Pitchfork and Darnel burst through the scuffed motel door like two barrels of buckshot. Using the daisy-patterned bed to divide the dealers from the buyers, Pitchfork buried a .45-caliber Colt in Karl’s peat moss unibrow with his right hand. Separated Irvine’s green eyes with the sawed-off. 12-gauge in his left, pushed the two young men away from the mattress, stopped them at a wall painted with nicotine, and shouted, “Drop the rucks, Karl!”
Karl’s towline arms contorted in a broken epileptic rhythm.
David Rees hosted Frank Bill, author of CRIMES IN SOUTHERN INDIANA and DONNYBROOK, and John Darnielle of The Mountain Goats. The show was held at Studio-X NYC. Presented by GQ and FSG Originals. Directed by Lopez Williams.
“Bill's ever violent and never dull stories [are] a blend of Midwest Gothic and country pulp . . . [They’re] over the top, but in a good way, in the way that Quentin Tarantino's first film, Reservoir Dogs, was over the top. Bill never cheats on the smells and sounds of carnage. He doesn't spare the kids and the dogs. But he mixes in a dash of dark humor ("The Accident" being the best example), an occasional nod to love and sentiment ("The Penance of Scoot McCutchen"), and he's adept at holding back, offering reward with a fine twist at story's end . . . [T]his book delivers.” —The Seattle Times
“The hard- scrabble realism of these 17 stories will bring to mind the Ozark writer Daniel Woodrell and shades of Cormac McCarthy and Dorothy Allison—offering a view of American lives and mores that may as well be from a different planet . . . Rural idyll this is not—but it is as riveting as anything you may read in the near term.” —The Daily Beast (Best Debuts of the Fall list)
“This gritty, violent debut collection begins rather like pulp genre fiction then deepens into something much more significant and powerful. Set in a dilapidated, seedy, nightmare version of southern Indiana, complete with meth labs, dog-fighting rings, and all manner of substance abuse, the stories are connected by recurring characters. The collection opens with vignettes focused mainly on carnage. But as readers go deeper, the stories lengthen, with Bill turning his attention to psychology and character development and bringing the community to life in fascinating ways … Bill’s characters live in a fractured world where there are no good jobs, not much respect for life, and not much hope. It’s a bleak, hard-boiled vision of America.” —Library Journal
“Good Lord, where in the hell did this guy come from? Blasts off like a frigging rocket ship and hits as hard as an ax handle to the side of the head after you’ve eaten a live rattlesnake for breakfast. One of the wildest damn rides you’re ever going to take inside a book.” —Donald Ray Pollock, author of Knockemstiff
“Frank Bill’s characters all seem to be hurtling at ninety miles an hour down dead end streets, and his recounting of their passage is vivid and unforgettable. Like Barry Hannah on amphetamines, but the voice is undeniably Bill’s own.”—William Gay, author of Provinces of Night
“What can I say about this book? This: planning a summer trip north from Mississippi, these stories caused me to reroute to avoid Southern Indiana. Mr. Bill knows his people well, and writes like they live—on the edge of the edge. Just plain unforgettable fiction.”
—Tom Franklin, author of Crooked Letter, Crooked Letter
“Frank Bill does to crime fiction what a rabid pit bull does to his favorite chew toy. You’ll need a neck brace after whipping through these wild, wonderful, whacked-out stories.” —Derek Nikitas, author of Pyres
"Crimes in Southern Indiana brings to light a major American writer of fiction, the prose equivalent of a performance by Warren Oates or a song by Merle Haggard or a photograph by Walker Evans. Tempting though it is to compare him to other writers, the fact is that five years hence every good new fiction writer to come into view will be compared to Frank Bill." —Scott Phillips, author of The Ice Harvest
“The first time I read a story by Frank Bill it was like watching a redneck opera in another language. No idea what was going on, but I was dying to find out. I wanted more, more, more until I finally learned how to speak 'Frank Bill.' He is a completely original voice in the literary arena, and will take on any challengers with his bare hands. I'm continually in awe of the stories he tells and the insane way he tells them.” —Anthony Neil Smith, author of Yellow Medicine and Hogdoggin’