Praise for
John D. MacDonald
“My favorite novelist of all time.”
—DEAN KOONTZ
“For my money, John D. MacDonald’s Travis McGee is one of the great characters in contemporary American fiction—not crime fiction; fiction, period—and millions of readers surely agree.”
—The Washington Post
“MacDonald isn’t simply popular; he’s also good.”
—ROGER EBERT
“MacDonald’s books are narcotic and, once hooked, a reader can’t kick the habit until the supply runs out.”
—Chicago Tribune Book World
“Travis McGee is one of the most enduring and unusual heroes in detective fiction.”
—The Baltimore Sun
“John D. MacDonald remains one of my idols.”
—DONALD WESTLAKE
“A dominant influence on writers crafting the continuing series character.”
—SUE GRAFTON
“The Dickens of mid-century America—popular, prolific and … conscience-ridden about his environment.… A thoroughly American author.”
—The Boston Globe
“It will be for his crisply written, smoothly plotted mysteries that MacDonald will be remembered.”
—USA Today
“MacDonald had the marvelous ability to create attention-getting characters who doubled as social critics. In MacDonald novels, it is the rule rather than the exception to find, in the midst of violence and mayhem, a sentence, a paragraph, or several pages of rumination on love, morality, religion, architecture, politics, business, the general state of the world or of Florida.”
—Sarasota Herald-Tribune
Praise for the Travis McGee series
“There’s only one thing as good as reading a John D. MacDonald novel: reading it again. A writer way ahead of his time, his Travis McGee books are as entertaining, insightful, and suspenseful today as the moment I first read them. He is the all-time master of the American mystery novel.”
—JOHN SAUL
“One of the great sagas in American fiction.”
—ROBERT B. PARKER
“In McGee mysteries and other novels as well, MacDonald’s voice was one of a social historian.”
—Los Angeles Times
The Turquoise Lament is a work of fiction. Names, characters, places, and incidents are products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
2013 Random House Trade Paperback Edition
Copyright © 1973 by John D. MacDonald Publishing, Inc.
Copyright renewed 2001 by Maynard MacDonald
Introduction copyright © 2013 by Lee Child
Excerpt from The Dreadful Lemon Sky copyright © 1974 by John D. MacDonald Publishing, Inc. Copyright renewed 2002 by Maynard MacDonald.
All rights reserved.
Published in the United States by Random House Trade Paperbacks, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
RANDOM HOUSE TRADE PAPERBACKS and colophon are trademarks of Random House, Inc.
Originally published in paperback in the United States by Fawcett, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York in 1964.
eISBN: 978-0-307-82676-3
www.atrandom.com
Cover design: Joe Montgomery
Cover photograph: © Randy Olson/National Geographic/Getty Images
v3.1
Contents
Cover
Title Page
Copyright
Introduction
Epigraph
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Epilogue
Dedication
Excerpt from The Dreadful Lemon Sky
Other Books by This Author
About the Author
Introduction
Lee Child
Suspense fiction trades on surprising and unexpected twists. Like this one: A boy named John Dann MacDonald was born in 1916 in Sharon, Pennsylvania, into the kind of quiet and comfortable middle-class prosperity that became common in America forty or fifty years later but which was still relatively rare early in the century. Sharon was a satellite town near Pittsburgh, dominated by precision metalworking, and John’s father was a mild-mannered and upstanding citizen with secure and prestigious salaried employment as a senior financial executive with a local manufacturer. Young John was called Jack as a child, and wore sailor suits, and grew up in a substantial suburban house on a tree-lined block. He read books, played with his dog, and teased his little sister and his cousin. When he was eighteen, his father funded a long European grand tour for him, advising him by letter “to make the best of it … to eat and function regularly … to be sure and attend a religious service at least once on each Sunday … to keep a record of your expenditures as a training for your college days.”
Safely returned, young Jack went on to two decent East Coast schools, and married a fellow student, and went to Harvard for an MBA, and volunteered for the army in 1940, and finished World War II as a lieutenant colonel, after thoroughly satisfactory service as a serious, earnest, bespectacled, rear-echelon staff officer.
So what does such a fellow do next? Does he join General Motors? IBM? Work for the Pentagon?
In John D. MacDonald’s case, he becomes an impoverished writer of pulp fiction.
During his first four postwar months, he lost twenty pounds by sitting at a table and hammering out 800,000 unsold words. Then in his fifth month he sold a story for twenty-five bucks. Then another for forty bucks, and eventually more than five hundred. Sometimes entire issues of pulp magazines were all his own work, disguised under dozens of different pen names. Then in 1950 he watched the contemporary boom in paperback novels and jumped in with his first full-length work, which was followed by sixty-six more, including some really seminal crime fiction and one of history’s greatest suspense series.
Why? Why did a middle-class Harvard MBA with extensive corporate connections and a gold-plated recommendation from the army turn his back on everything apparently predestined, to sit at a battered table and type, with an anxious wife at his side? No one knows. He never explained. It’s a mystery.
