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
A Tan and Sandy Silence 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 © 1971 by John D. MacDonald Publishing, Inc.
Copyright renewed 2000 by Maynard MacDonald
Introduction copyright © 2013 by Lee Child
Excerpt from The Scarlet Ruse by John D. MacDonald copyright © 1973 by
John D. MacDonald Publishing, Inc. and copyright renewed 2001 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 mass market in the United States by Fawcett, a division of Random House, Inc., New York, in 1972.
The lines from “A Year’s Changes” by Jim Harrison, which appeared in the collection titled Locations, published by W. W. Norton & Company, are reprinted courtesy of the author. Copyright 1968 by Jim Harrison.
eISBN: 978-0-307-82674-9
www.atrandom.com
Cover design: Joe Montgomery
Cover photograph: © Gary John Norman/Iconica/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
Chapter Nineteen
Chapter Twenty
Chapter Twenty-one
Chapter Twenty-two
Chapter Twenty-three
Other Books by This Author
About the Author
Excerpt from The Scarlet Ruse
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 metal-working, 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 tireless, 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
In northern Manitoba
a man saw a great bald eagle—
hanging from its neck,
teeth locked in skin and feathers,
the bleached skull of a weasel.
BY JIM HARRISON
(From “A Year’s Changes”)
One
On the most beautiful day any April could be asked to come up with, I was kneeling in eight inches of oily water in the cramped bilge of Meyer’s squatty little cabin cruiser, the John Maynard Keynes, taking his automatic bilge pump apart for the third time in an hour.
The socket wrench slipped, and I skinned yet another knuckle. Meyer stood blocking out a sizable piece of the deep blue sky. He stared down into the bilge and said, “Very inventive and very fluent. Nice mental images, Travis. Imagine one frail little bilge pump performing such an extraordinary act upon itself! But you began to repeat yourself toward the end.”
“Would you like to crawl down in here and—”
He backed up a hasty half step. “I couldn’t deprive you of the pleasure. You said you could fix it. Go ahead.”
I got it apart again. I spun the little impeller blade and suddenly realized that maybe it turned too freely. Found the set screw would take a full turn. Tightened it back down onto the shaft. Reassembled the crummy little monster, bolted it down underwater, heaved myself up out of the water, sat on the edge of the hatch, and had Meyer flip the switch. It started to make a nice steady wheeeeeeng, gouting dirty bilge water into the Bahia Mar yacht basin.
Meyer started to applaud, and I told him to save it until we found out if the adorable thing would turn itself the hell off like it says in the fine print. It took a good ten minutes to pump the water out. Then it went weeeeeeng-guggle-chud. Silence.
“Now cheer,” I said.
“Hooray,” he said mildly. “Thank you very much and hooray.” I looked at him with exasperation and affection. My mild and bulky friend with the wise little blue eyes, bright and bemused, and with the bear hair, thatch black, curling out of the throat of his blue knit shirt.
“Another half inch of rain last night,” I told him, “and you could have gone down like a stone.”
He had stepped out of his bunk in the dark after the rain stopped and into ankle deep water. He had sloshed over to my houseboat, the Busted Flush, and told me he had a small problem. At three in the morning we had toted my auxiliary pump over and set it on the dock and dropped the intake hose into his bilge. His home and refuge was very low in the water, the mooring lines taut enough to hum when plucked. By first light the Keynes was floating high again, and we could turn the pump off and carry it back. Now the repaired automatic bilge pump had taken out the last of the water, but he was going to live in dampness for quite a while.
“Perils of the sea,” he said.
I stepped up onto the dock and squatted and began to rinse the grease and bilge water off my hands under the hose faucet. Meyer shaded his eyes and looked toward the Flush. “You’ve got a visitor, Travis. Isn’t that what’s-his-name?”
I stood up and stared. “It sure is. Good old what’s-his-name. Harry Broll. Do you think that son of a bitch has come to try me again?”
“After the showing last time … Was it two years ago?”
“At least.”
