56 books like Desperadoes

I was an English major in college and my dream was to write the Great American Novel. My literary heroes were writers like Saul Bellow, Philip Roth, Bernard Malamud, Jean Rhys, Margaret Drabble, Truman Capote, and Norman Mailer. They “taught” me how to write. About a dozen years ago, I concentrated on writing crime novels, like Swann’s Last Song and Second Story Man, both of which were nominated for Shamus Awards (Second Story Man won the Beverly Hills Book Award.) I'm a magazine journalist and write nonfiction books, screenplays, plays, and book reviews. I teach writing here in New York City, and I’m on the Board of PrisonWrites and the New York Writers Workshop.

I’m an old guy. I say this with a bit of cheek and a certain amount of incongruity. All the books on my list are old. That’s one area of continuity. Another, and I’ll probably stop at two, is that they all deal with ordinary people caught in extraordinary circumstances—those curveballs of life we flail at with an unfamiliar bat; the getting stuck on the Interstate behind a semi and some geezer in a golf cap hogging the passing lane in a Buick Le Sabre. No one makes it through this life unscathed. How we cope does more to define us than a thousand smiles when things are rosy. Thus endeth the lesson.

Reseda, California plays an important part in my novels. I grew up there in a middle-class Jewish family, and we experienced the turmoil of the 1960s and 1970s. My parents got divorced, and my brother and I were raised by our working mom until she became paralyzed by a stroke. I found refuge in writing. I wrote The Remainders in 2016 during a tumultuous time when issues of family conflict, homelessness, and the growing cruelty of society came into focus. Still, I believe decency and compassion will prevail. The books I write and enjoy reading seek to find light in the darkest of circumstances.

I was an English major in college and my dream was to write the Great American Novel. My literary heroes were writers like Saul Bellow, Philip Roth, Bernard Malamud, Jean Rhys, Margaret Drabble, Truman Capote, and Norman Mailer. They “taught” me how to write. About a dozen years ago, I concentrated on writing crime novels, like Swann’s Last Song and Second Story Man, both of which were nominated for Shamus Awards (Second Story Man won the Beverly Hills Book Award.) I'm a magazine journalist and write nonfiction books, screenplays, plays, and book reviews. I teach writing here in New York City, and I’m on the Board of PrisonWrites and the New York Writers Workshop.

Growing up, I've always been attracted to the fantasy genre; I've been obsessed ever since my teacher introduced me to it in the first grade. What started as innocent fairy books evolved to dark, spicy fantasy romance/romantasy. Now, in addition to staying up way past my bedtime reading, I'm a teenage author of my own YA fantasy romance book, Masks of Faded Dreams. This genre has truly changed my life. As cliche as that sounds, it's true; it's both my form of escapism and an eye-opening experience into worlds I'd never known existed. 

I’ve found kids to be interested in difficult topics - like stealing, racism, inequality, environmental catastrophe to name a few! But I don’t want to lecture or frighten them about their future. I believe picture books can tell a story about things going awry but coming right again through a good idea, or act of kindness or a magic wand or the intervention of fate. When the story unfolds in the comfort and security of a carer’s lap or a safe classroom and there are accompanying pictures of absorbing detail that communicate the artist’s emotion and humor I think you provide universal foundation blocks for a good life.

Incarceration is a gigantic problem in the US, especially because of its connection to racial injustice. I have no firsthand experience with prison or the system, and yet it looms large in my imagination and my deepest fears. That should not be the case merely because I’m a Black gay American, but here we are. I feel that with the help of my mother and others, I have managed to sidestep a lot of the potential pitfalls of people’s misguided perception of my identity, but I have an active, paranoid imagination and profound survivor guilt, so I gravitate toward stories about people at who are odds with our society in ways that reflect that precarious status which allows me to explore a wide range of human experiences.

Because I grew up in the 1950s and ’60s, my supply of heroes was liberally doled out by the 130+ Western series that dominated nighttime televisions. My parents allowed me one program per week. It was a Western. I was soon interested in history, to know what really happened in the American West, and so I came to understand the great discrepancies between fact and TV. The truth, for me, is much more interesting than the myth. But that truth carries some heavy weight, which informs us of our national foibles, crimes, and embarrassments. As a Western historian, I've done my share of historical research, but I still gravitate toward historical fiction as a writer.

I’ve been fascinated by the Wild West since I was a little boy, playing Cowboy vs Indian with a plastic six-shooter and bow-and-arrow set. I grew up watching movies and reading books about the Wild West, and probably that sense of adventure and necessary courage required in such settings helped build the foundation that led me to join the Marines. It took guts to move out West. (Or desperation.) But either way, the settling of the Wild West is one of our core American stories. To me, the stories of the West are even more enthralling today than they were even fifty years ago.

Because I grew up in the 1950s and ’60s, my supply of heroes was liberally doled out by the 130+ Western series that dominated nighttime televisions. My parents allowed me one program per week. It was a Western. I was soon interested in history, to know what really happened in the American West, and so I came to understand the great discrepancies between fact and TV. The truth, for me, is much more interesting than the myth. But that truth carries some heavy weight, which informs us of our national foibles, crimes, and embarrassments. As a Western historian, I've done my share of historical research, but I still gravitate toward historical fiction as a writer.