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
“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
BY JOHN D. MACDONALD
The Brass Cupcake
Murder for the Bride
Judge Me Not
Wine for the Dreamers
Ballroom of the Skies
The Damned
Dead Low Tide
The Neon Jungle
Cancel All Our Vows
All These Condemned
Area of Suspicion
Contrary Pleasure
A Bullet for Cinderella
Cry Hard, Cry Fast
You Live Once
April Evil
Border Town Girl
Murder in the Wind
Death Trap
The Price of Murder
The Empty Trap
A Man of Affairs
The Deceivers
Clemmie
Cape Fear (The Executioners)
Soft Touch
Deadly Welcome
Please Write for Details
The Crossroads
The Beach Girls
Slam the Big Door
The End of the Night
The Only Girl in the Game
Where Is Janice Gantry?
One Monday We Killed Them All
A Key to the Suite
A Flash of Green
The Girl, the Gold Watch & Everything
On the Run
The Drowner
The House Guest
End of the Tiger and Other Stories
The Last One Left
S*E*V*E*N
Condominium
Other Times, Other Worlds
Nothing Can Go Wrong
The Good Old Stuff
One More Sunday
More Good Old Stuff
Barrier Island
A Friendship: The Letters of Dan Rowan and John D. MacDonald, 1967–1974
The Travis McGee Series
The Deep Blue Good-by
Nightmare in Pink
A Purple Place for Dying
The Quick Red Fox
A Deadly Shade of Gold
Bright Orange for the Shroud
Darker than Amber
One Fearful Yellow Eye
Pale Gray for Guilt
The Girl in the Plain Brown Wrapper
Dress Her in Indigo
The Long Lavender Look
A Tan and Sandy Silence
The Scarlet Ruse
The Turquoise Lament
The Dreadful Lemon Sky
The Empty Copper Sea
The Green Ripper
Free Fall in Crimson
Cinnamon Skin
The Lonely Silver Rain
The Official Travis McGee Quizbook
End of the Tiger and Other Stories is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.
2013 Random House eBook Edition
Copyright © 1966 by John D. MacDonald.
Hangover © 1956 by the Hearst Corporation.
The Big Blue © 1949 by Popular Publications, Inc. This story was originally published by Popular Publications under the title “Blue Water Fury.”
End of the Tiger © 1963 by United Newspapers Magazine Corporation. Reprinted from This Week Magazine.
The Trouble with Erica © 1953 by the Hearst Corporation.
Long Shot © 1955 by Popular Publications, Inc.
Looie Follows Me © 1949 by Crowell-Collier Publishing Company.
Blurred View © 1964 by United Newspapers Magazine Corporation. Reprinted from This Week Magazine.
The Loveliest Girl in the World © 1964 by United Newspapers Magazine Corporation. Reprinted from This Week Magazine.
The Bear Trap © 1955 by the Hearst Corporation.
A Romantic Courtesy © 1957 by the Hearst Corporation.
The Fast Loose Money © 1958 by the Hearst Corporation.
The Straw Witch © 1964 by United Newspapers Magazine Corporation. Reprinted from This Week Magazine.
The Trap of Solid Gold © 1960 by The Curtis Publishing Company.
Afternoon of the Hero © 1966 by John D. MacDonald. This story was originally published in The Saturday Evening Post under the title “Funnyman.”
Introduction copyright © 2013 by Dean Koontz
All rights reserved.
Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
Random House and colophon are registered trademarks of Random House, Inc.
Originally published in paperback by Fawcett, an imprint of The Random House Publishing Group, a division of Random House, Inc., in 1966.
eISBN: 978-0-307-82686-2
www.atrandom.com
v3.1
For Dorothy, friend, ornament, and buffer zone, among other things.
Contents
Cover
Title Page
Other Books by This Author
Copyright
Dedication
Introduction
Hangover
The Big Blue
End of the Tiger
The Trouble with Erica
Long Shot
Looie Follows Me
Blurred View
The Loveliest Girl in the World
Triangle
The Bear Trap
A Romantic Courtesy
The Fast Loose Money
The Straw Witch
The Trap of Solid Gold
Afternoon of the Hero
About the Author
The Singular John D. MacDonald
Dean Koontz
When I was in college, I had a friend, Harry Recard, who was smart, funny, and a demon card player. Harry was a successful history major, while I passed more time playing pinochle than I spent in class. For the three and a half years that I required to graduate, I heard Harry rave about this writer named John D. MacDonald, “John D” to his most ardent readers. Of the two of us, Harry was the better card player and just general
ly the cooler one. Consequently, I was protective of my position, as an English major, to be the better judge of literature, don’t you know. I remained reluctant to give John D a look.
