Leonard, Elmore (John Jr.) 1925-

views updated

LEONARD, Elmore (John Jr.) 1925-

PERSONAL: Born October 11, 1925, in New Orleans, LA; son of Elmore John (an automotive executive) and Flora Amelia (Rive) Leonard; married Beverly Cline, July 30, 1949 (divorced, May 24, 1977); married Joan Shepard, September 15, 1979 (died, January 13, 1993); married Christine Kent, August 19, 1993; children: (first marriage) Jane Jones, Peter, Christopher, William, Katherine Dudley. Education: University of Detroit, Ph.B., 1950. Religion: Roman Catholic.

ADDRESSES: Agent—Michael Siegel, Michael Siegel & Associates, 11532 Thurston Circle, Los Angeles, CA 90049.

CAREER: Writer, 1967—. Campbell-Ewald Advertising Agency, Detroit, MI, copywriter, 1950-61; freelance copywriter and author of educational and industrial films, 1961-63; head of Elmore Leonard Advertising Company, 1963-66. Producer of film Tishomingo Blues, 2002. Military service: U.S. Naval Reserve, 1943-46.

MEMBER: Writers Guild of America West, Authors League of America, Authors Guild.

AWARDS, HONORS: Hombre named one of the twenty-five best western novels of all time by Western Writers of America, 1977; Edgar Allan Poe Award, Mystery Writers of America, 1984, for LaBrava; Michigan Foundation of the Arts Award, 1985; Hammett Prize, International Association of Crime Writers, 1991, for Maximum Bob; Mystery Writers of America Grand Master Award, 1992; Honorary Ph.D., Florida Atlantic University, 1996, University of Detroit Mercy, 1997, and University of Michigan, 2000.

WRITINGS:

WESTERNS

The Bounty Hunters (also see below), Houghton (Boston, MA), 1953.

The Law at Randado (also see below), Houghton (Boston, MA), 1955.

Escape from Five Shadows (also see below), Houghton (Boston, MA), 1956.

Last Stand at Saber River (also see below), Dell (New York, NY), 1957, published as Lawless River, R. Hale (London, England), 1959, published as Stand on the Saber, Corgi (London, England), 1960.

Hombre (also see below), Ballantine (New York, NY), 1961.

Valdez Is Coming (also see below), Gold Medal (New York, NY), 1970.

Forty Lashes less One (also see below), Bantam (New York, NY), 1972.

Gunsights (also see below), Bantam (New York, NY), 1979.

The Tonto Woman and Other Western Stories, Delacorte (New York, NY), 1998.

Elmore Leonard's Western Roundup #1 (contains The Bounty Hunters, Forty Lashes less One, and Gunsights), Delta (New York, NY), 1998.

Elmore Leonard's Western Roundup #2 (contains Escape from Five Shadows, Last Stand at Saber River, and The Law at Randado), Delta (New York, NY), 1998.

Elmore Leonard's Western Roundup #3 (contains Valdez Is Coming and Hombre), Delta (New York, NY), 1999.

CRIME NOVELS

The Big Bounce, Gold Medal (New York, NY), 1969, revised edition, Armchair Detective, 1989.

The Moonshine War (also see below), Doubleday (New York, NY), 1969.

Mr. Majestyk (also see below), Dell (New York, NY), 1974.

Fifty-two Pickup (also see below), Delacorte (New York, NY), 1974.

Swag (also see below), Delacorte (New York, NY), 1976, published as Ryan's Rules, Dell (New York, NY), 1976.

Unknown Man, No. 89, Delacorte (New York, NY), 1977.

The Hunted (also see below), Dell (New York, NY), 1977.

The Switch, Bantam (New York, NY), 1978.

City Primeval: High Noon in Detroit (also see below), Arbor House (New York, NY), 1980.

Gold Coast (also see below), Bantam (New York, NY), 1980, revised edition, 1985.

Split Images (also see below), Arbor House (New York, NY), 1981.

Cat Chaser (also see below), Arbor House (New York, NY), 1982.

Stick (also see below), Arbor House (New York, NY), 1983.

LaBrava (also see below), Arbor House (New York, NY), 1983.

Glitz, Arbor House (New York, NY), 1985.

