Praise for
John D. MacDonald
“My favorite novelist of all time.”
—DEAN KOONTZ
“For my money, John D. MacDonald’s Travis McGee is one of the great characters in contemporary American fiction—not crime fiction; fiction, period—and millions of readers surely agree.”
—The Washington Post
“MacDonald isn’t simply popular; he’s also good.”
—ROGER EBERT
“MacDonald’s books are narcotic and, once hooked, a reader can’t kick the habit until the supply runs out.”
—Chicago Tribune Book World
“Travis McGee is one of the most enduring and unusual heroes in detective fiction.”
—The Baltimore Sun
“[John D. MacDonald] remains one of my idols.”
—DONALD WESTLAKE
“A dominant influence on writers crafting the continuing series character.”
—SUE GRAFTON
“The Dickens of mid-century America—popular, prolific and … conscience-ridden about his environment.… A thoroughly American author.”
—The Boston Globe
“It will be for his crisply written, smoothly plotted mysteries that MacDonald will be remembered.”
—USA Today
“MacDonald had the marvelous ability to create attention-getting characters who doubled as social critics. In MacDonald novels, it is the rule rather than the exception to find, in the midst of violence and mayhem, a sentence, a paragraph, or several pages of rumination on love, morality, religion, architecture, politics, business, the general state of the world or of Florida.”
—Sarasota Herald-Tribune
Praise for the Travis McGee series
“There’s only one thing as good as reading a John D. MacDonald novel: reading it again. A writer way ahead of his time, his Travis McGee books are as entertaining, insightful, and suspenseful today as the moment I first read them. He is the all-time master of the American mystery novel.”
—JOHN SAUL
“One of the great sagas in American fiction.”
—ROBERT B. PARKER
“In McGee mysteries and other novels as well, MacDonald’s voice was one of a social historian.”
—Los Angeles Times
The Long Lavender Look is a work of fiction. Names, characters, places, and incidents are products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
2013 Random House Trade Paperback Edition
Copyright © 1970 by John D. MacDonald Publishing, Inc.
Introduction copyright © 2013 by Lee Child
All rights reserved.
Published in the United States by Random House Trade Paperbacks, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
RANDOM HOUSE TRADE PAPERBACKS and colophon are trademarks of Random House, Inc.
Originally published in mass market in the United States by Fawcett, a division of Random House, Inc., New York in 1964.
eISBN: 978-0-307-82673-2
www.atrandom.com
Cover design: Joe Montgomery
Cover photograph: © Andy Reynolds/Getty Images
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Contents
Cover
Title Page
Copyright
Introduction
Epigraph
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Chapter Nineteen
Chapter Twenty
Chapter Twenty-One
Other Books by This Author
About the Author
Introduction
by Lee Child
Suspense fiction trades on surprising and unexpected twists. Like this one: A boy named John Dann MacDonald was born in 1916 in Sharon, Pennsylvania, into the kind of quiet and comfortable middle-class prosperity that became common in America forty or fifty years later but which was still relatively rare early in the century. Sharon was a satellite town near Pittsburgh, dominated by precision metalworking, and John’s father was a mild-mannered and upstanding citizen with secure and prestigious salaried employment as a senior financial executive with a local manufacturer. Young John was called Jack as a child, and wore sailor suits, and grew up in a substantial suburban house on a tree-lined block. He read books, played with his dog, and teased his little sister and his cousin. When he was eighteen, his father funded a long European grand tour for him, advising him by letter “to make the best of it … to eat and function regularly … to be sure and attend a religious service at least once on each Sunday … to keep a record of your expenditures as a training for your college days.”
Safely returned, young Jack went on to two decent East Coast schools, and married a fellow student, and went to Harvard for an MBA, and volunteered for the army in 1940, and finished World War II as a lieutenant colonel, after thoroughly satisfactory service as a serious, earnest, bespectacled, rear-echelon staff officer.
So what does such a fellow do next? Does he join General Motors? IBM? Work for the Pentagon?
In John D. MacDonald’s case, he becomes an impoverished writer of pulp fiction.
During his first four postwar months, he lost twenty pounds by sitting at a table and hammering out 800,000 unsold words. Then in his fifth month he sold a story for twenty-five bucks. Then another for forty bucks, and eventually more than five hundred. Sometimes entire issues of pulp magazines were all his own work, disguised under dozens of different pen names. Then in 1950 he watched the contemporary boom in paperback novels and jumped in with his first full-length work, which was followed by sixty-six more, including some really seminal crime fiction and one of history’s greatest suspense series.
Why? Why did a middle-class Harvard MBA with extensive corporate connections and a gold-plated recommendation from the army turn his back on everything apparently predestined, to sit at a battered table and type, with an anxious wife at his side? No one knows. He never explained. It’s a mystery.
But we can speculate. Perhaps he never wanted a quiet and comfortable middle-class life. Perhaps, after finding himself amid the chaos of war, he felt able to liberate himself from the crushing filial expectations he had previously followed so obediently. As an eighteen-year-old, it’s hard to say no to the father who just paid for a trip to Europe. Eleven years later, as a lieutenant colonel, it’s easier.
