Chicago Noir

by Neal Pollack

  Chicago Noir

  Edited by Neal Pollack

  This collection is comprised of works of fiction. All names, characters, places, and incidents are the product of the authors' imaginations. Any resemblance to real events or persons, living or dead, is entirely coincidental.

  Series concept by Tim McLoughlin and Johnny Temple

  Published by Akashic Books

  ©2005 Akashic Books

  Chicago map by Sohrab Habibion

  ePUB ISBN-13: 978-1-936070-24-4

  ISBN-13: 978-1-888451-89-4

  ISBN-10: 1-888451-89-0

  Library of Congress Control Number: 2005925468

  All rights reserved

  First printing

  Akashic Books

  PO Box 1456

  New York, NY 10009

  Akashic7@aol.com

  www.akashicbooks.com

  ALSO IN THE AKASHIC NOIR SERIES:

  Brooklyn Noir, edited by Tim McLoughlin

  Brooklyn Noir 2: The Classics, edited by Tim McLoughlin

  San Francisco Noir, edited by Peter Maravelis

  FORTHCOMING:

  D.C. Noir, edited by George Pelecanos

  Dublin Noir, edited by Ken Bruen

  Manhattan Noir, edited by Lawrence Block

  Baltimore Noir, edited by Laura Lippman

  Twin Cities Noir, edited by Julie Schaper & Steven Horwitz

  Los Angeles Noir, edited by Denise Hamilton

  London Noir, edited by Cathi Unsworth

  Miami Noir, edited by Les Standiford

  Now I'm walkin' on the sidewalks of Chicago

  If I buy the bread I can't afford the wine

  Now I'm walkin' on the sidewalks of Chicago

  Wishin' I had lived some other time

  —Merle Haggard

  Table of Contents

  INTRODUCTION

  GOODNIGHT CHICAGO AND AMEN

  BY LUCIANO GUERRIERO

  99th & Drexel

  THE GOSPEL OF MORAL ENDS

  BY BAYO OJIKUTU

  77th & Jeffery

  DEAR MR. KLEZCKA

  BY PETER ORNER

  54th & Blackstone

  THE NEAR REMOTE

  BY JEFFERY RENARD ALLEN

  35th & Michigan

  DESTINY RETURNS

  BY ACHY OBEJAS

  26th & Kedvale

  THE GREAT BILLIK

  BY CLAIRE ZULKEY

  19TH & SACRAMENTO

  MAXIMILLIAN

  BY ALEXAI GALAVIZ-BUDZISZEWSKI

  18th & Allport

  ALL HAPPY FAMILIES

  BY ANDREW ERVIN

  Canal & Jackson

  MONKEY HEAD

  BY M.K. MEYERS

  Grand & Western

  ZERO ZERO DAY

  BY KEVIN GUILFOILE

  Grand & Racine

  ARCADIA

  BY TODD DILLS

  Chicago & Noble

  ALEX PINTO HEARS THE BELL

  BY C.J. SULLIVAN

  North & Troy

  PURE PRODUCTS

  BY DANIEL BUCKMAN

  Roscoe & Claremont

  DEATH MOUTH

  BY AMY SAYRE-ROBERTS

  Roscoe & Broadway

  LIKE A ROCKET WITH A BEAT

  BY JOE MENO

  Lawrence & Broadway

  MARTY'S DRINK OR DIE CLUB

  BY NEAL POLLACK

  Clark & Foster

  BOBBY KAGAN KNOWS EVERYTHING

  BY ADAM LANGER

  Albion & Whipple

  THE OLDEST RIVALRY

  BY JIM ARNDORFER

  I-94, Lake Forest Oasis

  ABOUT THE CONTRIBUTORS

  INTRODUCTION

  ONCE THERE WAS A CITY

  While I was working as a reporter in Chicago, from 1993 to 2000, the city changed. Very profound, you say. Of course the city changed in seven years; that's what cities do. True enough, but cities change during certain periods more than others. In the '90s, Chicago changed a lot, and it's changed even more, and more quickly, in the years since I've left.

