical fish, and other esoteric items. The coup de grace alone is worth the price of admission. (Jan.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Kirkus Book Review

Unlikely alliances form in a plot to neutralize an author's greedy former agent. After two armed thugs enter and shoot the fish aquarium in Manhattan's Clownfish Caf, writer Cindy Sella, a Manhattanite from a small town in Kansas, and hit man Karl leave with souvenir clownfish they helped rescue. While Karl and his colleague Candy consider a contract to off the literary agent L. Bass Hess, Candy leafs through Publishers Weekly and Kirkus Reviews, and Karl sets up his clownfish in the converted warehouse he shares with Candy. Although Karl kills people for a living, he's happy to redecorate the apartment to provide a more appropriate environment for his fish--and to join Candy in helping Cindy extricate herself from a baseless lawsuit that Hess, her former agent, has brought against her. Mega-selling author Paul Giverney has his own reasons to rid Manhattan of Hess. To further his elaborate schemes, he calls on, among others, an abbot with a dubious religious vocation, an amiable stoner, the legendary Skunk Ape, Bass' uncle-turned-aunt, Candy, Karl and Karl's fish. As one caper follows another, from Manhattan to Sewickley, Pa., to the Everglades, Cindy loses her importance to the conspirators. Grimes (Fadeaway Girl, 2011, etc.) brings a crazy-quilt sensibility to a romp that ultimately sags a bit under the weight of its own cleverness. Despite its pallid heroine, however, this sendup of the book world, in which hit men apparently have more integrity than publishers, is great fun.]] Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

The Way of All Fish 1 They came in, hidden in coats, hats pulled over their eyes, two stubby hoods like refugees from a George Raft film, icy-eyed and tight-lipped. From under their overcoats, they swung up Uzis hanging from shoulder holsters and sprayed the room back and forth in watery arcs. There were twenty or so customers--several couples, two businessmen in pinstripes, a few solo diners who had been sitting, some now standing, some screaming, some crawling crablike beneath their tables. Oddly, given all that cordite misting the air like cheap champagne, the customers didn't get shot; it was the owner's aquarium, situated between the bar and the dining area, that exploded. Big glass panels slid and slipped more like icebergs calving than glass breaking, the thirty- or forty-odd fish within pouring forth on their little tsunami of water and flopping around in the puddles on the floor. A third of them were clown fish. All of that took four seconds. In the next four seconds, Candy and Karl had their weapons drawn--Karl from his shoulder holster, Candy from his belt--Candy down on one knee, Karl standing. Gunfire was exchanged before the two George Rafts backed toward the door and, still firing, turned and hoofed it fast through the dark. Candy and Karl stared at each other. "Fuck was that?" exclaimed Candy, rising from his kneeling position. They holstered their weapons as efficiently as they'd drawn them, like the cops they were not. They checked out the customers with their usual mercurial shrewdness, labeling them for future reference (if need be): a far table, the two suits with cells now clamped to their busy ears, calling 911 or their stockbrokers; an elderly couple, she weeping, he patting her; two tables shoved together that had been surrounded by a party of nuts probably from Brooklyn or Jersey, hyenalike in their braying laughter, all still under the table; a couple of other business types with Bluetooth devices stationed over their ears, talking to each other or their Tokyo counterparts; a blond woman, or girl, sitting alone eating spaghetti and reading something, book or magazine; a dark-haired woman with a LeSportsac bag slung over the back of her chair, who'd been talking on her Droid all the while she ate; and a party of four, girls' night out, though they'd never see girlhood again. Twenty tables, all in all, a few empty. All of that ruin in under a minute. The Clownfish Café was nothing special, a dark little place in a narrow street off Lexington, its cavelike look the effect of bad lighting. A few wall sconces were set in the stone walls, apparently meant to simulate a coral reef; candles, squat and fat, seeming to begrudge the room their light, were set in little iron cages with wire mesh over their tops, their flames hardly flickering, as if light were treasure they refused to give up. They might as well have been at the bottom of the sea. Now the brightly colored fish, clown fish, tangs, angelfish of neon blue and sun-bright yellow, were drawing last breaths until the blonde who had been eating spaghetti tossed the remnants of red wine from her glass and scooped up some water and added one of the fish to the wineglass. Seeing this, Candy grabbed up a water pitcher, dipped up what he could of water, and bullied a clown fish into the pitcher. The other customers watched, liked it, and with that camaraderie you see only in the face of life-threatening danger, were taking up