And we know from what he wrote that he felt he had something to say to the world. His early stuff was whatever put food on that battered table—detective stories, westerns, adventure stories, sports stories, and even some science fiction—but soon enough his long-form fiction began to develop some enduring and intertwined themes. From A Deadly Shade of Gold, a Travis McGee title: “The only thing in the world worth a damn is the strange, touching, pathetic, awesome nobility of the individual human spirit.” From the stand-alone thriller Where Is Janice Gantry?: “Somebody has to be tireless, or the fast-buck operators would asphalt the entire coast, fill every bay, and slay every living thing incapable of carrying a wallet.”
These two angles show up everywhere in his novels: the need to—maybe reluctantly, possibly even grumpily—stan
d up and be counted on behalf of the weak, helpless, and downtrodden, which included people, animals, and what we now call the environment—which was in itself a very early and very prescient concern: Janice Gantry, for instance, predated Rachel Carson’s groundbreaking Silent Spring by a whole year.
But the good knight’s armor was always tarnished and rusted. The fight was never easy and, one feels, never actually winnable. But it had to be waged. This strange, weary blend of nobility and cynicism is MacDonald’s signature emotion. Where did it come from? Not, presumably, the leafy block where he was raised in quiet and comfort. The war must have changed him, like it changed a generation and the world.
Probably the best of his nonseries novels is The Executioners, which became Cape Fear as a movie (twice). It’s an acute psychological study of base instinct, terror, mistakes, and raw emotion. It’s about a man—possibly a man like MacDonald’s father, or like MacDonald himself—who moves out of his quiet and comfort into more primeval terrain. And those twin poles are the theme of the sensationally good Travis McGee series, which is a canon equaled for enduring quality and maturity by very little else. McGee is a quiet man, internally bewildered by and raging at what passes for modern progress, externally happy merely to be varnishing the decks of his houseboat and polishing its brass, but always ready to saddle up and ride off in the service of those who need and deserve his help. Again, not the product of the privileged youth enjoyed by the salaried executive’s son.
So where did McGee and MacDonald’s other heroes come from? Why Florida? Why the jaundiced concerns? We will never know. But maybe we can work it out, by mining the millions of words written with such haste and urgency and passion between 1945 and 1986.
LEE CHILD
New York
2012
When I play with my cat, who knows but that she regards me more as a plaything than I do her?
—MICHEL EYQUEM DE MONTAIGNE
One
Late April. Ten o’clock at night. Hustling south on Florida 112 through the eastern section of Cypress County, about twenty miles from the intersection of 112 and the Tamiami Trail.
So maybe I was pushing old Miss Agnes along a little too fast. Narrow macadam. Stars above, and some wisps of ground mist below. But not much of it, and not often.
The big tires of the old blue Rolls pickup rumbled along the roughened surface. Big black drainage canal paralleling the road on the left side. Now and then an old wooden bridge arching across the canal to serve one of the shacky little frame houses tucked back in the swamp and skeeter country. No traffic. And it had been a long long day, and I was anxious to get back to Lauderdale, to Bahia Mar, to The Busted Flush, to a long hot shower and a long cold drink and a long deep sleep.
I had the special one-mile spots turned on. They are bracketed low on the massive front bumper. Essential for fast running through the balmy Florida nights on the straight narrow back roads, because her own headlights are feeble and set too high.
Meyer, beside me, was in a semidoze. We’d been to the wedding of the daughter of an old friend, at the fish camp he owns on Lake Passkokee. It is a very seldom thing to be able to drink champagne, catch a nine-pound bass, and kiss a bride all within the same hour. Meyer had been giving me one of his lectures on the marital condition.
So I was whipping along, but alert for the wildlife. I hate to kill a raccoon. Urban Florida is using the rabies myth to justify wiping them out, with guns, traps, and poison. The average raccoon is more affable, intelligent, and tidy than the average meathead who wants them eliminated, and is usually a lot better looking.
It is both sad and ironic that the areas where the raccoon are obliterated are soon overrun with snakes.
I was alert for any reflection of my headlights in animal eyes in the darkness of the shoulders of the road, for any dark shape moving out into the long reach of the beams.
But I wasn’t prepared for the creature of the night that suddenly appeared out of the blackness, heading from left to right, at a headlong run. At eighty, you are covering about a hundred and twenty feet per second. She was perhaps sixty feet in front of the car when I first saw her. So half of one second later, when I last saw her, she was maybe ten inches from the flare of my front right fender, and that ten inches was the product of the first effect of my reaction time. Ten inches of living space instead of that bone-crunching, flesh-smashing thud which, once heard, lingers forever in the part of the mind where echoes live.