Bandits, Arbor House (New York, NY), 1987.

Touch, Arbor House (New York, NY), 1987.

Freaky Deaky, Morrow (New York, NY), 1988.

Killshot, Morrow (New York, NY), 1989.

Get Shorty, Delacorte (New York, NY), 1990.

Maximum Bob, Delacorte (New York, NY), 1991.

Rum Punch, Delacorte (New York, NY), 1992.

Pronto, Delacorte (New York, NY), 1993.

Riding the Rap, Delacorte (New York, NY), 1995.

Out of Sight, Delacorte (New York, NY), 1996.

Cuba Libre, Delacorte (New York, NY), 1998.

Be Cool (sequel to Get Shorty), Delacorte (New York, NY), 1999.

Pagan Babies, Delacorte (New York, NY), 2000.

Tishomingo Blues, Morrow (New York, NY), 2002.

Mr. Paradise, Morrow (New York, NY), 2004.

A Coyote's in the House, Morrow (New York, NY), 2004.

OMNIBUS VOLUMES

Elmore Leonard's Dutch Treat (contains The Hunted, Swag, and Mr. Majestyk), introduction by George F. Will, Arbor House (New York, NY), 1985.

Elmore Leonard's Double Dutch Treat (contains City Primeval: High Noon in Detroit, The Moonshine War, and Gold Coast), introduction by Bob Greene, Arbor House (New York, NY), 1986.

Three Complete Novels (contains LaBrava, Cat Chaser, and Split Images), Wings Books (New York, NY), 1992.

SCREENPLAYS

The Moonshine War (based on Leonard's novel of the same title), Metro-Goldwyn-Mayer, 1970.

Joe Kidd, Universal, 1972.

Mr. Majestyk (based on Leonard's novel of the same title), United Artists, 1974.

High Noon, Part 2: The Return of Will Kane, Columbia Broadcasting System, 1980.

(With Joseph C. Stinson) Stick (based on Leonard's novel of the same title), Universal, 1985.

(With John Steppling) 52 Pick-Up (based on Leonard's novel of the same title), Cannon Group, 1986.

(With Fred Walton) The Rosary Murders (based on the novel by William X. Kienzle), New Line Cinema, 1987.

Desperado, National Broadcasting Corporation, 1988.

(With Joe Borrelli) Cat Chaser (based on Leonard's novel of the same title), Viacom, 1989.

(With Quentin Tarantino) Jackie Brown (based on Leonard's novel Rum Punch), Miramax, 1997.

Also author of filmscripts for Encyclopædia Britannica Films, including Settlement of the Mississippi Valley, Boy of Spain, Frontier Boy, and Julius Caesar, and of a recruiting film for the Franciscans.

OTHER

When the Women Come out to Dance (short fiction), William Morrow (New York, NY), 2002.

Contributor to books, including The Courage to Change: Personal Conversations about Alcoholism, edited by Dennis Wholey, Houghton (Boston, MA), 1984. Contributor of stories and novelettes to Dime Western, Argosy, Saturday Evening Post, Zane Grey's Western Magazine, and other publications.

ADAPTATIONS: The novelette 3:10 to Yuma was filmed by Columbia Pictures, 1957; the story "The Tall T" was filmed by Columbia, 1957; Hombre was filmed by Twentieth Century-Fox, 1967; The Big Bounce was filmed by Warner Bros., 1969, and 2004; Valdez Is Coming was filmed by United Artists, 1970; Glitz was filmed for television by NBC; Get Shorty was filmed by MGM/UA, 1995; Touch was filmed by Lumiere, 1996; Out of Sight, directed by Steven Soderbergh, screenplay by Scott Frank, was filmed by Universal, 1998; Tishomingo Blues was adapted for film in 2002; Karen Sisco (based on characters from Out of Sight) was developed for television by ABC, 2003; screen rights to the novella Tenkiller were purchased by Paramount, 2002; Be Cool was planned for a film by MGM, 2005. Many of Leonard's novels have been adapted as audiobooks, including Mr. Paradise, Harper Audio, 2004.

