Peter Spiegelman is the author of Black Maps and Death's Little Helpers. He worked on Wall Street for twenty years developing software systems for international banking institutions and retired in 2001 to devote himself to writing. He lives in Connecticut.
Gould's precise diction, which proved to be surprisingly effective in his narration of Raymond Chandler's works, is just as satisfying in interpreting Spiegelman's new John March novel. And why not? Spiegelman has come closer to channeling Chandler than just about any other private eye writer in recent memory. March has a mindset and honor system remarkably similar to Chandler's Philip Marlowe. These are sleuths who use their brains along with their muscles, and Gould's careful enunciation reflects that. Through March's first-person narration, we walk the cold, sleet-slippery mean streets looking into the murder of a beautiful and promiscuous young woman. Gould creates an impressive lineup of characters: dumbing down his voice to become a lovesick bruiser, catching the hollow bravado of an actor in midlife crisis or adding a touch of East Coast snobbery to an assortment of quiet money types. Red Cat is a solid, stylishly written crime yarn, and Gould's interpretation turns it into a near-classic. Simultaneous release with the Knopf hardcover (Reviews, Nov. 6). (Mar.) Copyright 2007 Reed Business Information.
Wall Street may be a rarefied world, but its inhabitants also can plumb the depths. John March is the black sheep of an investment banking family, formerly a cop and now a private investigator. When his very respectable older brother, David, comes to him for help, John quickly finds himself in a sordid world of perverse sex, dubious art, and, of course, murder. David is being harassed by a woman he met for a few sexual encounters. When she turns up murdered, David and his wife become the prime suspects. Spiegelman retired early from two decades on Wall Street, and his first March book, Black Maps (2003), won a Shamus Award. The second, Death's Little Helpers (2005), also made good use of financial background, but here we get more detecting and less white-collar ambiance. As John matures, so does Spiegelman. The writing is cleaner, the characters are varied and well drawn, and most of all, the plot is believably complex and full of shocking twists. Highly recommended. [See Prepub Alert, LJ 10/1/06.]-Roland Person, formerly with Southern Illinois Univ. Lib., Carbondale Copyright 2006 Reed Business Information.
"Sexy and sophisticated. . . . One of the most interesting crime novels you're likely to encounter this year." --The Washington Post "Lustrous. . . . Elegant. . . . The fashionable aesthetics of 'noir porn' are presented here in high style." --The New York Times Book Review "Chillingly dark. . . . Peter Spiegelman [is] among the best of today's writers of noir." --South Florida Sun-Sentinel "Spiegelman doesn't waste a page in this viciously intelligent thriller." --New York Daily News