  It's very possible to visit Chicago these days and see no more grit than you would in, say, Indianapolis. During his nearly twenty-year reign over the city, Richard M. Daley has overseen a studied program of urban renewal, civic booster-ism, and tourist pleasing. His Chicago shines with a well-buffed gloss. One by one, the weird old bars and restaurants, the bizarre little museums, the hardware stores that never had any customers disappeared, some in blatant land-grabs, others subtly, almost imperceptibly, like construction dust blown out to the lake. In their place stand condos and fresh-brick branch libraries, a Frank Gehry bandshell, and a spaceship in the middle of Soldier Field. In many ways, it's a better city than the one Mayor Daley inherited, but it's a far less interesting one, and it certainly makes for less interesting stories.

  Chicago's literature, with a brief detour into the world of Saul Bellow and occasional forays by Theodore Dreiser, has rarely concerned itself with the vagaries of the upper and upper-middle classes. The city's best writers—Nelson Algren, James Farrell, Studs Terkel, Richard Wright, and so on—have traditionally used working people as their palette. They accurately captured the rough streets and random cruelty of urban life, but for people living in Chicago, their stories meant something more. They shaped the way Chicagoans think about themselves, and about Chicago.

  The excellent new stories I've collected in this volume try to fill the gap between how the world sees Chicago and how Chicago sees itself. Many of the stories take nostalgia as a theme. Some have a yellowing snapshot feel, as though they're trying to archive a city that's just about gone. Adam Langer looks wistfully back at neighborhood life in the 1970s. C.J. Sullivan's protagonist, long past whatever sad prime he once had, also remembers the '70s as a golden age. Peter Orner drifts even further back, to the 1950s, while inhabiting the mind of one of Chicago's most sinister criminals, and Claire Zulkey visits the city 100 years ago, when people were strange and their crimes even stranger. Now that was a city worth writing about.

  This is a noir book, so it features a little police procedural and lots of gory violence. It contains the full range of urban types, from jazzmen to slam poets, cab drivers to shop-owners, barflies, waitresses, petty thieves, lovelorn husbands, and sexual predators both gay and straight. But Chicago noir, to me, has a special quality of nostalgia, an extra dimension that makes nearly every story seem like an epitaph for a city now gone.

  A classic Chicago joke goes, "What are the three Chicago streets that rhyme with vagina?" The answer, "Malvina, Paulina, and Lunt."

  For those of you who haven't now slammed the book down in disgust, I'm using that joke to illustrate something. Chicago's neighborhoods have totemic value to those who treasure them, but even more important are its street names. Every intersection runs thick with meaning, and every one has its own personality. So I've organized the book by intersection, moving from the Southeast Side, with its view of the smokestacks of Gary, Indiana, to the verdant Wisconsin border in the north. Along the way, many faces of Chicago appear, and the truth of the city's segregation reveals itself. The first part of the book, the South Side part, is mostly black, with occasional glimpses of the Jews who used to rule that part of town. Then, as we move to mid-South, the book takes on a distinctly Hispanic impression: Mexican, Cuban, and Puerto Rican concerns rule the day, with a paprika sprinkle of Eastern Europe. Once you hit downtown, things turn Anglo pretty fast, with plenty of down-and-out types, but very little variation in skin tone. There's a brief detour into the melting-pot diversity of the far North Side, and we end up in the northern suburbs, the domain of the WASP ruling class. It's a journey as old as the city itself, though none of the stories take place on Malvina, Paulina, or Lunt.

  Now, with
your permission, I'd like to dedicate this book to some of the places I knew in a Chicago that no longer exist. Don's Coffee Club, Weeds, Rest-n-Pieces, Bucket O' Suds, Ronny's Steak Palace, Sharon's Hillbilly Heaven. The names alone invoke a city that's more dream than reality. But those places were real, and I knew them well. They, along with so many other spots now gone, comprised the Chicago I loved. Hopefully with this book, and with the help of these excellent writers, I can put a small piece of that city back. I hope you enjoy these stories as much as I do.

