Nickel City edition by Ray Murphy Literature Fiction eBooks
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Whoever’s tailing him must be…paranoid.
A hard-boiled Detroiter starting over in San Francisco after the death of his son and the breakup of his marriage, Mick McCants is busy. He’s got a load of forgetting to do. And just the job to help him do it. One problem. Shoveling faster and faster to advance the career ahead of him and bury the life behind, he finds himself up to his neck in an underground that traffics in women, a drug called Confidence, and currency from all over the world.
Set against the backdrop of the 2008 economic crash, McCants’ professional resurgence blinds him to the false fronts put up by his employer, by his office neighbor – guy named Geronimo – by his elusive almost-girlfriend, Amy Huang, and finally, by an investigative agency called Nickel City. Like the banking collapse, McCants’ downfall is all just a question of momentum when the fronts topple like dominoes, he finds himself alone, broke, in danger, and trapped between his conscience and the law.
But so what if he wears Levis with un-hip wingtips? As irrepressible as he is enterprising, McCants connects with a spirited, Triumph-riding fugitive named Lillian (Mercer on her license, Lowry to you). Each is compelled to solve a riddle posed by the past, but neither can do it alone. Together they form the double-sided coin of the American character, and utilizing both ingenuity and evasion, they broker a negotiation between the forces of fake confidence and shorted dreams that conspire to define their era.
Set in San Francisco and Oakland and narrated in the first person, NICKEL CITY is a gritty, smart-assed, eloquent thriller. Don't look back.
Nickel City edition by Ray Murphy Literature Fiction eBooks
In Ray Murphy's body of work -- and "body of work" isn't too pretentious a phrase to use about a man who has already written five fine novels, as well as poetry -- his San Francisco novel, "Nickel City," pairs naturally with his Long Beach novel, "Resurrection Networks." In addition to having dense, urban settings, both are as intricately plotted as any conventional mystery or thriller, though nothing Murphy writes is conventional. "Empire & Victory" and "The Ecstasy," in contrast, are loose-jointed, lyrical road novels. Murphy's debut, "The Siege of Gresham," is in a category by itself -- essentially a reverse retelling of Cormac McCarthy's "Blood Meridian," in which 14 Portland, Ore., barflies begin to roll back Manifest Destiny as violently as their ancestors unrolled it a century and a half before.In "Nickel City," it's 2008. The economy has cratered. Murphy's protagonist, Mick McCants, is a dead man -- or so his therapist tells him: His life ended when his 4-year-old son was killed by a train in Detroit and his marriage with an alcoholic lawyer broke up. McCants demurs: He has his work to live for now, work for a temp-staffing firm that finds low-paying jobs for the legions for whom the caboose of a middle-class American life has suddenly left the station. But the therapist is right. McCants is buried under layers of guilt -- too honest to disown it yet unable to keep himself from digging the hole ever deeper. Willy-nilly, he gets entangled with human traffickers, corporate thieves, money launderers, suspicious cops, manufacturers of a mysterious drug called Confidence and a private eye who claims that his father and McCants' father both committed atrocities in Vietnam.
In an atmosphere of universal paranoia, what hope does McCants have? Well, he has spunk and a quick Irish wit. He falls for a motorcycle-riding girl, Lillian Mercer, a.k.a. Lowry, who has a winningly crooked smile and a fugitive past of her own. He eventually finds something solid in himself, an answer to his father's question: What is cruelty and what is mercy?
Then, too, there's the little matter of Confidence.
"Nickel City" has, for Murphy's fans, all his familiar virtues: the dazzling descriptions, the razor-sharp dialogue, the flow of vivid action, the moral penetration. And it has one more -- an appreciation for things we might too casually have come to dismiss as square. I first noticed this while reading "The Ecstasy," which, in part, is a hymn to old-fashioned study, to hunkering down in the library and hitting the Great Books. Here, though Murphy describes every sort of of capitalist venality, chicanery and bullying, he sings a paean to the primal joys and terrors of starting one's own business. McCants, fired from his job, strikes out on his own, with Lillian's help, and the dignity of entrepreneurship -- as well as the dignity of ordinary working people -- is burnished in these pages.
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Nickel City edition by Ray Murphy Literature Fiction eBooks Reviews
Another great read from Ray Murphy, though "The Ecstasy" remains my favorite! Love Murphy's descriptions, including of his main character Mick McCant's neighbor, an unusual publisher "bearing the air, equally, of pirate and castaway." Plotting picks up the pace at the perfect moment when you have become firm friends with the characters. His foreshadowing is excellent "Misfortune seemed to seek her, but she ignored it", and "that fast, the man's freedom was gone." But this author's gift is his skillful pondering of the eternal themes of joy, hope, love, loss, guilt, and much more. What's your answer to Mick's final musing, "Is it possible, possible that the dead live and love each other in compensation for the living?" My belief is our souls live on and love each other completely, with utter acceptance, but no price needs to be paid. That we do to ourselves - suffering is optional.
In Ray Murphy's body of work -- and "body of work" isn't too pretentious a phrase to use about a man who has already written five fine novels, as well as poetry -- his San Francisco novel, "Nickel City," pairs naturally with his Long Beach novel, "Resurrection Networks." In addition to having dense, urban settings, both are as intricately plotted as any conventional mystery or thriller, though nothing Murphy writes is conventional. "Empire & Victory" and "The Ecstasy," in contrast, are loose-jointed, lyrical road novels. Murphy's debut, "The Siege of Gresham," is in a category by itself -- essentially a reverse retelling of Cormac McCarthy's "Blood Meridian," in which 14 Portland, Ore., barflies begin to roll back Manifest Destiny as violently as their ancestors unrolled it a century and a half before.
In "Nickel City," it's 2008. The economy has cratered. Murphy's protagonist, Mick McCants, is a dead man -- or so his therapist tells him His life ended when his 4-year-old son was killed by a train in Detroit and his marriage with an alcoholic lawyer broke up. McCants demurs He has his work to live for now, work for a temp-staffing firm that finds low-paying jobs for the legions for whom the caboose of a middle-class American life has suddenly left the station. But the therapist is right. McCants is buried under layers of guilt -- too honest to disown it yet unable to keep himself from digging the hole ever deeper. Willy-nilly, he gets entangled with human traffickers, corporate thieves, money launderers, suspicious cops, manufacturers of a mysterious drug called Confidence and a private eye who claims that his father and McCants' father both committed atrocities in Vietnam.
In an atmosphere of universal paranoia, what hope does McCants have? Well, he has spunk and a quick Irish wit. He falls for a motorcycle-riding girl, Lillian Mercer, a.k.a. Lowry, who has a winningly crooked smile and a fugitive past of her own. He eventually finds something solid in himself, an answer to his father's question What is cruelty and what is mercy?
Then, too, there's the little matter of Confidence.
"Nickel City" has, for Murphy's fans, all his familiar virtues the dazzling descriptions, the razor-sharp dialogue, the flow of vivid action, the moral penetration. And it has one more -- an appreciation for things we might too casually have come to dismiss as square. I first noticed this while reading "The Ecstasy," which, in part, is a hymn to old-fashioned study, to hunkering down in the library and hitting the Great Books. Here, though Murphy describes every sort of of capitalist venality, chicanery and bullying, he sings a paean to the primal joys and terrors of starting one's own business. McCants, fired from his job, strikes out on his own, with Lillian's help, and the dignity of entrepreneurship -- as well as the dignity of ordinary working people -- is burnished in these pages.
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