SIDELIGHTS: Elmore Leonard had been hailed as one of the top crime novelists of the late twentieth century, carrying on the tradition of the early pulp novelists into the next century. With dozens of bestselling crime novels to his credit, Leonard has earned acclaim for imbuing his thrillers with dark humor, moral ambivalence, and a unique prose style that reflects the anxious realities of modern life. Dubbing the novelist the "mastermind behind darkly comic bestellers" like Get Shorty, Glitz, and Out of Sight, Rob Brookman maintained in a Book critique that Leonard combines "whip-smart prose with a seemingly inexhaustible cast of sleazeballs, scam artists and out-and-out psychopaths." While noting that Leonard began his career as a noir writer, Bill Ott explained the author's evolution, writing in Booklist that "Happily-everaftering, unimaginable in real noir, remains a tempting if hard-won possibility in Leonard's world." Leonard's novels, according to Ott, characteristically offer readers "a violent, hard-boiled, streetwise brand of romantic comedy, usually starring a hero and heroine who . . . find their way out of an outlandish mess."

In the early 1980s Leonard began to receive the kind of attention from reviewers befitting an author whom Richard Herzfelder in Chicago Tribune called "a writer of thrillers whose vision goes deeper than thrill." While the plots of Leonard's books remain inherently action-packed and suspenseful, he also earns praise, to quote Washington Post Book World critic Jonathan Yardley, "for accomplishments rather more substantial than that of keeping the reader on tenterhooks." These accomplishments, which Yardley described as raising "the hard-boiled suspense novel beyond the limits of genre and into social commentary," led critics previously inclined to pigeonhole Leonard as a crime or mystery novelist to dispense with such labels in their assessments of his work. In the process, several critics have chosen to mention Leonard's name alongside those of other writers whose literary works transcend their genre, among them Ross Macdonald and Dashiell Hammett. "Leonard is one of our finest humorists, especially when he is not trying to be funny," explained Bruce DeSilva in New York Times Book Review. "We laugh because we recognize people we know and sometimes, though it can be hard to admit, something of ourselves in the flawed, very real people of his hard-boiled crime novels."

Leonard began his career in the early 1950s as a writer of western stories for magazines. His first sale was the novelette Apache Agent to Argosy magazine for $90. He eventually turned his hand to novels in the genre, publishing five of them while pursuing a career as an advertising copywriter for a firm in Detroit. Copywriter was not an occupation much to Leonard's liking. "He says matter-of-factly that he hated the work," noted Bill Dunn in a Publishers Weekly interview, "but it allowed him precious time and a steady paycheck to experiment with fiction, which he did in the early morning before going off to work." Leonard told Dunn: "Sometimes I would write a little fiction at work, too. I would write in my desk drawer and close the drawer if somebody came in."

By the early 1960s the western genre had already peaked in popularity, and Leonard found that the market for his fiction had dried up. For several years he wrote no fiction at all, devoting his time to freelance copywriting, primarily for Hurst gear shifters, a popular feature in hot rod cars. He also wrote industrial films for Detroit-area companies and educational films for Encyclopædia Britannica at a thousand dollars apiece. Finally in 1965, when his agent sold the film rights to his last western novel, Hombre, for ten thousand dollars, Leonard had the financial leeway to write fiction again. This time he focused on the mystery-suspense genre. As he told Gay Rubin of Detroiter: "I began writing westerns because there was a market for them. Now of course there is an interest in police stories . . . suspense, mystery, crime."

Despite the shift in genre, Leonard's fiction has remained in many ways the same. In both his western and crime fiction there is an overriding interest in seeing that justice is done, as well as the world-weary recognition that justice is a very ambiguous concept. Leonard's prose, lean and hard, has consistently been of the same high quality. And his gunfighters and urban detectives approach their work with the same glib, wisecracking attitude. Writing in Esquire, Mike Lupica claimed that despite their apparent diversity, all of Leonard's main characters are essentially the same, but "with a different name and a different job. . . . They have all been beat on by life, they all can drop a cool, wise-guy line on you, they are all tough, don't try to push them around."

