Michigan House Envy: New look for Elmore Leonard home
Photo: Jessica J. Trevino, Detroit Free Press
By Judy Rose, Special to the Detroit Free Press
Nicotine stains are gone from the wall in the living room, where Elmore Leonard sat, smoked Virginia Slims and wrote for 25 years.
His yellow walls are now oyster gray; the carpet has been pulled up and the wood floor refinished. Designer-chosen sofas replaced his offbeat mix of antiques and memorabilia.
Beyond surface changes, though, the big sunny living room where Leonard spent most days is unaltered. So are the house’s other front rooms and the face it shows to the street.
But walk around back, and the house sprawls out with a 3,000-square-foot addition, one so big the pool had to be moved.
This is Elmore (Dutch) Leonard, Edition Two — a total re-do of the Bloomfield Township house where the writer lived from the late 1980s till his death two years ago. This second edition adds a lot to the first.
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Moment of Vengeance Reprinted in the New Saturday Evening Post.
The Saturday Evening Post
Originally published in the Post on April 21, 1956
At midmorning six riders came down out of the cavernous pine shadows, down the slope swept yellow with arrowroot blossoms, down through the scattered aspen at the north end of the meadow, then across the meadow and into the yard of the one-story adobe house.
Four of the riders dismounted, three of these separating as they moved toward the house; the fourth took his rope and walked off toward the mesquite-pole corral. The horses in the enclosure stood and watched as he opened the gate.
Ivan Kergosen, still mounted, motioned to the open stable shed that was built out from the adobe. The sixth man rode up to it, looked inside, then continued around the corner and was out of sight.
Now Kergosen, tight-jawed and solemn, saw the door of the adobe open. He watched Ellis, his daughter, come out to the edge of the ramada shade, ignoring the three men, who stepped aside to let her pass.
“We’ve been expecting you,” she said. Her voice was calm and her smile, for a moment, seemed genuine, but it faded too quickly. She touched her dark hair, smoothing it as a breeze rose and swept across the yard.
“Where is he?” Kergosen said.
Purchase the digital edition or read the entire article in the September/October 2015 issue of The Saturday Evening Post.
the Elmore Leonard Story
The New York Review of Books
Elmore Leonard, who died two summers ago, aged eighty-seven, became famous as a crime novelist, but he didn’t like being grouped with most of the big names in that genre, people such as Raymond Chandler and Dashiell Hammett or, indeed, any of the noir writers. He disapproved of their melodrama, their pessimism, their psychos and nymphos and fancy writing. He saw in crime no glamour or sexiness but, on the contrary, long hours and sore feet. His criminals didn’t become what they were out of any fondness for vice. They just needed work, and that’s what was available. They are not serial killers (or only one is), but bank robbers, loan sharks, bookies.
BBC Video: Elmore Leonard’s Rules for Writing
“If you want to be a writer I wish you luck. The rest is up to you.” Acclaimed American crime novelist Elmore Leonard shares his writing personal tips. First broadcast on the Culture Show in October 2006.
BOOK REVIEW: ‘Elmore Leonard: Four Novels of the 1980s’
The Washington Times
Joseph C. Goulden
Library of America is performing a stellar service to the legions of readers who admire the crime-thriller writer Elmore Leonard (and include me in those ranks). At hand is the second volume of a planned trilogy that brings back four of the master’s best novels. And they vividly display Leonard’s talent for sparkling stories — ranging from an elaborate scam involving an aging movie star to the search for an assassin in glitzy Atlantic City. Leonard, who died in 2013, created a legacy that surpasses even such masters as Dashiell Hammett and Raymond Chandler.
Justifed finale panel from ATX Television Festival in Austin, TX
If you are a Justified fan, you must listen to this podcast. Esquire’s Andy Langer chats with writer/creator Graham Yost, writer/producers Dave Andron and Fred Golan, director Jon Avnett, and co-star Nick Searcy (“Art Mullen”) about ending the brilliant FX series based upon the Elmore Leonard story. Recorded June 6, 2015 at ATX
Listen to podcast.
Watch: 10-Minute Video Essay Explores Quentin Tarantino’s Masterful Character Building
It may be true that Quentin Tarantino is in love with his own dialogue. Make that shamelessly, deliriously, high-school-stalker in love. But hey, if you were the twisted junk-culture poet who created characters as iconic as Mr. Pink, Vincent Vega, Jackie Brown, and Colonel Hans Landa, then you’d feel pretty good about yourself too.
READ MORE: 17 Copycat Films Spawned By Quentin Tarantino’s ‘Pulp Fiction’
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Cops and Robbers - Margaret Atwood’s 2002 Review of Tishomingo Blues
The New York Review of Books
Tishomingo Blues is Elmore Leonard’s thirty-seventh novel. At that number you’d think he’d be flagging, but no, the maestro is in top form. If, like Graham Greene, he were in the habit of dividing his books into “novels” and “entertainments”—with, for instance, Pagan Babies and Cuba Libre in the former list, and Glitz, Get Shorty, and Be Cool in the latter—this one might fall on the “entertainment” side; but, as with Greene, those that might be consigned to the “entertainment” section are not necessarily of poorer quality.
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In ‘Hombre’ and ‘Kid Blue,’ the Antiheroes Wear Stetsons and Ride Tall on a Rebellion Frontier
The New York Times
You might say that civic duty demanded that the biggest male stars be at least part-time cowboys. Some, notably Steve McQueen and Clint Eastwood, got their start as TV westerners. Elvis Presley made his screen debut in a western; serious actors like Marlon Brando and Dustin Hoffman saddled up at least once. For Paul Newman, it was almost a steady gig.
Newman played a range of western heroes (and antiheroes): Billy the Kid in “The Left Handed Gun” (1958); a cynical contemporary cowboy in “Hud” (1963); an ambiguous bad guy in “The Outrage” (1964); and an outlaw with insouciant charm in “Butch Cassidy and the Sundance Kid” (1969). His most complex performance, however, was as the unsmiling, bitter title character in “Hombre” (1967), newly released on Blu-ray by Twilight Time.
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John Mulholland & Richard Zampella Filming Elmore Leonard Documentary Interviews in Detroit
Elmore Leonard’s life, his works, his place in the American literary pantheon, is the subject of this new documentary from Writer/Director John Mulholland & Producer Richard Zampella. The documentary film explores how he started, why he wrote what he did and how he arrived at his lean, terse, minimalist trademark.