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Daddy's Gone A-Hunting: A Wesley Farrell Novel by Skinner, Robert
by Skinner, Robert | PB | VeryGood
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eBay item number:196296857757
Item specifics
- Condition
- Very Good
- Seller Notes
- Binding
- Paperback
- Weight
- 0 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9781890208448
- Book Title
- Daddy's Gone A-Hunting : a Wesley Farrell Novel
- Book Series
- Wesley Farrell Novels Ser.
- Publisher
- Sourcebooks, Incorporated
- Item Length
- 8.5 in
- Publication Year
- 2000
- Format
- Trade Paperback
- Language
- English
- Item Height
- 1.5 in
- Genre
- Fiction
- Topic
- Mystery & Detective / Hard-Boiled, Mystery & Detective / General, Historical
- Item Weight
- 0.4 Oz
- Item Width
- 5.5 in
- Number of Pages
- 320 Pages
About this product
Product Identifiers
Publisher
Sourcebooks, Incorporated
ISBN-10
1890208442
ISBN-13
9781890208448
eBay Product ID (ePID)
1753771
Product Key Features
Book Title
Daddy's Gone A-Hunting : a Wesley Farrell Novel
Number of Pages
320 Pages
Language
English
Publication Year
2000
Topic
Mystery & Detective / Hard-Boiled, Mystery & Detective / General, Historical
Genre
Fiction
Book Series
Wesley Farrell Novels Ser.
Format
Trade Paperback
Dimensions
Item Height
1.5 in
Item Weight
0.4 Oz
Item Length
8.5 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Trade
LCCN
99-060513
Reviews
A well-written and well-researched book, it's gratifying to read. It is full of memorable characters, all revealing some of their background and illustrating parts of their world. New Orleans is a lawless city where might makes right and everyone, it seems, carries a gun and does not hesitate to use it. Farrell maneuvers through this world easily and is finally able to make sense out of the chaos of events, even if he cannot make sense out of his own life. This is not a comfortable or an easy book to read. It challenges the reader to go into a time and place where most of us would be very uncomfortable. But the excursion is worth it, for the reader encounters an abundance of people who survive lives of privation and violence and do it with dignity and honor. In the end, it is a tribute to humanity. --- Reviewed by Sally Fellows (c) Copyright 1999, The Book Report, Inc. All rights reserved, This is New Orleans, nicely hardboiled, a very noir story. Bob Skinner is such a fine mystorical writer (historical mystery for those unfamiliar) reading his books is like taking a time machine back to the 1930s when men were men and to be avoided. Wesley Farrell is a finely tuned Chandleresque hero . . . "Some knew him by sight; others saw the way he moved and the way his eyes roved over them, like the sights on a gun, and looked away quickly." And the women in the book are not to be taken lightly. What more can you say about a woman who, " . . . was enough to make a Baptist minister drink swamp water, crawl inside a hollow log, and bay at the moon."? DADDY’S GONE A-HUNTING is a well crafted crime novel. Do yourself a favor and take a ride along the dark, forbidding streets of the city that care forgot. It’s worth the ride. -- O'Neil De Noux: Hardboiled New Orleans, ""Jazz is cool. Jazz never sacrifices its identity even when incorporating whatever is interesting and timely. Jazz's defining characteristic is improvisation, often collective improvisation. Jazz is considered by many to be America's greatest contribution to music, its mother the grand city of New Orleans, its DNA the experiences of early African Americans in formidable times and frustrating situations. Jazz begins, like most music, with a set of notes or riffs, short rhythmic, melodic lines either repeated to create a main melody or used as the impetus for solos. Jazz continues with a series of improvisations and innovations (jazz for mistakes), exploring and embellishing seemingly effortlessly as the piece evolves. Skinner is cool. He's written jazz. More impressive, he's written jazz as a mystery novel, though in truth the two might go hand in hand. The exact origins of jazz, even its name, are as much a mystery as where ex-con Ernie LeDoux's money is, why prominent black men are the victims of foul play in Depression-era New Orleans, and what ex-prostitute Carol Donovan is up to at the Original Southport Club. In the early part of the century jazz stretched to cities like Chicago where it evolved in harmony with the Windy City's character, singling out instruments more, such as the saxophone. In New Orleans, jazz remained collective, yet allowed for individuality. It's apt then that Skinner begins his great jazz performance with a collection of characters, each a distinct set of notes, warming up slowly, growing more complex with each measure. He plays each character's riff for three, four, five pages at a time. The pace meanders, is tentative. Where will the notes lead?Skinner teases the audience. Characters make impromptu decisions, improvise, fascinate. Skinner seduces his audience into subliminal swaying to a subtle rhythm. It's steady, sultry, and progressive: Wesley Farrell, night club owner, questions threats made to Carol and her club, Sergeant Israel Daggett investigates the murders, Ralph Daniels runs for his life, Savannah (Wesley's ex-girlfriend) attempts to begin her life anew, cocaine sniffing Archie Badeaux bullies, beats and kills people, humoring his boss, wheelchair-bound