Tuesday, May 07, 2019

Tom Abrahams in Houston Noir

Weekend anchor and author Tom Abrahams, the longtime Houston journalist is also a hybrid author (traditionally and self-published) who writes post-apocalyptic thrillers, action adventure, and political conspiracies!

Akashic Books is publishing Abrahams and a bunch of other such as Stephanie Jaye Evans, Deborah D.E.E.P. Mouton, Reyes Ramirez, Larry Wattshas, Gwendolyn Zepeda, Icess Fernandez Rojas, Sehba Sarwar and Leslie Contreras Schwartz in Houston Noir.

As you can tell by the title, the fourth-largest city in the US is long overdue to enter the Noir Series arena. The series edited by Gwendolyn Zepeda, which launched in 2004 with Brooklyn Noir, is set in a distinct neighborhood or location within the respective city.

Here is a description:

There’s precious little comfort to be found in any of these Houston neighborhoods, most of which are set light-years away from the city’s notoriously cushy new-money culture.

No less than four stories—Tom Abrahams’s “Tolerance,” Pia Pico’s “The Falls of Westpark,” Sehba Sarwar’s “Railway Track,” and Icess Fernandez Rojas’ “Happy Hunting,” whose combination of creeps and surprises makes it the volume’s low-life high point—feature serial killings of young women. The naïve young hero of Deborah D.E.E.P. Mouton’s “Where the Ends Meet” and the almost equally naïve cop hero of Leslie Contreras Schwartz’s “City of Girls” find that the girls in question have merely been sexually enslaved, not murdered, and Robert Boswell’s alarmingly kicky “The Use of Landscape” dials back the violence by focusing it on only a single woman. The traffic in drugs creates intimate tragedies in Wanjiku Wa Ngugi’s “Miles’s Blues” and Stephanie Jaye Evans’ “Jamie’s Mother.” Even when professional criminals aren’t involved, the squalor associated with them infects the one-off murders of Larry Watts’ “A Dark Universe” and Adrienne Perry’s “One in the Family” and the domestic dramas of Sarah Cortez’s prose poem, “Photo Album,” and Anton DiSclafani’s “Tangled.” So it’s something of a relief to turn to Reyes Ramirez’s “Xitlali Zaragoza, Curandera,” which involves nothing more sinister than the curse professionally unmasked and lifted by a dedicated investigator of hauntings.

Houston comes across as a haven of multiculturalism—though, as in all the 90-plus volumes of Akashic’s 15-year-old series, the vision of the city that emerges isn’t likely to jump-start tourism for any but the most ghoulishly inclined.


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