And I became very busy with Miss Agnes. She put her back end onto the left shoulder, and then onto the right shoulder. The swinging headlights showed me the road once in a while. I could not risk touching the brake. This was the desperate game of steering with the skid each time, and feeding her a morsel of gas for traction whenever she was coming back into alignment with the highway. I knew I had it whipped, and knew that each swing was less extreme.
Then a rear tire went and I lost her for good. The back end came around and there was a shriek of rubber, crashing of brush, a bright cracking explosion inside my skull, and I was vaguely aware of being underwater, disoriented, tangled in strange objects, and aware of the fact that it was not a very good place to be. I did not feel any alarm. Just a mild distaste, an irritation with my situation.
Something started grabbing at me and I tried to make it let go. Then I was up in the world of air again, and being dragged up a slope, coughing and gagging, thinking that it was a lot more comfortable back under the water.
“You all right, Trav? Are you all right?”
I couldn’t answer until I could stop retching and coughing. “I don’t know yet.”
Meyer helped me up. I stood, sopping wet, on the gravelly shoulder and flexed all the more useful parts and muscles. There was a strange glow in the black water. I realized Miss Agnes’s lights were still on, and she had to be ten feet under. The light went off abruptly as the water shorted her out.
I found a couple of tender places where I had hit the wheel and the door, and a throbbing lump on my head, dead center, just above the hairline.
“And how are you?” I asked Meyer.
“I’m susceptible to infections of the upper respiratory tract, and I’d like to lose some weight. Otherwise, pretty good.”
“In a little while I think I’m going to start being glad you came along for the ride.”
“Maybe you’d have gotten out by yourself.”
“I don’t think so.”
“I’d rather think so. Excuse me. Otherwise I have to share the responsibility for all your future acts.”
“Do I ever do anything you wouldn’t do, Meyer?”
“I could make a list?”
That was when the reaction hit. A nice little case of the yips and shudders. And a pair of macaroni knees. I sat down gently on the shoulder of the road, wrapped my arms around my legs, and rested my forehead on my wet knees.
“Are you all right, Trav?”
“You keep asking me that. I think I will be very fine and very dandy. Maybe five or ten minutes from now.”
It seemed very very quiet. The bugs were beginning to find us. A night bird yawped way back in the marshland. Vision had adjusted to the very pale wash of starlight on the road and on the black glass surface of the drainage canal.
Miss Agnes was down there, resting on her side, facing in the direction from which we had come, driver’s side down. Sorry, old lady. We gave it a good try, and damned near made it. Except for the tire going, you did your usual best. Staunch, solid, and, in a very dignified way, obedient. Even in extremis, you managed to keep from killing me.
I got up and gagged and tossed up half a cup of swamp water. Before he could ask me again, I told Meyer I felt much improved. But irritable.
“What I would dearly like to do,” I said, “is go back and find that moronic female, raise some angry welts on her rear end, and try to teach her to breathe underwater.”
“Female?”
“You didn’t see her?” I asked him.
�
�I was dreaming that I, personally, Meyer, had solved the gold drain dilemma, and I was addressing all the gnomes of Zurich. Then I woke up and we were going sideways. I found the sensation unpleasant.”
“She ran across in front of us. Very close. If I hadn’t had time to begin to react, I’d have boosted her with the right front fender, and she would be a piece of dead meat in a treetop back there on the right side of the road.”
“Please don’t tell me something.”
“Don’t tell you what?”
“Tell me she was a shrunken old crone. Or tell me she looked exactly like Arnold Palmer. Or even tell me you didn’t get a good look at her. Please?”
I closed my eyes and reran the episode on my little home screen inside my head. Replay is always pretty good. It has to be. Lead the kind of life where things happen very quickly and very unexpectedly, and sometimes lethally, and you learn to keep the input wide open. It improves the odds.
“I’d peg her at early to middle twenties. Black or dark brown hair, that would maybe have been shoulder length if she wasn’t running like hell. She had some kind of ribbon or one of those plastic bands on her hair. Not chunky, but solid. Impression of good health. Not very tall. Hmm. Barefoot? I don’t really know. Maybe not, unless she’s got feet like rhino hide. Wearing a short thing, patterned. Flower pattern? Some kind of pattern. Lightweight material. Maybe one of those mini-nightgowns. Open down the front and at the throat, so that it was streaming out behind her, like her dark hair. Naked, I think. Maybe a pair of sheer little briefs, but it could have been just white hide in contrast to the suntanned rest of her. Caught a glint of something on one wrist. Bracelet or watch strap. She was running well, running hard, getting her knees up, getting a good swing of her arms into it. A flavor of being scared, but not in panic. And not winded. Mouth closed. I think she had her jaw clamped. Determination. She was running like hell, but away from something, not after it. If she started a tenth of a second earlier, we’d be rolling east on the Trail by now. A tenth of a second later, and she’d be one dead young lady, and I could have racked Miss Agnes up a little more solidly, and maybe you or I or both of us would be historical figures. Sorry, Meyer. Young and interestingly put together, and perhaps even pretty.”
The Long Lavender Look Page 1