  Neal Pollack

  Austin, Texas

  May 2005

  GOODNIGHT CHICAGO AND AMEN

  BY LUCIANO GUERRIERO

  99th & Drexel

  Never know how you gonna end up. Or when and where. Or why, for that matter. You just know you will. You will end up somehow, somewhere, sometime. That something to think about. It is now, anyway.

  I always been an all-purpose guy, game for pretty much whatever you got, long's it bring me what I want or what I need. I'm mostly known as a robber, stickups and like I help jack an armored truck once, and hold up a whole bunch of stores and shit. But I also commit arson for some guy over insurance money, deliver heavy weight of drugs plenty times. Etc. and so on. Never knock over no bank yet—I always seen myself doing that, but it don't seem likely now.

  I done murders too. Three, to be exact. Usually I do murders for five heavy, my rate. I done one for half price once, as a favor to somebody. But five is my rate for murder, less there's extra risk or something else hairy about it. Then it take more.

  Back starting out, I never think I be doing hits. But my twenties they behind me and I'm trying to branch out. Since this here new hit job's a cop, one of them "something else hairy" murders, this one takes five up front and another five behind.

  Yeah, Katrina's paying me ten large for this one and I'm happy about that. Plus, doing a cop puts me on a whole new level far as future work goes. Not every hitter will take on a cop job, and for good reason—the reaction is stone fierce, man. Still, set up for this one nice, seems sane enough to me, so it's perfect, suits my needs.

  Specially now, I need the boost. See, a week ago I got out of Joliet after four and a half on a five-to-ten for an armed robbery that went bad. Nobody inside got in my shit though cuz word spread that I'm connected, so I did my time clean and walked early.

  I get connected cuz after the heist my car gets slammed by a mail truck and it break up my leg pretty good, so I get nabbed. I go deaf and dumb right away, take the whole weight of it on myself, cop myself a plea for a reduced sentence and no trial, no further investigation. Kind of guy I am. So on my taking the bust, my partner on the heist, gangsta man named Blue who's driving the other car, he stay free and clear.

  Blue one capable guy. His operation gets even bigger since I go in. Blue naturally is grateful to me, which you can understand, sends word in to his boys that I should do easy time. The brothers make sure the time I do is easy as pie. Or as easy as any time can get in prison, which sucks any way you look at it. But it could be a lot worse, is what I'm saying, cuz I'm one stand-up guy about the whole thing.

  Second I hit free air outside the Joliet walls, Blue has a car there to ride me back to town. Driver tells me Blue wants me at his new bar next night, Blue's setting me up for a sweet little payday. That's what this cop hit is all about, far as I'm concerned. Little reward.

  Yeah, okay, I know it ain't too swift to go on parole for armed robbery and right away do some cop murder. But this ten grand gets me set up again, like a human being, not some brain-dead rodent ex-con sweeping supermarket floors. I'm sending Blue a Christmas card this year, though he never send me one inside. Kind of guy I am.

  Some shit happens during the week, and seven days later, here we go, we on the job, me and this uncle named Hector in coveralls, shovels in hand. Katrina is watching us dig. Soil in this yard is good and black, smelling like rotten leaves and earthworms. Gonna turn a body to compost in, like, two seconds.

  Look, she cocking her head now, listening for out-of-the-ordinary sounds that might float their way back here through the evening air. Katrina's sharp. Hector, the guy digging with me, he got no idea how sharp she is. He gonna find out, though.

  This a good spot, the edge of Blue's turf in the 8th Ward. We digging behind some apartment houses on Drexel north of 99th Street. People in this nabe know not to get too nosy, even if they do see something. They better off look the other way, and that's what they do. I just can't picture nobody calling cops about the suspicious earth turned near the tree in the backyard.

  I'm making like I ain't looking at Katrina, cuz I'm s'posed to be cool. But I do see she almost topples back when them stiletto heels sink down in the wet sod. Lord, her thigh muscles flex really nice when she bends her knees and shifts her weight to the balls of her feet, sliding them heels free.