Leonard's first crime novel, The Big Bounce, was rejected by some eighty-four publishers and film producers before being published as a paperback original by Gold Medal. Unsure about his switch to crime writing because of the trouble he had selling the book, Leonard turned again to westerns, publishing two more novels in the genre. But when the film rights to The Big Bounce were sold for $50,000, Leonard abandoned the western genre almost completely, penning only an occasional short story here and there. Since making that decision, all of his subsequent novels have enjoyed both hardcover and paperback editions and have been sold to Hollywood; in fact, The Big Bounce was reproduced by original purchaser Warner Brothers in 2004. In Film Comment, Patrick McGilligan wrote: "Now there are as many Leonard stories being filmed in Hollywood as there were options left. . . . On the cusp of the millennium, after nearly fifty years in the field, Leonard finds himself the modernist crime writer of choice for all the hip young filmmakers."

The typical Leonard novel, Michael Kernan explained in Washington Post, is distinguished by "guns, a killing or two or three, fights and chases and sex. Tight, clean prose, ear-perfect, whip-smart dialogue. And, just beneath the surface, an acute sense of the ridiculous." Leonard has said on several occasions that he has been less influenced by other crime writers than by such writers as Ernest Hemingway, John Stein-beck, and John O'Hara. Their lean, unadorned writing style and ability to remain in the background of their stories appealed to Leonard. As he told Charles Champlin of Los Angeles Times: "I became a stylist by intentionally avoiding style. When I go back and edit and something sounds like writing, I rewrite it. I rewrite constantly, four pages in the basket for every one that survives." The result impressed Ken Tucker of Village Voice, who called Leonard "the finest thriller writer alive primarily because he does his best to efface style."

Many of Leonard's crime novels feature lower-class, somewhat desperate characters hoping to make fast money with a big heist or quick scam. They "fall into crime," according to Tucker, "because it's an easier way to make money than that tedious nine-to-five." George Stade, in New York Times Book Review, called Leonard's villains "treacherous and tricky, smart enough to outsmart themselves, driven, audacious and outrageous, capable of anything, paranoid—cunning and casually vicious—and rousing fun." Dick Rora-back, in Los Angeles Times Book Review, claimed that "it is the mark of the author's craft that his characters do not seem to be created, 'written.' They simply are there, stalking, posturing, playing, loving, scheming, and we watch and listen and are fascinated. And appalled, yes, or approving, but always absorbed. They never let us off the hook."

Although he had been writing critically acclaimed crime novels for a decade, and his work was being adapted for the screen, Leonard had only a small cadre of fans until the early 1980s, when his novels began to attract the attention of a larger audience. With the novel Stick in 1982, Leonard suddenly found he had risen to the status of bestselling writer. One sign of this sudden success can be seen in the agreeable change in Leonard's finances that year. The paperback rights for Split Images earned him $7,000 in 1981; the rights for Stick, a year later, earned $50,000. Then, in 1983, LaBrava won an Edgar Allan Poe Award from the Mystery Writers of America as the best novel of the year. Leonard's next novel, Glitz, hit the bestseller lists in 1985.

Leonard's popularity continued to increase throughout the 1990s. In Get Shorty he drew on his years of experience as a screenwriter to create an intricate story full of inside jokes about the seamy underbelly of Hollywood. The protagonist is Chili Palmer, a Miami loan shark who travels to California in pursuit of a man. He is also being pursued, and in the course of the action, he becomes entangled with a third-rate producer, a washed-up actress, and several cocaine dealers. Writing in Los Angeles Times Book Review, Champlin applauded the accuracy of Leonard's portrait of the movie business, calling it "less angry than Day of the Locust but not less devastating in its tour of the industry's soiled follies and the gaminess beneath the grandeurs." Even more sweeping praise came from Whitney Balliett in New Yorker, who declared that, "Book by book . . . the tireless and ingenious genre novelist Elmore Leonard is painting an intimate, precise, funny, frightening, and irresistible mural of the American underworld. . . . Leonard treats [his characters] with the understanding and the detailed attention that Jane Austen gives her Darcys and Emma Woodhouses."