Having read mostly science fiction, I found many of my professors’ assigned authors markedly less exciting than Robert Heinlein and Theodore Sturgeon, but I was determined to read the right thing. For every Flannery O’Connor whose work I could race through with delight, there were three like Virginia Woolf, who made me want to throw their books off a high cliff and leap after them. Nevertheless, I continued to shun Harry’s beloved John D.
Five or six years after college, I was a full-time writer with numerous credits in science fiction, struggling to move into suspense and mainstream work. I was making progress but not fast enough to suit me. By now I knew that John D was widely admired, and I finally sat down with one of his books. In the next thirty days, I read thirty-four of them. The singular voice and style of the man overwhelmed me, and the next novel I wrote was such an embarrassingly slavish imitation of a MacDonald tale that I had to throw away the manuscript.
I apologized to Harry for doubting him. He was so pleased to hear me proclaiming the joys of John D that he only said “I told you so” on, oh, twenty or thirty occasions.
Over the years, I have read every novel by John D at least three times, some of them twice that often. His ability to evoke a time and place—mostly Florida but also the industrial Midwest, Las Vegas, and elsewhere—was wonderful, and he could get inside an occupation to give you the details and the feel of it like few other writers I’ve ever read. His pacing was superb, the flow of his prose irresistible, and his suspense watch-spring tight.
Of all his manifest strengths as a writer, however, I am most in awe of his ability to create characters who are as real as anyone I’ve met in life. John D sometimes paused in the headlong rush of his story to spin out pages of background on a character. At first when this happened, I grumbled about getting on with the story. But I soon discovered that he could make the character so fascinating that when the story began to race forward again, I wanted it to slow down so I could learn more about this person who so intrigued and/or delighted me. There have been many good suspense novelists in recent decades, but in my experience, none has produced characters with as much humanity and truth as those in MacDonald’s work.
Like most who have found this author, I am an admirer of his Travis McGee series, which features a first-person narrator as good as any in the history of suspense fiction and better than most. But I love the standalone novels even more. Cry Hard, Cry Fast. Where Is Janice Gantry? The Last One Left. A Key to the Suite. The Drowner. The Damned. A Bullet for Cinderella. The Only Girl in the Game. The Crossroads. All These Condemned. Those are not my only favorites, just a few of them, and many deal with interesting businesses and occupations. Mr. MacDonald’s work gives the reader deep and abiding pleasure for many reasons, not the least of which is that it portrays the contemporary life of his day with as much grace and fidelity as any writer of the period, and thus it also provides compelling social history.
In 1985, when my publisher, Putnam, wanted to send advance proof copies of Strangers to Mr. MacDonald among others, I literally grew shaky at the thought of him reading it. I suggested that they shouldn’t send it to him, that, as famous and prolific as he was, the proof would be an imposition on him; in truth, I feared that he would find the novel unsatisfying. Putnam sent it to him anyway, and he gave us an enthusiastic endorsement. In addition, he wrote to me separately, in an avuncular tone, kindly advising me how to avoid some of the pitfalls of the publishing business, and he wrote to my publisher asking her to please carefully consider the packaging of the book and not condemn it to the horror genre. She more or less condemned it to the genre anyway, but I took his advice to heart.
In my experience, John D. MacDonald, the man, was as kind and thoughtful as his fiction would lead you to believe that he must be. That a writer’s work accurately reflects his soul is a rarer thing than you might imagine, but in his case, the reflection is clear and true. For that reason, it has been a special honor, in fact a grace, to be asked to write this introduction.
Reader, prepare to be enchanted by the books of John D. MacDonald. And Harry, I am not as much of an idiot as I was in years gone by—though I know you won’t let me get away with claiming not to be to any degree an idiot anymore.
Hangover
He dreamed that he had dropped something, lost something of value in the furnace, and he lay on his side trying to look down at an angle through a little hole, look beyond the flame down into the dark guts of the furnace for what he had lost. But the flame kept pulsing through the hole with a brightness that hurt his eyes, with a heat that parched his face, pulsing with an intermittent husky rasping sound.
With his awakening, the dream became painfully explicable—the pulsing roar was his own harsh breathing, the parched feeling was a consuming thirst, the brightness was transmuted into pain intensely localized behind his eyes. When he opened his eyes, a long slant of early morning sun dazzled him, and he shut his eyes quickly again.