“I think he’s at least bright enough not to try again.”
“Not the same way. But he did catch me with one very nice left. True, he broke his hand, but it was one to remember.”
“Want company?”
“No thanks.”
Harry turned and saw me when I was about fifty feet away. He was big, and he had gotten bigger since I’d seen him last. More gut and more jowls. Not becoming. He wore a pale beige suit, a yellow shirt, and he had a chocolate-colored neckerchief with an ornate, gold slip ring.
He raised his hands in the most primitive gesture of reassurance. Palms out. Sickly smile to go with it. As I came up to him he said, “Hi, McGee.” He put his hand out. I looked at it until he pulled it back. He tried to laugh. “Jesus, are you still sore?”
“I’m not sore, Harry. Why should we shake hands?”
“Look. I want to talk to you. Are you busy or anything?”
“What about?”
“About Mary. I know you’ve got no reason in the world to do me any favors. But this concerns … Mary’s well-being.”
“Is something wrong with her?”
“I don’t know. I don’t really know.”
I studied him. He seemed concerned and upset. He had the pallor of desk work. His black hair had receded since I had seen him last. He said, “I couldn’t think of anybody else to come to. I can say please if it’ll help. Please?”
“Come on aboard.”
“Thanks. Thanks a lot.”
We went into the lounge. I had on an old pair of denim shorts and nothing else. The air-conditioning cooled the sweat on my shoulders and chest. He looked around, nodding and beaming, and said, “Nice. Real nice. A nice way to live, huh?”
“Want a drink?”
“Bourbon, if you’ve got it.”
“Got it.”
“On the rocks.”
I put out the bottle and the glass and said, glancing down at my soiled hands, “Ice is in the bin there. Help yourself while I clean up, Broll.”
“Thanks. You sure keep yourself in shape, McGee. Wish I had the time. I guess I better make sure I have the time one of these days.”
I shrugged and went forward, dropped the shorts into the hamper and stepped into the oversized shower, thinking about Mary and wondering about her as I sudsed and scrubbed away the rest of the grime from the repa
ir job. Miss Mary Dillon when I had known her. Then abruptly—maybe too abruptly—Mrs. Harry Broll. When I put my watch back on I saw that it was nearly four o’clock. Meyer and I were invited for drinks at six aboard the Jilly III. I put on fresh slacks, an oyster-white sailcloth sports shirt, my ancient Mexican sandals. On the way back to the lounge I stopped in the galley and put some Plymouth on the rocks.
He was sitting on the yellow couch, and he had lit a small cigar with a white plastic mouthpiece. “It must really be something, being able to just take off any time you feel like it.”
I slouched into a chair facing him, took a swallow of my drink, and put it on the coffee table. “You’ve got a problem, Harry?”
“About that time I made such a damn fool of myself …”
“Forget it.”
“No. Please. Let me say something about that. Like they say, the first year of marriage is the hardest, right?”
“So they say.”
“Well, I knew you and Mary were old friends. I couldn’t help knowing that, right? I mean, you and Meyer came to the wedding and all. I wondered how good friends you had been. I couldn’t help wondering, but I didn’t want to really know. Do you understand?”
“Sure.”
“The way it happened, we got into a hassle. It was the first real one we’d had. People shouldn’t drink and fight when they’re married. They say things they don’t want to say. I started saying some pretty ugly things about her and you. You know Mary. She’s got a lot of spirit. She took it and took it, and finally she let me have it right between the eyes. I deserved it. She blazed right up at me. She said she’d been cruising with you alone aboard this houseboat, down through the Keys and up the west coast to Tampa Bay, and she’d lived aboard for a month and cooked your food and washed your clothes and slept in your bed, and you were kind and decent and gentle and twice the man I am. So that Sunday afternoon I slammed out of the house and got in the car and came over here to beat on you. I could always handle myself pretty good. I wasn’t drunk enough for that to be any excuse. Jesus, I never hit so many arms and elbows and shoulders in my life.”
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