The publication of Maximum Bob in 1991 spurred reviewers on to even greater superlatives. Praising Leonard as "the greatest living writer of crime fiction," Barry Gifford announced in New York Times Book Review that with Maximum Bob "Leonard confirms . . . his right to a prominent place in the American noir writers' hall of fame. . . . Nobody I've ever read sets up pace, mood and sound better." The title character is a Florida judge whose nickname comes from his fondness for the electric chair. Having tired of his wife, who believes she is possessed by the spirit of a girl eaten by an alligator one hundred and thirty years before, the judge attempts to drive her out of his life so that he can pursue another woman. Thus begins the story, described by Robert Carver in New Statesman & Society as "a murder chase in reverse, where the killing hasn't yet happened, so you keep trying to guess both victim and perpetrator." Carver asserted that "this is a brilliant, funny, hugely enjoyable black comedy." Clifford Irving remarked in Los Angeles Times Book Review on the profound aspects of the humor found in Maximum Bob, stating that Leonard, "like any true comic, has a melancholy view of the world and its primitive denizens. Without moralizing, he is telling us—no, he is showing us—how rotten life is in the heartland of the USA. In Maximum Bob, more than ever, he is the great delineator of the macho redneck, the professional thug, the semi-mindless street-wise slob who kills and maims and rapes because it's part of the American mystique of violence and seems like fun. . . . Leonard's prose, in its way, is as good as anything being written in this country."

Laudatory remarks continued with the publication of Rum Punch in 1992. The novel inspired Ann Arensberg to write in New York Times Book Review: "I didn't know it was possible to be as good as Elmore Leonard. . . . Outpacing the classic hard-boiled novel, leaving the British detective novel in the dust, Elmore Leonard has compressed Rum Punch into almost pure drama, as close to playwriting as novel writing can get (and get away with)." Washington Post Book World contributor Michael Dirda called the book "as unputdownable as anyone could wish," as well as "a novel about growing old, about the way that time changes us, about the old dream of starting over again and its cost."

Discussing Leonard's 1993 offering, Pronto, Teresa Carpenter lamented the fact that "somewhere along the line, it became fashionable to discuss Elmore Leonard in terms formerly reserved for the likes of [French novelist Gustave] Flaubert." The critic readily admitted in New York Times Book Review that Leonard's books often "make insightful observations on contemporary culture" and "contain sharply drawn portraits of characters on the fringe of society." Other reviewers also continued to find much more than simple fun in Leonard's books. "Leonard is a literary genius," Martin Amis stated simply in his New York Times Book Review assessment of Riding the Rap, adding that the novelist "possesses gifts—of ear and eye, of timing and phrasing—that even the most indolent and snobbish masters of the mainstream must vigorously covet."

Out of Sight further cemented Leonard's reputation. The novel captures the "street, the savor and savvy, slyness and swagger of the talk that's talked on street corners and in bars, at taped-off crime scenes and in prison yards," wrote Annie Gottlieb in Nation. In Out of Sight, twenty-nine-year-old U.S. Marshall Karen Sisco—clothed in a $3,500 Chanel suit—runs into escaping convict Jack Foley. Jack reminds Karen of Harry Dean Stanton in the movie Repo Man: as she explains both men appear to be "real guys who seemed tired of who they were, but couldn't do anything about it." As Karen and Jack get together, cop and criminal, romance ensues in a quirky, convoluted plot that involves Foley's hit on the house of an ex-junk bond trader who supposedly has millions hidden inside. Writing for New York Times Book Review, Christopher Lehmann-Haupt called Out of Sight "an absorbing story full of offbeat characters, funny incidents, vivid locales, [and] dialogue that jumps off the page."

In Cuba Libre Leonard reaches for a broader audience than those he attracted with his crime novels and westerns, by combining elements of both genres. Set in Cuba around the time of the Spanish-American War, Cuba Libre combines adventure, history, and romance with the requisite nefarious goings-on. In a move worthy of one of his novels, Leonard arranged to have Cuba Libre published on the one hundredth anniversary of the sinking of the U.S.S. Maine. In Cuba Libre, Ben Tyler is a cowboy of the bank-robbing kind; in his vigilantism, he only robs banks that contain the money of people who owe him money. When he grows tired of robbing banks, Tyler joins his friend Charlie Burke in a scheme to export horses to Cuba. They arrive in Havana just as the Spanish-American War breaks out, and suddenly these petty thieves are embroiled in the larger conflict. A Kirkus Reviews critic noted that the "three-cornered conflict"—the heroes and the sugar baron whose price they must meet, the U.S. government and Spain, and the American capitalists's interests in Cuba—"is nothing more than a classic Leonard scam writ large," with the small scam dovetailing smoothly into the larger "scams" of the political powers. Lehmann-Haupt, in New York Times, found the novel "unusually rich in period atmosphere," primarily because Leonard is "as always, so uncannily at home with the slang and terminology of the times." Also writing in New York Times Book Review, Pico Iyer criticized the lack of character development in the novel: "With so much plot . . . there is almost no room for character or emotion." Lehmann-Haupt stressed, however, that the novel is a political satire, though "Leonard is too good a story teller to let . . . political views shape his characters."

