My work has appeared in theAtlantic, Harper’s, andBest American Essays, among other places. My most recent book is Seventeen and Oh: Miami, 1972, and the NFL's Only Perfect Season. I grew up in Miami and as a writer had always intended to explore that wondrous year in Miami—when I was a nine-year-old fan—and I finally did so for its fiftieth anniversary. I wanted to write about much more than football; I hoped to bring alive the feel of old Miami, and to do so I reread many of my favorite books about South Florida. Here are a few of the best.
I wrote...
Seventeen and Oh: Miami, 1972, and the NFL's Only Perfect Season
Published on the 50th anniversary of that magic season,
the definitive chronicle of the only perfect season in NFL history—from the
award-winning author ofA Terrible Splendor.
The 1972 Miami Dolphins had something to prove. Losers
in the previous Super Bowl, a ragtag bunch of overlooked, underappreciated, or
just plain old players, they were led by Don Shula, a genius young coach
obsessed with obliterating the reputation that he couldn't win the big game.
The backdrop to this season of redemption would be turbulent: the culture wars,
the Nixon reelection campaign, the strange, unfolding saga of Watergate, and
the war in Vietnam. Miami native Marshall Jon Fisher's personal
perspective makesSeventeen
and Oha
unique, compelling account of a season unlike any other.
This noir pastiche is one long joke, a
satire on art, art criticism, and art collecting.
James Figueras, a cad
bachelor freelance art critic in 1960s Palm Beach, is tasked with stealing a
painting by the (fictional) French artist Jacques Deberiue.
Deberiue was the
founder of the Nihilistic Surrealism movement who retired after the creation of
one work, No.
One: an
empty frame mounted around a crack in a wall. The trail leads to the dusty
outskirts of Miami and a bloody murder in the Everglades, but the real mystery
surrounds the artist and his art.
And the fun is in the comedy: "The fact
that he used the EnglishNo. One instead of Nombre unemay or may not've influenced Samuel Beckett to
write in French instead of English, as the literary critic Leon Mindlin has
claimed."
The classic neo-noir novel acclaimed as Willeford s best, soon to be a major film
Fast-talking, backstabbing, womanizing, and fiercely ambitious art critic James Figueras will do anything blackmail, burglary, and beyond to make a name for himself. When an unscrupulous collector offers Figueras a career-making chance to interview Jacques Debierue, the greatest living and most reclusive artist, the critic must decide how far he will go to become the art-world celebrity he hungers to be. Will Figueras stop at the opportunity to skim some cream for himself or push beyond morality s limits to a bigger payoff?
I re-read this early McGuane as I was
researching my book, looking for details of South Florida life during
the 1972 football season.
The protagonist, Thomas Skelton, comes home to Key
West from Gainesville and sets out to become a fishing guide. It was written
during, and takes place during, the fall of 1972, and Skelton’s dad even
watches football in one scene.
But this Key West native isn’t interested in the
perfect Dolphins—he’s a Packers fan! (This anomaly is explained, though not
excused, by the fact that the author hailed from northern Michigan.)
I was
enthralled, though, by some of McGuane’s best writing, and got this gem about
the lure of South Florida: “…American bad actors who, when the chips are down,
go to Florida with all the gothics and grotesqueries of chrome and
poured-to-form concrete that that implies.”
Tiring of the company of junkies and burn-outs, Thomas Skelton goes home to Key West to take up a more wholesome life. But things fester in America's utter South. And Skelton's plans to become a skiff guide in the shining blue subtropical waters place him on a collision course with Nichol Dance, who has risen to the crest of the profession by dint of infallible instincts and a reputation for homicide. Out of their deadly rivalry, Thomas McGuane has constructed a novel with the impetus of a thriller and the heartbroken humor that is his distinct contribution to American prose.…
When Willeford became a friend of my family, around
1979, he was known only by a small cult following.
He hadn't published a book
in seven years, and his twelve previous books were out of print. He was
teaching at Miami-Dade Community College and reviewing mystery books for The Miami Herald.
Miami Blues, which rescued its author from obscurity,
presented a Miami in transition. South Beach is still decrepit and full of old
people, but there is a new sense of danger on the streets—a scent of violent desperation among refugees from
Latin America and opportunists from the rest of the U.S.
Like Willeford's pulp
novels of earlier decades, Miami
Blues and
the later Hoke Moseley books defy their genre. For detective novels, they have
precious little mystery or police procedure.