This was a morning time of awareness of discomfort so acute that he had no thought for anything beyond the appraisal of the body and its functions. Though he was dimly aware of psychic discomforts that might later exceed the anguish of the flesh, the immediacy of bodily pain localized his attentions. Even without the horizontal brightness of the sun, he would have known it was early. Long sleep would have muffled the beat of the taxed heart to a softened, sedate, and comfortable rhythm. But it was early and the heart knocked sharply with a violence and in a cadence almost hysterical, so that no matter how he turned his head, he could feel it, a tack hammer chipping away at his mortality.
His thirst was monstrous, undiminished by the random nausea that teased at the back of his throat. His hands and feet were cool, yet where his thighs touched he was sweaty. His body felt clotted, and he knew that he had perspired heavily during the evening, an oily perspiration that left an unpleasant residue when it dried. The pain behind his eyes was a slow bulging and shrinking, in contrapuntal rhythm to the clatter of his heart.
He sat on the edge of the bed, head bowed, eyes squeezed shut, cool trembling fingers resting on his bare knees. He felt weak, nauseated, and acutely depressed.
This was the great joke. This was a hangover. Thing of sly wink, of rueful guffaw. This was death in the morning.
He stood on shaky legs and walked into the bathroom. He turned the cold water on as far as it would go. He drank a full glass greedily. He was refilling the glass when the first spasm came. He turned to the toilet, half-falling, cracking one knee painfully on the tile floor, and knelt there and clutched the edge of the bowl in both hands, hunched, miserable, naked. The water ran in the sink for a long time while he remained there, retching, until nothing more came but flakes of greenish bile. When he stood up, he felt weaker but slightly better. He mopped his face with a damp towel, then drank more water, drank it slowly and carefully, and in great quantity, losing track of the number of glasses. He drank the cold water until his belly was swollen and he could hold no more, but he felt as thirsty as before.
Putting the glass back on the rack, he looked at himself in the mirror. He took a quick, overly casual look, the way one glances at a stranger, the eye returning for a longer look after it is seen that the first glance aroused no undue curiosity. Though his face was grayish, eyes slightly puffy, jaws soiled by beard stubble, the long face with its even undistinguished features looked curiously unmarked in relation to the torment of the body.
The visual reflection was a first step in the reaffirmation of identity. You are Hadley Purvis. You are thirty-nine. Your hair is turning gray with astonishing and disheartening speed.
He turned his back on the bland image, on the face that refused to comprehend his pain. He leaned his buttocks against the chill edge of the sink, and a sudden unbidden image came into his mind, as clear and supernaturally perfect as a color
ed advertisement in a magazine. It was a shot glass full to the very brim with dark brown bourbon.
By a slow effort of will he caused the image to fade away. Not yet, he thought, and immediately wondered about his instinctive choice of mental phrase. Nonsense. This was a part of the usual morbidity of hangover—to imagine oneself slowly turning into an alcoholic. The rum sour on Sunday mornings had become a ritual with him, condoned by Sarah. And that certainly did not speak of alcoholism. Today was, unhappily, a working day, and it would be twelve-thirty before the first Martini at Mario’s. If anyone had any worries about alcoholism, it was Sarah, and her worries resulted from her lack of knowledge of his job and its requirements. After a man has been drinking for twenty-one years, he does not suddenly become a legitimate cause for the sort of annoying concern Sarah had been showing lately.
In the evening when they were alone before dinner, they would drink, and that certainly did not distress her. She liked her few knocks as well as anyone. Then she had learned somehow that whenever he went to the kitchen to refill their glasses from the Martini jug in the deep freeze, he would have an extra one for himself, opening his throat for it, pouring it down in one smooth, long, silvery gush. By mildness of tone she had trapped him into an admission, then had told him that the very secrecy of it was “significant.” He had tried to explain that his tolerance for alcohol was greater than hers, and that it was easier to do it that way than to listen to her tiresome hints about how many he was having.
Standing there in the bathroom, he could hear the early morning sounds of the city. His hearing seemed unnaturally keen. He realized that it was absurd to stand there and conduct mental arguments with Sarah and become annoyed at her. He reached into the shower stall and turned the faucets and waited until the water was the right temperature before stepping in, just barely warm. He made no attempt at first to bathe. He stood under the roar and thrust of the high nozzle, eyes shut, face tilted up.
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