Every Last Drop – Charlie Huston and Joe Pitt

Every Last Drop (2008) by Charlie Huston is the fourth book  in the Joe Pitt series.

I’ve reviewed a few of Huston’s books before and I stand by what I’ve said before. This is Marlowe-Noir with vampires and ghouls set in an extremely territorialized New York.

At the start of the novel Joe Pitt is living, uh, un-living… eh, residing in the outskirts having been ostracised for basically pissing off the leaders of all the different clans in the city. So, he’s on the fringe of the outskirts here and that’s generally not a good place to find yourself.

This is one of the things I like about this series. Actions have consequences. Joe Pitt meddled with some very important and powerful people and now he is paying the prize. This goes for his physical state as well.

You have to think about the plot devices for this kind of narrative differently than you would a regular detective story. What does someone who has seen more than a hundred years want? What matters? How do you react to things you’ve seen a thousand times? Where do you expend your energy? A lot of vampire stories fail at that because you are either coming in to the story in the beginning or near the very end.

Huston’s stories take place in the middle of a longer narrative scope. This guy, this Joe Pitt, he’s been around for a while. His aim is to stick around for a while longer. So – again – what do you want when you’ve been hanging around for a longer than average lifetime? Well, it turns out it’s the same old story, in some ways at least. There’s a girl.

Now, that’s pretty formulaic and trite, you might say to yourself. Of course there’s a girl. There’s always a girl. But … it’s not like that. Not at all. And that’s what I like.

The main players are the same as in the previous stories, there’s Terry Bird of The Society in his John Lennon glasses, there’s Dexter Predo of The Coalition with his sharp suits and lack of a moral compass. There’s also Skag Baron Menace, a new acquaintance from Queens. In the previous novels there’s been interaction between all the main players, all of which is remembered and referenced here, like real live relationships.

Past hurts are not forgotten, and neither are the favours that have been done and the weight of some of the conversations seems to come from all this history. I like that. I like the idea that there’s a point where all history just becomes more weighted for all the years amassed there and that’s hard to get across, considering how little that experience can really be understood.

Huston deals with it by cutting back Joe’s inner monologue and outer dialogue to the bare bones, as you would assume someone could do with all that experience. It’s actually really tricky. It makes his books a blisteringly sharp read in some ways and you have to pay attention. I like Joe’s voice, the terseness of it. Here’s an example:

“There comes a time when you think there are no new territories of pain. After a certain number of stabbings, shootings, clubbings, whippings, beatings, thrashings, cuttings, slashings and eviscerations, you begin to assume that you’ve had the worst of it and nothing of that nature can really surprise you very much.
And then someone comes along to show you that you were wrong.” (Huston, p. 44).

That is what Joe says about having someone take his eye out – with their teeth.

Also, the horror in this one stems from vampires being basically human, in all the worst ways. It’s a cynics view of the world, someone in it for the even longer haul. It’s dark and gritty and funny and sharp. And it’s a lot less cheesy than most of it’s brethren in the genre. If you like that sort of thing, this is the vampire story for you.

Mule.

The Joe Pitt Series by Charlie Huston – Vampires in New York

Charlie Huston – The Joe Pitt series

Already Dead (2005)

No Dominion (2006)

Half the Blood of Brooklyn (2007)

Charlie Huston has come up with a brilliant concept. You take the modern day vampire myth as we have come to know it through writers like Anne Rice and mix it with a good old fashioned hard boiled detective noir reminiscent of Raymond Chandler and set it in a gritty New York filled with vampires, zombies and regular folks and you get a very good ride.

The protagonist Joe Pitt is a vampire. He’s got the blood lust and the superhuman strength and the usual foibles and weaknesses and he’s about as cynical as you could expect from a guy who has been around a little too long and seen a little too much. The vampires of New York are organised in clans, like mobsters and they are about as territorial and dangerous. Each clan has its own philosophy, and there are all manner of politics as you could expect, and Joe gets caught right in the middle of it, despite being a rogue, which is more or less the equivalent of a Ronin – tolerated, as long as he is useful.

I’ve read three of the books in this series so far, Already Dead (2005), No Dominion (2006) and Half the Blood of Brooklyn (2007).

The first novel gives a good indication of where we are going right from the get go. The opening paragraph on page one reads:

“I smell them before I see them. All the powders, perfumes and oils the half-smart ones smear on themselves. The stupid ones just stumble around reeking. The really smart ones take a Goddamn shower. The water doesn’t help them in the long run, but the truth is, nothing is gonna help them in the long run. In the long run they’re gonna die. Hell, in the long run they’re already dead.” (Already Dead)

And that sets the scene. We get the dry commentary voice-over that conjures up a black-and-white old Marlowe detective story with all that that entails, like ladies with dangerous curves and chunky glasses of whiskey and rough villains and a mastermind in a silk suit with a silver cigarette case. This isn’t ever going to be anything other than what it advertises itself as, but – that being said – there are still quite a few ways in which it could be a whole lot less.

Huston, however, doesn’t disappoint. He actually pulls it off and then some.

You get language like this: “Color me pensive. Color me lost in thought and avoiding getting on the train, lighting a cigarette without even thinking about it, because that’s my story. That’s my excuse for why I don’t smell Tom until the fucker jams the barrel of his gun in my back”. (No Dominion).

For all of Pitt’s tough talk, though, he’s not just muscle for hire, even if it seems to be a role he finds it convenient to play. He’s fallen in love with a woman who is dying from HIV, and that’s another clever twist of the overall vampire myth seeing as how vampirism has always been compared to other diseases of the blood like syphilis and malaria.

If it seems like I know a little too much about the vampire myth, believe me, I do. I have read a lot of vampire stories, enough that they have their own section in my library. This is pulp, by it’s own admission. You’ll find Charlie Huston’s stories over at pulpnoir.com. Still, there is pulp and there is trash and the twain should not be confused.

This is smart, savvy, intuitive and intelligent pulp. It takes a lot of cues from a format you will recognize and affords the reader the pleasure of recognition at the same time as giving it a unique voice. There’s nothing wrong with clichés as long as you do something creative with them and Charlie Huston does.

The Enclave, for instance, are the mystics of the bunch. They believe that if they starve themselves long enough and thoroughly enough they will be able to walk in the sun. It just fits that there would be one group that went this way, became monks and tried to reach the next level, because somehow there has to be more to life than just this.

I’ve argued, and believe me it’s not always been a popular view, that vampires are trying to teach us how to die. Practically every vampire legend, story, or franchise always snags on the ennui and pointlessness of living forever. The toll it takes, the cost of giving up human society and all that we grade as natural always ends with a yearning towards death. In most vampire stories you come in either at the beginning, or at the very end, when the stake hits the chest cavity. It’s good to drop down somewhere in the middle and see what that might mean.

This is light, easy, bloody and enjoyable all the way through, provided that you have a taste for the basic genre itself. It’s also violent, dark and cynically funny. Above all it has a voice of its own, and that’s hard to find.

Mule