There is the smattering of
Willefordian violence, and each book does have a criminal who gets nabbed in
the end, but this all seems peripheral to the portrayal of the characters—and
their city.
After a brutal day investigating a quadruple homicide, Detective Hoke Moseley settles into his room at the un-illustrious El Dorado Hotel and nurses a glass of brandy. With his guard down, he doesn’t think twice when he hears a knock on the door. The next day, he finds himself in the hospital, badly bruised and with his jaw wired shut. He thinks back over ten years of cases wondering who would want to beat him into unconsciousness, steal his gun and badge, and most importantly, make off with his prized dentures. But the pieces never quite add up to revenge,…
Edna Buchanan moved from New Jersey to Miami on
a whim in 1965 and found her calling in the journalistic life.
Calvin Trillin
would later write, “In Miami, a few figures are regularly discussed by
first name among people they have never actually met. One of them is Fidel.
Another is Edna.”
She had a nose for the
bizarre and the macabre—as well as for a good lead: “A man wandering along a
Miami Beach street in his undershorts and carrying a blood-stained knife Sunday
morning led police to the scene of a murder.”
In this memoir she recalls zipping
around South Florida from Hollywood to Homestead in her yellow Triumph Spitfire
to produce her almost-daily cataloguing of gruesome crime. The “polite” killer who abducted couples on dates, raped the
woman, and then allowed her to dress before shooting both.
The hand grenade
thrown from a car into the yard of Enrique DeLeon’s Southwest Thirteenth Street ranch house. (He
blamed pro-Castro Communists.)
The debt-ridden bigamist who killed his most recent bride and then
himself, leaving a note in his Dupont Plaza office: “Don’t pay my bills, my life
is enough.”
Now in trade paperback, Pulitzer Prize winner Edna Buchanan’s classic nonfiction masterpiece detailing events from her eighteen years writing for The Miami Herald.
Nobody covered love and lunacy, life and death on Miami’s mean streets better than legendary Miami Herald police reporter Edna Buchanan. Winner of a 1986 Pulitzer Prize, Edna has seen it all, including more than 5,000 corpses. Many of them had familiar faces.
Edna Buchanan doesn’t write about cops—she writes about people: the father who murdered his comatose toddler in her hospital crib; fifteen-year-old Charles Cobb—a lethal killer; Gary Robinson, who "died hungry"; the Haitian who was…
In the
1990s, I was captivated by Peter Matthiessen’s three “Mr. Watson” novels, which explored the lawless world of Florida’s fin de siècle Ten Thousand Islands region.
Last year, I
finally reread them in their final form, fused into the magnum opus Shadow Country. In telling the story of the murder of real-life
Florida pioneer and renegade Edgar Watson from many different points of view,
Matthiessen creates a richly textured landscape.
Outlaws, escapees, and
adventurous settlers work, intermarry, and squabble, making a hardscrabble life
among the swamps, the rivers, the mosquitos, and the gators.
Inspired by a near-mythic event of the wild Florida frontier at the turn of the twentieth century, Shadow Country reimagines the legend of the Everglades sugar planter and notorious outlaw E. J. Watson, who drives himself to his own violent end at the hands of his neighbours. Following the story of his son Lucius as he tries to learn the truth about his father, the story tells of devastating events and traverses wild landscapes inhabited by Americans of every provenance and colour. In this new rendering of the Watson trilogy, Matthiessen has consolidated his fictional masterwork into a poetic, compelling…
Desperate to honor his father’s dying wish, Layken Martin vows to do whatever it takes to save the family farm. Once the Army discharges him following World War II, Layken returns to Missouri to find his legacy in shambles and in jeopardy. A foreclosure notice from the bank doubles the threat. He appeals to the local banker for more time—a chance to rebuild, plant, and harvest crops and time to heal far away from the noise of bombs and gunfire.
But the banker firmly denies his request. Now what?
Then, the banker makes an alternative proposition—marry his unwanted daughter, Sara Beth, in exchange for a two-year extension. Out of options, money, and time, Layken agrees to the bargain.
Now, he has two years to make a living off the land while he shares his life with a stranger. If he fails at either, he’ll lose it all.
Desperate to honor his father's dying wish, Layken Martin vows to do whatever it takes to save the family farm.
Once the Army discharges him following World War II, Layken returns to Missouri to find his legacy in shambles and in jeopardy. A foreclosure notice from the bank doubles the threat. He appeals to the local banker for more time-a chance to rebuild, plant, and harvest crops and time to heal far away from the noise of bombs and gunfire.
But the banker firmly denies his request. Now what?
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