But we can speculate. Perhaps he never wanted a quiet and comfortable middle-class life. Perhaps, after finding himself amid the chaos of war, he felt able to liberate himself from the crushing filial expectations he had previously followed so obediently. As an eighteen-year-old, it’s hard to say no to the father who just paid for a trip to Europe. Eleven years later, as a lieutenant colonel, it’s easier.
And we know from what he wrote that he felt he had something to say to the world. His early stuff was whatever put food on that battered table—detective stories, westerns, adventure stories, sports stories, and even some science fiction—but soon enough his long-form fiction began to develop some enduring and intertwined themes. From A Deadly Shade of Gold, a Travis McGee title: “The only thing in the world worth a damn is the strange, touching, pathetic, awesome nobility of the individual human spirit.” From the stand-alone thriller Where Is Janice Gantry?: “Somebody has to be tirele
ss, or the fast-buck operators would asphalt the entire coast, fill every bay, and slay every living thing incapable of carrying a wallet.”
These two angles show up everywhere in his novels: the need to—maybe reluctantly, possibly even grumpily—stand up and be counted on behalf of the weak, helpless, and downtrodden, which included people, animals, and what we now call the environment—which was in itself a very early and very prescient concern: Janice Gantry, for instance, predated Rachel Carson’s groundbreaking Silent Spring by a whole year.
But the good knight’s armor was always tarnished and rusted. The fight was never easy and, one feels, never actually winnable. But it had to be waged. This strange, weary blend of nobility and cynicism is MacDonald’s signature emotion. Where did it come from? Not, presumably, the leafy block where he was raised in quiet and comfort. The war must have changed him, like it changed a generation and the world.
Probably the best of his nonseries novels is The Executioners, which became Cape Fear as a movie (twice). It’s an acute psychological study of base instinct, terror, mistakes, and raw emotion. It’s about a man—possibly a man like MacDonald’s father, or like MacDonald himself—who moves out of his quiet and comfort into more primeval terrain. And those twin poles are the theme of the sensationally good Travis McGee series, which is a canon equaled for enduring quality and maturity by very little else. McGee is a quiet man, internally bewildered by and raging at what passes for modern progress, externally happy merely to be varnishing the decks of his houseboat and polishing its brass, but always ready to saddle up and ride off in the service of those who need and deserve his help. Again, not the product of the privileged youth enjoyed by the salaried executive’s son.
So where did McGee and MacDonald’s other heroes come from? Why Florida? Why the jaundiced concerns? We will never know. But maybe we can work it out, by mining the millions of words written with such haste and urgency and passion between 1945 and 1986.
LEE CHILD
New York
2012
Revenge is the best way to get even.
—ARCHIE BUNKER
One
The place Pidge had borrowed was a studio apartment on the eleventh floor of the Kaiulani Towers on Hobron Lane, about a hundred yards to the left off Ala Moana Boulevard on the way toward downtown Honolulu.
Riding in from the airport, I had found out why taxis cost so much in Hawaii. When you want to know something, ask. “What happens,” the driver said, “the companies bid for exclusive. Like the Ala Moana Shopping Center. I could drop you there, but I can’t pick up from there. You pay so much for exclusive, see; it’s got to be passed on to the customer. Your first time here?”
“No. But I’m no regular visitor.”
“Everything costs an ass and a half, sport, and it keeps going right on up.”
It does, indeed it does, sport.
Even though I had phoned from the airport, and had used the low-fidelity speaker system in the cramped foyer, Pidge Brindle didn’t undo the door until she had opened it a few inches, to the end of the safety chain. A round eye, a segment of wide smile, a squeak of pleasure. She slammed the door, and I heard the clinking and clicking of chains and bolts, and then she swung it wide and pulled me in, saving the obligatory embrace until she had done up the door once more. Then she stood tiptoe tall, reaching up to hug with strength and enthusiasm, saying, “I can’t believe it, Trav. I can’t, I really can’t believe you’re here, you came.”
“You called, didn’t you?”
“I know. Yes. But it is a long way to come.”
Five time zones is a long way. Here it wasn’t yet time for lunch, and back at Lauderdale, Bahia Mar was almost into the early dark of early December. I had me a case of jet lag. It turns your brain to putty and makes the edges of everything too bright and sharp.
But Pidge looked very good, very real, though far too pale. It had been a little more than a year since she and Howie Brindle, a few months married, had set off from Bahia Mar in the Trepid to take their sweet long time going around the world. There had been a few postcards. But there always are, when people leave. Marinas are transient places. They are big, elegant, outdoor waiting rooms.
Then the phone call, small and meek and scared. “Please? Please?”
