One Night Stands and Lost Weekends, by Lawrence Block
a review by Rich Horton
I have read a lot of lower end '50s magazines, but in my case almost all science fiction. But the crime fiction market was similar in its way. Block is quite dismissive of these early stories, and for the most part he is right, at least in that Block's later work, such as the Bernie Rhodenbarr and Matthew Scudder series, is much better. But it is still interesting to see a writer learning. And, really, it's clear from his earliest stories that he could WRITE -- could put words together in interesting ways, could make the reader want to see what happened (even if, in many of these early stories, what was going to happen was fairly predictable), and could make the characters breath, even if, again, these early characters were drawn from stock. I was reminded to an extent of the career of Robert Silverberg, in science fiction -- he began writing fairly routine SF that for all that was never less than compentently executed -- you could see from the start that he could write. And both Block and Silverberg also honed their novel-length skills by writing a good deal of paperback soft porn in the same period, by all accounts likewise competent and professional if formulaic.
These are actually decent work, and a series of novels might have been OK. They're not great work, though. Ed is a fairly typical private eye, complete with a convenient friend in the police department, and a signature slightly unusual preferred drink (cognac.) He's happy to sleep with his clients -- though an ongoing minitheme is that the nicer (if not necessarily quite as beautiful) women he encounters are better for him. In "The Naked and the Deadly" he is hired by a beautiful young woman who says she's being blackmailed -- but when the "blackmailer" is killed after meeting Ed for the payoff, he learns instead that the woman's father was blackmailing a mob boss, who killed him and will kill the daughter too. But of course things are not quite that simple ... I thought this solid work. "Stag Party Girl" was a bit less successful. Ed is hired to protect a man who's being threatened by his whore/mistress now that he's marrying a rich girl. But when the mistress ends up killed at the man's bachelor party, he's the first suspect. Ed doesn't believe he's guilty, though the police do, and he keeps investigating, undercovering the sad tale of the fiancee, and eventually solving the crime -- a rather melodramatic solution turning on a psychosexual hangup that I frankly didn't buy. Finally, my favorite may have been "Twin Call Girls", in which one of a pair of sisters with the title profession hires Ed because she's been threatened with murder. Alas, before Ed can get to her, she's killed, and Ed needs to find the killer, with the help of her sister. I think I liked it because I figured out the solution right off the top, but it was one of those cases where even so working out the way the details come clear is almost more fun because you can see how they fit. On the whole I'd say a series of Ed Lincoln novels probably could have turned out fine, but perhaps it was better that Block invented Bernie Rhodenbarr and Matthew Scudder instead.
The title of the book refers not just to the experiences of (some of) the characters but to Block's self-deprecating account of how long the short stories in One Night Stands and the novelettes in The Lost Cases of Ed Lincoln took to write. I was amused by the ordering of the stories in One Night Stands -- alphabetical order by title, perhaps the first story collection I've ever seen ordered that way (not counting stories written to fill an alphabetical list.) And I should add that besides the stories themselves, Block's autobiographical introductions (to this combined volume, and to each original collection) are a very enjoyable addition.