Print the Legend

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Ingeniously plotted and executed, Print the Legend is an epic masterpiece from Craig McDonald. Beginning to end, I was riveted by this story of character, history and intrigue.--MICHAEL CONNELLY

The competition for the future of crime fiction is fierce, but don't take your eyes off Craig McDonald. He's wily, talented and -- rarest of the rare -- a true original. I am always eager to see what he's going to do next."--LAURA LIPPMAN

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2010 Audio CD Good Audio Book 11 AUDIO CDs, polished for your satisfaction, published by Recorded Books, in the sturdy, clamshell case withdrawn from the library collection. ... Some library markings and stickers to the box and the CDs. Each audio CD is in an individual slot, protected and clear sounding. Enjoy this audio performance. Read more Show Less

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Overview

Ingeniously plotted and executed, Print the Legend is an epic masterpiece from Craig McDonald. Beginning to end, I was riveted by this story of character, history and intrigue.--MICHAEL CONNELLY

The competition for the future of crime fiction is fierce, but don't take your eyes off Craig McDonald. He's wily, talented and -- rarest of the rare -- a true original. I am always eager to see what he's going to do next."--LAURA LIPPMAN

What critics might call eclectic, and Eastern folks quirky, we Southerners call cussedness -- and it's the cornerstone of the American genius. As in: "There's a right way, a wrong way, and my way." You want to see how that looks on the page, pick up any of Craig McDonald's novels. He's built him a nice little shack out there way off all the reg'lar roads, and he's brewing some fine, heady stuff. Leave your money under the rock and come back in an hour. --JAMES SALLIS

With Print the Legend, with a James Ellroy-like scope and vision of national history, McDonald takes on governmental conspiracy, Hemingway hagiography, the under-history of the FBI, the Death of the Author (literal and figurative) and the tantalizing, destructive mythologization of the Writer's Life. While the scale is immense, McDonald's hand is deft, and we never forget that, at its center, this is a human story, complex and bruising and deeply felt. --MEGAN ABBOTT

"Print the Legend is a landmark book. Lassiter for me is the Flashman/Zelig of the new era, but with a ferocious literary knowledge that is worn so lightly. A book beyond genre, stunning." --KEN BRUEN

Craig McDonald's debut, HeadGames, a relentlessly slick and action packed literary caper novel, was shortlisted for the Edgar, Anthony, Crimespress and Gumshoe awards for Best First Novel. Now, with Print the Legend, McDonald exceeds the extraordinary promise of his debut, delivering a consummate mystery about a conspiracy gone wrong, and the outer edges of creative jealousy and obsessive revenge.

It was the shot heard around the world: On July 2, 1961, Ernest Hemingway died from a shotgun blast to the head... 4 years later, two men have come to Idaho to confront the widow Hemingway—men who have doubts about the circumstances of Hemingway's death. One is crime novelist Hector Lassiter, the oldest and best of Hem's friends...the last man standing of the Lost Generation. Hector has heard rumors of some surviving Hemingway manuscripts: a "lost" chapter of A Moveable Feast and a full-length novel written by a deluded Hemingway that Hector fears might compromise his own reputation. The other man is professor Richard Paulson, who along with his pregnant wife Hannah, herself an aspiring writer, is bent on proving that Mary Hemingway murdered Papa. As Hector digs into the mystery of Hemingway's lost writings, he uncovers an audacious, decades-long conspiracy tied to the emergent art movements of 1920's Paris, the most duplicitous of Cold War espionage tactics, and J. Edgar Hoover's FBI...

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Editorial Reviews

Publishers Weekly
Edgar-finalist McDonald raises a little discussed theory about Ernest Hemingway’s suicide in 1961—that the writer’s last wife, Mary, killed her husband as an act of mercy—in his provocative third Hector Lassiter mystery (after 2008’s Toros & Torsos). Set in Sun Valley, Idaho, at a conference of “Papa” academics in 1965, the plot zeroes in on three men who have come to the conference with their own pieces of unfinished business to discuss with Mary. One is crime novelist Hector Lassiter, Hem’s old friend, who’s heard rumors of the discovery of “lost writings.” Another is Richard Paulson, a Hemingway scholar who wants to set the record straight on the suicide. Finally, there’s Donovan Creedy, an old FBI man who’s dogging the case for his own, dark reasons. McDonald creates a fast-paced drama—replete with shifting motives and personal interests on the part of all the major players—about the lore of one of America’s greatest novelists. (Feb.)
Kirkus Reviews
Was the shotgun blast that ended Ernest Hemingway's life on July 2, 1961, really self-inflicted, or was it murder?Hemingway's oldest and closest friend, tough crime novelist Hector Lassiter, is full of misgivings as he travels to Papa's Idaho ranch. Rumors abound that among the manuscripts Hemingway's fourth wife Mary is guarding may be things that should not see the light of day. Mary has decided that she should be the subject of a biography, and to pen it she's chosen Richard Paulson, an alcoholic professor with a beautiful and very pregnant wife. But Paulson aims to prove that Mary murdered Hemingway. He has help from a sleazy author, Donovan Creedy, a jealous wannabe who's been on Hemingway's case since his early days in Paris and now works for the FBI and the CIA. Racist, paranoid J. Edgar Hoover, who hounded every artist in the country, recruited Creedy years ago to spy on Hemingway. He's still digging up dirt and is not above giving Paulson LSD to spike Mary's drink. Lassiter carefully soothes hard-drinking Mary, reluctantly falls for Hannah Paulson despite her advanced pregnancy and finds himself in mortal jeopardy from both Creedy and an unidentified man who's stalking Hannah. Papa's failing health may indeed have led to suicide, but Lassiter must bring all his formidable talents to bear if he's to flummox Hoover and protect Hemingway's legacy. Hector's third case (Toros & Torsos, 2008, etc.) is another intriguing and convincing mix of history and hardboiled mystery.
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Product Details

Meet the Author

Craig McDonald is an award-winning journalist, editor and fiction writer. In 2008, His debut novel, Head Games, was nominated for the Edgar, Anthony, Gumshoe and Crimespree Magazine awards for best first novel.