gangster Jonathan Lincoln. With every scene, Skinner writes characters' lives and the atmosphere of 1930s New Orleans in clear, sharp, often haunting, sometimes plaintive tones. Describing a pop song is easy: three major chords, 4/4 time, upbeat tempo, two stanzas, AB rhyme pattern, and a catchy chorus. Describing jazz? Not so easy. Describing the plot of a formula mystery novel is easy. Describing Skinner's plot? Not so easy. What's a reviewer to do? Stand up and give a hearty applause. This novel is great jazz, a collective set of stories, each taking its leisurely turn unfolding to a complete and satisfying end, one which may be traced backward or forward to discern a neat linear path, but one which is richer for not doing so. Skinner has written an impressive piece, and if you're not convinced, imagine these words issuing from a saxophone: A beautiful Negro woman of about thirty came though the doors of the Cafe Tristesse like she owned the joint. She was five-and-a-half feet tall, with skin so pale brown it was no darker than a suntan, shoulder-length jet black hair, and eyes like obsidian. The only makeup on her fine-featured face was lip rouge the colorof ripe plums. Dressed in a pale yellow dress, yellow sling-back pumps, and a yellow hat that was like gold ornamentation on a queen, she was enough to make a Baptist minister drink swamp water, crawl inside a hollow log, and bay at the moon.-- Reviewed by Jean Porath at MysteryNet.com) 1999"", Set in New Orleans in 1938, Daddy’s Gone A-Hunting presents a city that is rigidly separated along racial lines. Wesley Farrell is a Black nightclub owner who can pass for white. He hones his skills as a private investigator on the side. Another Black nightclub owner, Carol Donovan, asks Farrell for help. She claims a local gangster named Archie Badeaux is harassing her and trying to put her out of business. Simultaneously, Ernie LeDoux is released from prison after having served time for robbing an armored car. Ernie’s accomplice was never been apprehended and the stolen money never recovered. Upon his release, Ernie tries to contact his partner in crime only to discover that he has died. Ernie reasons that his partner’s widow is the likely person to know the location of the money, and he goes to visit her. Before he can persuade her to divulge the location of the cash, she is murdered. As the story progresses, it is evident that these two seemingly unrelated plots, plus several other subplots, are connected. Ernie LeDoux’s search for his money leads him to Archie Badeaux as does Farrell’s search for the source of Carol Donovan’s troubles. Daddy’s Gone A-Hunting is a demanding, yet enjoyable book. Although it is the third in the Wesley Farrell series, it is not necessary to have read any of the previous entries. The plot is complex with numerous, diverse characters whose relationships to one another are initially ambiguous. The reader would be well advised to pay close attention in order to keep all the subplots and their players straight in his mind. This book is definitely not one to read with one eye on the TV. It requires some effort on the reader’s part, but is effort well spent. Mr. Skinner offers a detailed look at New Orleans society in the 1930’s. Well before the civil rights movement of the 1960’s, there is very little social interaction between Blacks and whites, except for people like Wesley Farrell who looks white and could pose as a white man among those unfamiliar to him. The flavor of the period is presented in the novel. How people traveled, what they did for entertainment, and other things are much different than these activities in the present day. Even speech patterns are different, although a few bits of dialogue seemed quite contemporary. The characters themselves have distinct personalities and promote some thought provoking ideas on life. One character describes life as a cop as one with long hours and bad pay, necessitating many written reports. His friend replies that that description fits the life of a Negro -- without the need to write reports. Farrell, for all his ability to exist in both the black and white worlds, shows a decided inability to understand the person in the world that is most important to him. Robert Skinner has produced a worthy addition to his Wesley Farrell saga with Daddy’s Gone A-Hunting. It is well worth the time and effort one must expend to fully appreciate his book. --Andy Plonka, The Mystery Reader, 9/22/99, New Orleans in 1938 is the setting for Robert Skinner's Daddy's Gone A-Hunting, the third case for nightclub owner Wesley Farrell, a golden-skinned, gray-eyed mixed-blood Creole who has been passing for white in the Jim Crow South of the day. Here Farrell is recruited by fellow club owner Carol Donovan, whose business is being threatened by Archie Badeaux, a lieutenant of the underworld boss, Jonathan Lincoln. Skinner, who was inexplicably dropped by his New York publisher but has found a home with this small Scottsdale press, manages his plot with style and uses his colorful setting to great advantage. Tom and Enid Schantz, Mystery Columnists, The Denver Post, August 1 1999, Jazz is cool. Jazz never sacrifices its identity even when incorporating whatever is interesting and timely. Jazz's defining characteristic is improvisation, often collective improvisation. Jazz is considered by many to be America's greatest contribution to music, its