A Kick to the Gut.
Discover powerful books that hit hard with 'A Kick to the Gut.' Explore gripping reads packed with raw emotion, intense drama, and unforgettable impact.
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God Laughs When You Die
by Michael Boatman
A host of drug dealers meets a foe they cannot kill. The president accidentally invites demons into the country and watches the pope turn into a sabertooth tiger. A man, dead since 1920, lives again in present day Los Angeles to satiate a malevolent goddess. These tales by Michael Boatman will disturb, terrify and traumatize you. Boatman grabs you by throat and drags you kicking and screaming through his prose. With a dash of Lansdale and a smattering of Martina's Wild Cards, the tales within inhabit the dark and nasty side of our souls, and throughout Boatman infuses it all with a keen wit and an eye for detail. And when he lets you up to breathe, like God, you might just find yourself laughing. This is the sort of stuff I like to read as the bells sound midnight. Paul Haines award-winning author of Doorways for the Dispossessed Boatman's debut collection will knock you down and kick you in the teeth. Alternatingly hysterical, grotesque, bizarre, and fantastic, Boatman's collection is a must-read for anyone itching to get their hands on fresh new fiction that pulls no punches. Ronald Damien Malfi, author of The Nature of Monsters and The Fall of Never Michael Boatman writes like a visitor from hell. Someone out on short term leave for bad behavior. I love this stuff. He's one of the new, and more than promising, writers making his mark, and a dark and wonderful mark it is. Joe R. Lansdale
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The Naked and the Dead
by Norman Mailer
The story of a platoon of Marines stationed on the Japanese-held island of Anopopei in World War II.
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The Executioner's Song
by Norman Mailer
Re-creates the crime, trial and events leading to the execution of convicted murderer Gary Gilmore, who requested the death sentence.
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Badass Horror
by Michael Hemmingson
Seven stories written by some of the best writers of modern fiction including Garry Kilworth, Ron Damien Malfi, Michael Boatman, and Michael Hemmingson reach to the edge of human endurance and push all the harder.
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Hard-boiled Wonderland and the End of the World
by Haruki Murakami
The contemporary and the mythic collide in this hard-boiled tale of computers and conspiracy theories, unicorns and ancient lands.
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Hard-Boiled
by Erin Ann Smith
In the 1920s a distinctively American detective fiction emerged from the pages of pulp magazines. The “hard-boiled” stories published in Black Mask, Dime Detective, Detective Fiction Weekly, and Clues featured a new kind of hero and soon challenged the popularity of the British mysteries that held readers in thrall on both sides of the Atlantic. In Hard-Boiled Erin A. Smith examines the culture that produced and supported this form of detective story through the 1940s. Relying on pulp magazine advertising, the memoirs of writers and publishers, Depression-era studies of adult reading habits, social and labor history, Smith offers an innovative account of how these popular stories were generated and read. She shows that although the work of pulp fiction authors like Dashiell Hammett, Raymond Chandler, and Erle Stanley Gardner have become “classics” of popular culture, the hard-boiled genre was dominated by hack writers paid by the word, not self-styled artists. Pulp magazine editors and writers emphasized a gritty realism in the new genre. Unlike the highly rational and respectable British protagonists (Miss Marple and Hercule Poirot, for instance), tough-talking American private eyes relied as much on their fists as their brains as they made their way through tangled plotlines. Casting working-class readers of pulp fiction as “poachers,” Smith argues that they understood these stories as parables about Taylorism, work, and manhood; as guides to navigating consumer culture; as sites for managing anxieties about working women. Engaged in re-creating white, male privilege for the modern, heterosocial world, pulp detective fiction shaped readers into consumers by selling them what they wanted to hear – stories about manly artisan-heroes who resisted encroaching commodity culture and the female consumers who came with it. Commenting on the genre’s staying power, Smith considers contemporary detective fiction by women, minority, and gay and lesbian writers.