And as Meyer had pointed out, though it was not at all necessary so to do, if I had to make a list of the people to whom I owed a Big One, it would have to include one dead man named Ted Lewellen, whose only child, Linda, had come to be named Pidge because when very young she had learned to imitate the throaty warble and coo of a city pigeon perfectly. Meyer didn’t have to remind me about Professor Ted because I had already said yes to that small faraway voice. I had told her to stay put and I would make it as soon as I could.
And so I phoned an airline, went through my checklist of things to do when leaving the old houseboat for an indefinite time, packed, and took off, leaving Meyer to keep an eye on the store and hang onto any mail which might come. Everything I needed went into a bag small enough to go under the seat. I carried extra funds. Her voice had overtones of the deep miseries. Most solutions are available in your local shopping center, at high prices. The call had caught me about one week into another segment of my retirement. I had made score enough for a half year of it this time, so I had ample cash in the hidey-hole in the bow of the Busted Flush. I stocked the wallet handsomely and put the larger reserve supply in a safe place.
I learned about the safe place long ago from a man who had to carry four complete sets of identity papers in his line of work. You get hold of one of the longer Ace bandages for people with trick knees. I have one anyway, the left one. You divide the money into two equal stacks, fold each in half, wrap each stack in pliofilm, slip one under the bandage above the knee in front, one above the knee in back. No risk of losing. Nothing uncomfortable. Just comfortable presence.
I bought my ticket amid the night people at the National counter at Miami. There are two ways to go—first and tourist. First is better. Everybody’s life style is jam-packed with as many small arbitrary annoyances as the industrial-governmental bureaucracy can cram into it. So when you buy first class you buy lower blood pressure, because when it comes right down to nit and grit, they call more decisions your way if you have an F after your flight number. And for a man who’s six four and a bit, with a 34-inch inseam, there is more sprawl room in F. I had a DC-10 to Los Angeles and found on arrival that, for reasons unknown, my connecting flight, originating in Chicago, had not yet left there. So I shopped the terminals in the first gray light of day and switched to Continental, to a 747, to the window seat in the rearward starboard corner of first class, leaving in an hour and a half. The bigger the bird, the more you feel like something being processed, and that feeling is enhanced if you sit forward in first on a long flight in the 747, because they will sure-God pull down the movie screen and then yank down the little slide that will cover your window. “But sir, it spoils the quality of the picture for the people watching the movie if your window lets any light in.” And what crass person would spoil the movie for a small crowd of first-class clutzes thirty-seven thousand feet in the air?
Airplanes are empty three weeks before Christmas. There is a little lull in there. I think we had seven jolly girls flouncing about, servicing fifteen customers. After the unreality at the terminal of being served pineapple Kool-Aid by a couple of yawning ladies in plastic grass skirts, and the further unreality of the Inspection Before Boarding—a ceremony that any certified maniac could outwit—I caught a single tilted vista of Los Angeles in morning light, and the altitude and the sweep of the light gave it a strange appearance of total emptiness, a grid pattern of pale broken structures and rubble, long abandoned, a place of small dry vines and basking serpents. Moments later I got a second rearward look from a higher place, and it was no longer city, but stale pizza sprinkled heavily with chopped nutmeats.
As soon as they had unstrapped, the hearty girls set about getting us bombed on M
arys, then nailed our feet to boards and crammed us chock-full of airline food, depending on the dual stupor of booze and food to drop us off to sleep. For the sleepless, the stereo high fidelity of the sterilized, repackaged headsets with a choice of umpty channels, or the sterilized, repackaged motion picture, would keep them from bothering the stewardess crew with any demands for service.
Halfway along, a great big stewardess, a king-size pretty, came back and stopped and looked at me in a troubled way. I wasn’t eating, drinking, reading, listening to music, or watching the movie. I was sitting there with my eyes open. This was unthinkable! Would I like a drink? A magazine? A newspaper, maybe?
In A.D. 3174 the busy, jolly nosexicles on the planet Squanta III will sever our spinal cords, put us into our bright little eternity wombs, deftly attach the blood tube, feeding tube, waste tube and monitor circuitry, remove the eyelids quickly and painlessly, and, with little chirps of cheer, strokes and pats of friendship and farewell, they will lower the lid and seal it, leaving us surrounded by a bright dimensional vista of desert, a smell of heat and sage, a sound of the oncoming hoofs on full gallop as, to the sound of a calvary bugle, John Wayne comes riding, riding, riding …
“No, thanks,” I said. “I’m just thinking.”
Pursed lips. Vertical lines between the dark brows. “Thinking? Hey, I’ve got a friend who’s totally freaked on the contemplation thing, you know, how a person can do brain waves. I thought a person had to be all quiet and alone. I didn’t know you could do it on airplanes. Is that what you’re doing?”
“Yes. You can do it on big reliable airplanes.”
“We’re pretty steady this time on account of we’re taking sixteen tons of plywood to Hawaii on account of some kind of strike.”
“That would make it very steady.”
The Turquoise Lament Page 1