mother the grand city of New Orleans, its DNA the experiences of early African Americans in formidable times and frustrating situations. Jazz begins, like most music, with a set of notes or riffs, short rhythmic, melodic lines either repeated to create a main melody or used as the impetus for solos. Jazz continues with a series of improvisations and innovations (jazz for mistakes), exploring and embellishing seemingly effortlessly as the piece evolves. Skinner is cool. He's written jazz. More impressive, he's written jazz as a mystery novel, though in truth the two might go hand in hand. The exact origins of jazz, even its name, are as much a mystery as where ex-con Ernie LeDoux's money is, why prominent black men are the victims of foul play in Depression-era New Orleans, and what ex-prostitute Carol Donovan is up to at the Original Southport Club. In the early part of the century jazz stretched to cities like Chicago where it evolved in harmony with the Windy City's character, singling out instruments more, such as the saxophone. In New Orleans, jazz remained collective, yet allowed for individuality. It's apt then that Skinner begins his great jazz performance with a collection of characters, each a distinct set of notes, warming up slowly, growing more complex with each measure. He plays each character's riff for three, four, five pages at a time. The pace meanders, is tentative. Where will the notes lead?Skinner teases the audience. Characters make impromptu decisions, improvise, fascinate. Skinner seduces his audience into subliminal swaying to a subtle rhythm. It's steady, sultry, and progressive: Wesley Farrell, night club owner, questions threats made to Carol and her club, Sergeant Israel Daggett investigates the murders, Ralph Daniels runs for his life, Savannah (Wesley's ex-girlfriend) attempts to begin her life anew, cocaine sniffing Archie Badeaux bullies, beats and kills people, humoring his boss, wheelchair-bound gangster Jonathan Lincoln. With every scene, Skinner writes characters' lives and the atmosphere of 1930s New Orleans in clear, sharp, often haunting, sometimes plaintive tones. Describing a pop song is easy: three major chords, 4/4 time, upbeat tempo, two stanzas, AB rhyme pattern, and a catchy chorus. Describing jazz? Not so easy. Describing the plot of a formula mystery novel is easy. Describing Skinner's plot? Not so easy. What's a reviewer to do? Stand up and give a hearty applause. This novel is great jazz, a collective set of stories, each taking its leisurely turn unfolding to a complete and satisfying end, one which may be traced backward or forward to discern a neat linear path, but one which is richer for not doing so. Skinner has written an impressive piece, and if you're not convinced, imagine these words issuing from a saxophone: A beautiful Negro woman of about thirty came though the doors of the Cafe Tristesse like she owned the joint. She was five-and-a-half feet tall, with skin so pale brown it was no darker than a suntan, shoulder-length jet black hair, and eyes like obsidian. The only makeup on her fine-featured face was lip rouge the colorof ripe plums. Dressed in a pale yellow dress, yellow sling-back pumps, and a yellow hat that was like gold ornamentation on a queen, she was enough to make a Baptist minister drink swamp water, crawl inside a hollow log, and bay at the moon.-- Reviewed by Jean Porath at MysteryNet.com) 1999
Dewey Edition
21
Dewey Decimal
813/.54
Synopsis
Robert Skinner has written three books in a series that takes place during the Depression in New Orleans. He selected the Depression because of stories family members told him about living during that time and how it affected them. To him, "the '30s represent America’s last romantic age.' Even so he is cognizant of how difficult this time period was for those at the low end of the economic spectrum. Because his books are hard-boiled, protagonist Wesley Farrell had to be an outsider. So Skinner made Farrell a black man passing for white, something that was unacceptable in New Orleans at the time. In the first book of the series, SKIN DEEP, BLOOD RED, the reader learns about his deception in the denouement. But Farrell continues to hide his race from almost everyone. He wants to help other blacks, but he also fears losing everything he has. Farrell is a gambler and bon vivant. He gets involved in a very complex series of problems partly because he is depressed. Savanna Bealieu, the woman he would like to love, has left for California, and Farrell goes looking for trouble to put her out of his mind. He lives on the "borderland between the respectable and the criminal.' He responds to cries for help but there is violence at the core of his soul and he is ambivalent about his race. Outwardly comfortable in both the black and white worlds, he is, in reality, uncertain about where he wants to be. He dreams of marrying Savanna, but knows he would lose everything if he did. So the violence of New Orleans suits him just fine. First a prominent black businessman is murdered and then a man who has served 10 years in prison for armed robbery returns to town. The situation grows more complicated as another black businessman disappears and the black owner of a club asks Farrell to help him fend off a gangster who wants to take it over. There are several subplots in this book which all come together in an electrifying climax., Set in New Orleans in 