Be Cool is a sequel to Get Shorty and once again features dubious Hollywood mogul Chili Palmer. Always in search for film plots, Chili decides to help a struggling young singer make it in the music industry, just to see whether or not her story would make a good movie. In short order, Chili discovers that he has run afoul of the girl's previous manager, the Russian mafia, and a gang of rap artists. To quote Anthony Wilson-Smith in Maclean's, "The world that Leonard sketches has remained unchanged—a place where moral ambiguity abounds, and sudden, shocking violence is never more than a flick of the page away. Be Cool, like Get Shorty, skewers the pretensions of the entertainment industry." A Publishers Weekly reviewer noted that Chili "remains a compulsively appealing character, . . . retaining his immaculate cool in lethal situations," while in Booklist David Pitt suggested that the novel "reaches a level of comic surrealism that its predecessor only approached." And Lehmann-Haupt, in his New York Times review, commended Be Cool as "thoroughly entertaining," adding that while the "plot wrinkles involve a very inside knowledge of the music industry," "Leonard seems to have mastered it."

In the opening scenes of Pagan Babies, the central character, Terry Dunn, contemplates a ruthless massacre that occurred before his eyes while he said his first Mass in a small church in Rwanda. Five years have passed since the massacre of his congregation, and Dunn has done little in that time except drink whiskey. When the opportunity arises to seek revenge on the murderers, however, Dunn shows his true colors: he is a petty criminal who fled America to avoid arrest for tax fraud, and he has no problem doing some murdering of his own. This tact necessitates Dunn's rapid return to his hometown of Detroit, where, with the help of an ex-convict comedienne, he concocts new and more audacious scams. An Economist reviewer deemed Pagan Babies "one of Mr. Leonard's funniest books, with a typically colourful cast of oddballs." De Silva likewise commended the novel for its "fast pace, crackling dialogue and dark ironies." In New York Times Book Review, Janet Maslin wrote: "The pieces of this crime tale begin falling into place so handily that Mr. Leonard might as well have hung a 'Virtuoso at Work' shingle on his door."

Noting that Leonard "is the only A-list crime fiction writer who doesn't rely on a series hero," Booklist critic Bill Ott nonetheless praised the author for providing another in a long line of fascinating if slightly hardened protagonists in Tishomingo Blues. The novel finds high-diver Dennis Lenahan working at a Mississippi resort when he spots a murder from atop his eighty-foot ladder. Immediately conspicuous to the murderer, Dennis wants to mind his own business, but he soon finds himself caught up in a sea of events that involve not only the murderer and his status as witness: Civil War reenactors, an aggressive newscaster, and the murderer's seductive and all-too-willing wife. "As usual, Leonard's characters walk onto the page as real as sunlight as shadow," praised a Publishers Weekly reviewer, adding that in Tishomingo Blues "the dialogue is dead-on, the loopy story line strewn with the unexpected." Calling the novel "as full of pitch-perfect patter, bare-knuckle verbal sparring and whiplash one-liners as anything he has written," an Economist contributor noted that "the real pleasure of Tishomingo Blues is its diverse voices"; in New Yorker a contributor begged to differ, writing that Leonard's "hurtling plot twists keep coming, right up to the perfect rip of a finish."

In an online interview for the Mr. Showbiz Web site, Leonard said that his literary tastes and aspirations were laid down in childhood when he read the Book-of-the-Month Club offerings his mother bought. "I read a lot of them," he said. "I was intimidated by most of the novels because I thought that they were just too big and heavy, and had too many words in them. I still feel that way about most novels—that they have way too many words in them." The author who has said that he always tries "to leave out the boring parts" in his work is a disciplined practitioner of his craft. He writes every day of the week, longhand, sitting at a desk in the corner of his living room. "The satisfaction is in doing it," he told the Mr. Showbiz interviewer. "I'm not writing for notoriety; I'm writing to satisfy myself."