  I should look away, though, before Hector notices me checking out her legs. But shit, why not look? Not only do Katrina got bitchin' legs, but that fine piece a ass knows it too. Yeah, I take myself a decent look. Long as we keep digging, what she gonna say? This ain't church.

  Damn, it's getting cold, though. October breeze down out of Canada, gusting off the lake. Every so often the hem on Katrina's thin little mini goes up and I can see every bit of them Tina Turner thighs. Yeah, and look, she know she distracting us, which I can tell by how she folds her arms across her chest, hiding them nips like we ain't already been checking them out too. It's her way of trying to get this here business done, not cuz she some prude. Katrina definitely not no prude.

  Every so often a shovel clangs against a stone and we all freeze and look around the backyard. I can understand their feelings. Digging somebody's grave some serious business. But if I'm thinking at all, it ain't about a shovel hitting a rock. I'm thinking mostly about this ghost watching us.

  Katrina tells me before we come here ghost all taken care of, nothing to worry about, so we do this thing tonight and nobody gonna step in early. Now, though, Katrina's playing the whole thing straight, making like she don't know about no ghost, I guess to keep Hector's head in the right place. I'm playing along, freezing when she do, giving nobody reason to squint their eyes at me later. I can just picture Katrina later, telling everybody in the bar how I'm one hell of an actor, which I'm gonna love. She look down now and see me smiling at that, which I can see she don't understand.

  Katrina breaks up the freeze with a nod toward the hole we standing in waist deep. Me and Hector start digging again, making the pile to one side. Way she look at Hector, I can tell she expect my boy to say something stupid, and my boy don't disappoint.

  "Ain't this goddamn hole deep enough yet?" he whispers loud.

  "Dig it my way, Hector, head-deep," she spits back, eyes flashing all serious. "No more static, now, you dig."

  Hector give a pause looking at her like he don't like her tone. On cue, she repeats herself, even more serious, "Just dig."

  I smack him on the arm and he get digging again. Hector can't tell, but I see Katrina worried about his attitude. She wants this thing to go smooth and if he's all belligerent and shit, could be trouble. Guess she don't know I'm here to take care of any and all business tonight, no matter what. S'okay. This my first job with her. If seeing's believing, she find out good what she got in me, and soon enough.

  Can't help thinking while I dig, though, my mind moving around. Thinking about the night after I get out of Joliet, hanging around Blue's bar when Katrina comes in. Place is on Dobson Avenue right near to 95th Street. Busy spot, but not too busy. Neighborhood place, mostly people Blue know coming in.

  "Don't make that much money, but it's just like I like it," Blue say to me, cranking the music. Always great music playing in Blue's place, just like his crib.

  They call the man Blue cuz his skin so black they say it looks blue, which all I see is dark brown, but then I don't care about that shit. Always funny to me how the brothers and sisters always got their skin tone in mind, like it matter s
omehow, while a white boy like me don't give it no real thought. I never understand that.

  Katrina goes back in the office with Blue that first night and right quick they send word out I should come back. Blue introduces us and right off she flirtatious. I look at Blue and he laughs with Katrina coming off all mad hot for me, which is all the okay I need. This, you know, like, especially being inside Joliet for that amount of time, kinda gets my attention.

  You also have to understand one thing, I'm impressed as hell with the fact Blue and Katrina bringing me in this way, me being white and all. Hardly ever works that way in Chicago, or anywhere that I know. But I tell myself they smart, cuz all they interested in, and all they should be interested in, is talent. That and loyalty, which I proved to Blue some years back.

  So I'm thinking right away in the bar this Katrina chick's got a thing for me, partly cuz of what I am to Blue, and I'm real happy about that. Right off, I'm taking my time sucking in air and eyeing her up and down, like some kind of real stud, which let's face it is a stretch for somebody look like me. But 'tude always counts for a lot with chicks and I got plenty a dat, so in half a snap Katrina has me in a cab back to her hotel and I'm already thinking I da man.