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Read an Excerpt

Print the Legend


By McDonald, Craig

Minotaur Books

Copyright © 2010 McDonald, Craig
All right reserved.

ISBN: 9780312554378

BOOK ONE

To Have and Have Not

(Idaho, 1965)

God knows people who are paid to have attitudes toward things, professional critics, make me sick; camp following eunuchs of literature. They won’t even whore. They’re all virtuous and sterile. And how well meaning and high minded. But they’re all camp followers.

—ERNEST HEMINGWAY

1. HANNAH

"The house where he died. Call it the scene of the crime."

The scholar and his pregnant, newlywed Scottish wife walked along the berm, spooking some crows pecking at the bloated carcass of a black dog killed crossing U.S. Highway 75.

The scavengers scattered in a flurry of wings and reeling shadows and high- pitched shrieks, beaks dangling remnants of rotting flesh and pelt matted with dried blood. The big blue- black crows came to roost on a wire, cawing and flapping their wings at the academic and his bride peering at the house.

Richard Paulson pointed at the brown house with the three green garage doors. The home that was once known as the Topping House was surrounded by pines, and fronted one bare, cloud- shadowed hill and another dense with pine trees.

"It’s attractive," Hannah Paulson said, her voice a husky burr. She pushed her sunglasses back on her head. "Seems right for him. Rugged and handsome; builtfrom the materials at hand."

Richard shook his head at his wife’s assessment. "From here it looks good enough, sure. By all accounts, it’s something else up close."

Hem’s house, which looked like alpine wood construction, was actually fabricated from poured concrete, stained brown and molded to resemble timber. They were the same construction techniques used at the Sun Valley Lodge, where the Paulsons had had lunch. One of Hem’s sons, Gregory, bitterly described the concrete house as a fortification fit for the paranoid man Greg’s father had allegedly been at the end.

Hem’s last wife, Mary, declared the house "depressing" shortly before she and Hem moved in during an October day in 1959.

"They say Mary will be moving soon," Richard said. "Mary’s lived here on and off since the day he died. Aaron says she may move to New York. Word is she’s mostly drunk these days. She talks of leaving the property to the Nature Conservancy. The home and fourteen acres of surrounding ground would be declared a preserve in Papa’s name if Mary did that."

Hannah stroked her blond hair behind her ears and wrinkled her nose. "How can Mary stand to live there after . . . ? To have to step over the spot where he blew his brains out every time she passes through that entryway? It’s unthinkable."

"For you, sure. You’re using yourself as a yardstick for Mary. The two of you are nothing alike."

Richard squeezed his wife’s hand, the two small diamonds in Hannah’s wedding band and ring— the fourth pair of bands he had bought in his life— digging into his palm in a freshly unfamiliar way. "I just can’t believe anybody before me hasn’t seen it the way it must have been," Richard said. "I can’t believe it took me so long to see it truly."

"And how exactly was it, Richard? You’ve been cagey about all of this. What’s your scheme? Ready at last to share?"

Richard fingered the vial in his pocket— the mysterious drug given him by that man. He hated to throw in with their lot. Every scrap of his spirit and intellect rebelled against it. Still, in the service of a righteous cause . . .

This time, at least, Richard was on the side of the angels. He was sure of that. The ends, he comforted himself again, more than justified these dark means.

He said, "The famous suicide is nothing but a myth, Hannah. I know it. I think the old bitch killed her husband. I think Mary murdered poor sick Papa. Blew the ailing son of a bitch away with his own shotgun."

EXCERPT FROM THE FOURTH ANNUAL SUN VALLEY HEMINGWAY CONFERENCE PROGRAM

Keynote Speaker: Hector Mason Lassiter (1900–)

Biography: Noted screenwriter and crime novelist Hector Lassiter, popularly regarded as "the man who lives what he writes and writes what he lives," is by most measures also now recognized as "the last man standing of the Lost Generation."

As a novelist, Hector Lassiter represents a kind of vanishing breed of martial men skilled in American letters— an author of the sort typified by Ernest Hemingway. It is Mr. Lassiter’s long and storied association with Hemingway that uniquely qualifies him to keynote our fourth annual Hemingway conference here among the Sawtooth Mountains.

Hector Lassiter and Hemingway met while serving as ambulance drivers along the Italian front. Hemingway soon followed Lassiter to Paris, where the expatriate fiction writers honed their mutually iconic, distinctive, much lauded, and laconic prose styles.

Later, Papa followed Lassiter to Key West, where they weathered the Great Depression, writing, fishing, and allegedly rescuing Cuban refugees between novels, nonfiction books, and screenplays.

They also shared the early days of the Spanish Civil War, and both men ran afoul of military authorities during the Second World War for allegedly stepping outside their proscribed roles as war correspondents and actually organizing their own guerilla units—

Excerpted from Print the Legend by Craig McDonald.
Copyright © 2010 by Craig McDonald.
Published in February 2010 by Minotaur Books.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.



Continues...

Excerpted from Print the Legend by McDonald, Craig Copyright © 2010 by McDonald, Craig. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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