1938, ""Daddys Gone A-Hunting"" presents a city that is rigidly separated along racial lines. Wesley Farrell is a black nightclub owner who can pass for white. He hones his skills as a private investigator on the side. Another black nightclub owner, Carol Donovan, asks Farrell for help. She claims a local gangster named Archie Badeaux is harassing her and trying to put her out of business., Robert Skinner has written three books in a series that takes place during the Depression in New Orleans. He selected the Depression because of stories family members told him about living during that time and how it affected them. To him, the '30s represent America's last romantic age. Even so, he is cognizant of how difficult this time period was for those at the low end of the economic spectrum. Because his books are hard-boiled, protagonist Wesley Farrell had to be an outsider. So Skinner made Farrell a black man passing for white, something that was unacceptable in New Orleans at the time. In the first book of the series, SKIN DEEP, BLOOD RED, the reader learns about his deception in the denouement. But Farrell continues to hide his race from almost everyone. He wants to help other blacks, but he also fears losing everything he has. Farrell is a gambler and bon vivant. He gets involved in a very complex series of problems partly because he is depressed. Savanna Bealieu, the woman he would like to love, has left for California, and Farrell goes looking for trouble to put her out of his mind. He lives on the borderland between the respectable and the criminal. He responds to cries for help but there is violence at the core of his soul and he is ambivalent about his race. Outwardly comfortable in both the black and white worlds, he is, in reality, uncertain about where he wants to be. He dreams of marrying Savanna, but knows he would lose everything if he did. So the violence of New Orleans suits him just fine. First a prominent black businessman is murdered and then a man who has served 10 years in prison for armed robbery returns to town. The situation grows more complicated as another black businessman disappears and the black owner of a club asks Farrell to help him fend off a gangster who wants to take it over. There are several subplots in this book which all come together in an electrifying climax., It's 1938 in New Orleans when Ernie LeDoux is released from Angola after serving a 10-year stretch for knocking over an armored truck. And the first thing on his mind is the $75,000 that he has stashed away with an old friend. It is also on the mind of one of the Crescent City's most hardened criminals: Archie Badeaux, a cocaine-snorting socio-path and hired muscle for wheelchair-ridden underworld leader Jonathan Lincoln. Badeaux hasn't forgotten the decade-old heist and aims to follow the ex-convict to the hidden cache. Unfortunately, LeDoux's friend has recently passed away, taking the money's whereabouts with him to the grave. Nightclub owner Wesley Farrell (first introduced in 1997's Anthony-nominated Skin Deep, Blood Red), is a mixed-blood creole "living as a white man in a Jim Crow environment." When Carol Donovan-a fellow club owner whose looks are "enough to make a Baptist minister drink swamp water, crawl inside a hollow log, and bay at the moon"-appears in his office, Farrell is unknowingly swept into LeDoux's story., Robert Skinner has written three books in a series that takes place during the Depression in New Orleans. He selected the Depression because of stories family members told him about living during that time and how it affected them. To him, "the '30s represent America's last romantic age." Even so, he is cognizant of how difficult this time period was for those at the low end of the economic spectrum. Because his books are hard-boiled, protagonist Wesley Farrell had to be an outsider. So Skinner made Farrell a black man passing for white, something that was unacceptable in New Orleans at the time. In the first book of the series, SKIN DEEP, BLOOD RED, the reader learns about his deception in the denouement. But Farrell continues to hide his race from almost everyone. He wants to help other blacks, but he also fears losing everything he has. Farrell is a gambler and bon vivant. He gets involved in a very complex series of problems partly because he is depressed. Savanna Bealieu, the woman he would like to love, has left for California, and Farrell goes looking for trouble to put her out of his mind. He lives on the "borderland between the respectable and the criminal." He responds to cries for help but there is violence at the core of his soul and he is ambivalent about his race. Outwardly comfortable in both the black and white worlds, he is, in reality, uncertain about where he wants to be. He dreams of marrying Savanna, but knows he would lose everything if he did. So the violence of New Orleans suits him just fine. First a prominent black businessman is murdered and then a man who has served 10 years in prison for armed robbery returns to town. The situation grows more complicated as another black businessman disappears and the black owner of a club asks Farrell to help him fend off a gangster who wants to take it over. There are several subplots in this book which all come together in an electrifying climax.
LC Classification Number
PS3569.K528
ebay_catalog_id
4
Copyright Date
2000
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