A huge thanks to @TitanBooks and @HardCaseCrime for sending me a copy to read and chat about. For those that don’t know who Brian De Palma is, he’s the world-famous director of more than 30 films! These include ‘Carrie’, ‘Scarface’, ‘The Untouchables’ and the original ‘Mission: Impossible.’ He is considered to be one of the most accomplished filmmakers of the last fifty-years, a peer to Steven Spielberg, Francis Ford Coppola, and Martin Scorsese.
Susan Lehman is a former editor of the New York Times and author whose writing has appeared in the Washington Post, The Atlantic Monthly, Vogue, The New Yorker, and Spy magazine. An attorney by training, she also served as communications director at the Brennan Center for Justice.
‘Are Snakes Necessary?’ is their first novel.
Hard Case Crime ‘brings you the best in hard-boiled crime fiction, from lost pulp classics to new work by today’s most powerful writers.’
When the beautiful young videographer offered to join his campaign, Senator Lee Rogers should’ve known better. But saying no would have taken a stronger man than Rogers, with his ailing wife and his robust libido. Enter Barton Brock, the senator’s fixer. He’s already gotten rid of one troublesome young woman – how hard could this new one turn out to be?
Pursued from Washington D.C. to the streets of Paris, 18 year-old Fanny Cours knows her reputation and budding career are on the line. But what she doesn’t realise is that her life might be as well…
I was genuinely excited to receive a copy of ‘Are Snakes Necessary?’, particularly with a recommendation from Martin Scorsese on the cover (lots of Scorsese fans in my house). We’re a film watching household, and my daughter is studying film for A’Level, so there’s lots of talk of directors, and in particular auteurs. This made a new Hard Case Crime read co-written by Brian De Palma something to look forward to.
Firstly, I read a lot, so I had to adjust myself to the narrative style of this book – it’s very tell and not show. This inevitably leads to surface level characterisations, or types. It that sense, I often felt the book was a little like a ‘pitch’ at times. The characters are introduced, justified and then pulled along as plot devices, rather than being developed. They have ‘through-lines’ but they all seems subservient to the action and plot structure. But with the style of this book, it seems to work.
I found it generally fun, and like the sub-plots feeding the main narrative; the link to Hitchcock’s ‘Vertigo’ (and other film references) was great, and really was full on towards the end. It absolutely reads like a film, I did find it a little unbalanced at times, and much preferred the last 40% of the story – but it is really readable.
It’s a thriller; a dark comedy; a cynicism of human nature, with an intense murder plot orchestrated by a cast of Film Noir-fed caricatures. I think it’s a fitting addition to the Hard Case Crime collection.