their water glasses or flinging their wineglasses free of the cheap house plonk and refilling them from water pitchers sitting at the waiters' stations. The waiters themselves ran about unhelpfully; the bartender, though, catapulted over the bar with his bar hose to slosh water around the fish. Wading through glass shards at a lot of risk to their own skin, customers and staff collected the pulsing fish and dropped them in glasses and pitchers. It was some sight when they finished. On every table was an array of pitchers and glasses, one or two or three, tall or short, thin or thick, and in every glass swam a fish, its color brightened from beneath by a stubby candle that seemed at last to have found a purpose in life. Even Frankie, the owner, was transfixed. Then he announced he had called the emergency aquarium people and that they were coming with a tank. "So who the fuck you think they were?" Karl said as he and Candy made their way along the dark pavement of Lexington Avenue. "I'm betting Joey G-C hired those guys because he didn't like the way we were taking our time." "As we made clear as angel's piss to him, that's the way we work. So those two spot Hess in there, or they get the tip-off he's there and go in with fucking assault weapons thinkin' he's at that table the other side of the fish tank, and that's the reason they shoot up the tank?" "Call him," said Candy, holding tight to his small water pitcher. Karl pulled out his cell, tapped a number from his list of contacts, and was immediately answered, as if Joey G-C had expected a call. "Fuck's wrong with you, Joey? You hire us, and then you send your two goons to pull off a job in the middle of a crowded restaurant? No class, no style, these guys got. Walked in with Uzis and shot the place up. And did they get the mark? No, they did not; they just messed the place up, including a big aquarium the least you can do is pay for. Yeah . . ." Candy was elbowing him in the ribs, saying, "Tell him all the fish suffocated and died." "And there was all these endangered fish flopping on the floor, some of them you could say were nearly extinct, like you will be, Joey, you pull this shit on us again. Yeah. The job'll get done when the job gets done. Good-bye." "We saw Hess leave through the side door. You'd think he knew they were coming." "Jesus, I'm tellin' you, C., the book business is like rolling around fuckin' Afghanistan on skateboards. You could get killed." "You got that right." They walked on, Karl clapping Candy on the shoulder, jostling the water pitcher as they walked along Lexington. "Good thinking, C. I got to hand it to you, you got everyone in the place rushing to save the fishes." The water was sliding down Candy's Boss-jacketed arm. "Don't give me the credit; it was that blond dame that did that. She was the first to ditch her wine. You see her?" "The blonde? I guess. What'd she look like?" Candy shrugged; a little wave of water spilled onto Lexington. "I couldn't see her face good. She had a barrette in her hair. Funny." "You didn't see her face, but you saw a hair barrette?" Karl laughed. "Crazy, man." They walked on. There are those girls with golden hair whom you half notice in a crowd. You see one on the outer edges of vision, in the people flooding toward you along Lex or Park or Seventh Avenue, blond head uncovered, weaving through the dark ones, the caps and hats, your eye catching the blondness, but registering nothing else. Then you find, when she's passed, it's too late. A girl you wish you'd paid attention to. A girl you knew you should have seen head-on, not disappearing around a corner. Such a girl was Cindy Sella. Some of them would talk about it later and for a long time. The businessmen climbing into a cab, the girl with the LeSportsac bag, her Droid lost inside. As if there'd been an eclipse of Apple, a sundering of Microsoft, a sirocco of swirling iPhones, BlackBerrys, Thunderbolts, Gravities, Galaxies, and all the other smartphones into the sweet hereafter; yes, as if all that had never been; nobody, nobody reached for his cell once the fish were saved and swimming. They were too taken up with watching the fish swimming, dizzy-like, in the wineglasses. Nobody had e-mailed or texted. Nobody had sent a tweet to Twitter. Nobody had posted on Facebook. Nobody had taken a picture. They were shipwrecked on the shores of their own poor powers of description, a few of them actually getting out old diaries and writing the incident down. Yes, they talked about that incident in the Clownfish Café the night they hadn't gotten shot, told their friends, coworkers, pastors, waiters at their clubs, their partners, wives, husbands, and kids. Their kids. --Way cool. So where're the photos? --Remarkably, nobody took one. --Wow. Neanderthal. --But see, there were these neon-bright blue and orange and green and yellow fish, see, that we all scooped up and dropped in water glasses, and just imagine, imagine those colors, the water, the candlelight. Look, you can see it . . . But the seer, seeing nothing, walked away. Excerpted from The Way of All Fish by Martha Grimes All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.