Edited by Libby Fischer Hellmann
Though I will only be calling Chicago home for another
week or so, there is something about the city that has drawn me in and
captivated me. New York and Los
Angeles may be larger, but Chicago
has a culture and a sprawling history all its own. Libby Fischer Hellmann may
not have taken a drastic logical leap when realizing that the city in its
various forms provides a perfect, ready-made backdrop for mystery stories- or when
suggesting that this atmosphere is also particularly conducive to blues music-
but the resulting volume, Chicago Blues,
is a fitting ode to the city's darker moods. The stories themselves are a bit
uneven and rarely helped by Hellmann's decision to group them thematically; the
editor's heavy hand is most evident, perhaps fittingly, in the first and final
sections. Though readers familiar with blues music and Chicago's importance to
the genre will feel immediately at home, this opening salvo can easily turn off
readers who are less well versed in this aspect of the city's history; the
first few stories seem to require an unspoken knowledge and readers cannot be
blamed for wondering whether the remainder of the volume will be the same.
Similarly, while it is amusing that two authors contributed stories that take
place on Lower Wacker Drive ,
placing them in direct succession at the book's end does a disservice to both.
Both Brian Pinkerton's "Lower Wacker Blues" and Barbara D'Amato's
"The Lower Wacker Hilton" do an excellent job of evoking the spookiness
of their unique shared locale, but they seem to fade into one another despite
being entirely different types of stories, leaving the reader unsatisfied and
forcing the collection to go out with a disappointing whimper.
Editorial mistakes aside, this is
a strong and varied collection that includes both the expected police
procedurals and more contemplative stories that use crime and criminality as a
jumping-off point rather than a central theme. The more typical stories, most
of which are executed well enough to keep readers interested during the act of
reading them, are punctuated by a few standout stories that resonate, largely
due to excellent finales: Michael A. Black's "Chasing the Blues" brilliantly
hides its emotional core in a solemn last line following a series of brash recollections
by a long-serving cop; Sam Hill's "The Sin-eater" gradually reveals
its true nature to its protagonist and reader at a similar slow-burning pace;
and Sam Reaves's mafia-infused "The Test" keeps readers hooked despite
(or perhaps because of) its reliance on old mafioso stereotypes. Many of the
other stories may be relatively humdrum examples of their particular genre, but
that genre begins from a point of strength with its focus on plot, and only one
or two of the stories herein are truly bad.
For a collection with few
distinguishing characteristics and fewer truly remarkable stories, Chicago Blues is noteworthy for its
authors' clear understanding of- and affection for- the city. As natives and/or
residents of Chicagoland, they don't limit themselves to the city's more iconic
locales, which gives their contributions a kind of gritty credibility. As a
recent transplant myself, I was pleased to see successful cameos by the Chicago
Cubs, Jack Ruby, and my (marginal) local L stop. The characters, like the
city's residents, run the gamut from old-timey syndicate criminals to
high-powered executives, and though the plots may feel recycled at times most
crime aficionados and casual readers alike should find enough within to sustain
their interest. Chicago Blues may not
be an exceptionally well-curated collection, but it does offer several welcome
glimpses into the city's criminal tendencies.
Grade: B
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