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Contemporary Literary Criticism, Gale (Detroit, MI), Volume 28, 1984, Volume 34, 1985, Volume 71, 1992.

Dictionary of Literary Biography, Volume 173, American Novelists since World War II, Gale (Detroit, MI), 1996.

Geherin, David, Elmore Leonard, Continuum (New York, NY), 1989.

PERIODICALS

American Film, December, 1984.

Armchair Detective, winter, 1986; spring, 1986; winter, 1989.

Atlantic, June, 1998, Francis X. Rocca, review of Cuba Libre, p. 111.

Book, March-April, 2002, Rob Brookman, interview with Leonard, p. 28.

Booklist, November 1, 1998, David Pitt, review of Be Cool, p. 452; December 1, 2001, Bill Ott, review of Tishomingo Blues, p. 604; November 1, 2002, Keir Graff, review of When the Women Come out to Dance, p. 452; November 15, 2003, Bill Ott, review of Mr. Paradise, p. 548.

Boston Globe, July 30, 1992, p. 80; November 14, 1993, p. 7.

Chicago Tribune, February 4, 1981; April 8, 1983; December 8, 1983; February 7, 1985.

Christian Science Monitor, November 4, 1983; March 12, 1997.

Commentary, May, 1985, pp. 64, 66-67.

Detroiter, June, 1974, Gay Rubin, interview with Leonard.

Detroit News, February 23, 1982; October 23, 1983.

Economist (US), June 19, 1999, review of Be Cool, p. 4; October 14, 2000, "New Thrillers-Hit Men," p. 106; February 23, 2002, reveiw of Tishomingo Blues.

Entertainment Weekly, September 22, 2000, Bruce Fretts, review of Pagan Babies, p. 68; January 9, 2004, Rebecca Ascher-Walsh, review of Mr. Paradise, p. 84.

Esquire, April, 1987, pp. 169-74.

Film Comment, March-April, 1998, Patrick McGilligan, "Get Dutch," p. 43.

Globe and Mail (Toronto, Ontario, Canada), December 14, 1985.

Kirkus Reviews, November 15, 1997, p. 1665; November 15, 2001, review of Tishomingo Blues, p. 1571; October 15, 2002, review of When the Women Come out to Dance, p. 1497; November 1, 2003, review of Mr. Paradise, p. 1290.

Knight-Ridder/Tribune News Service, September 20, 2000, Chauncey Mabe, review of Pagan Babies, p. K2148; September 27, 2000, Marta Salij, "Elmore Leonard Reaches beyond Familiar Setting," p. K3888; October 4, 2000, Marta Salij, "Elmore Leonard: A Mob Mentality," p. K7276.

Library Journal, January, 2002, Karen Anderson, review of Tishomingo Blues, p. 153.

Los Angeles Times, June 28, 1984; May 4, 1988; January 26, 1998.

Los Angeles Times Book Review, February 27, 1983; December 4, 1983; January 13, 1985; August 30, 1987, pp. 2, 8; April 23, 1989, p. 14; July 29, 1990, p. 9; August 4, 1991, pp. 2, 9; October 24, 1994, p. 8; May 14, 1995, p. 1.

Maclean's, January 19, 1987; March 16, 1998, Brian Bethune, review of Cuba Libre, p. 63; March 29, 1999, Anthony Wilson-Smith, "The Master of Crime: Elmore Leonard's 35th Novel Shows Him at the Top of His Form," p. 70.

Nation, December 4, 1995, Annie Gottlieb, review of Out of Sight, p. 724.

New Republic, November 13, 1995, p. 32; January 26, 1998.

New Statesman & Society, October 11, 1991; November 13, 1992.

Newsweek, March 22, 1982; July 11, 1983; November 14, 1983; April 22, 1985, pp. 62-64, 67.

New Yorker, September 3, 1990, pp. 106-7; October 23, 1995, p. 96; September 30, 1996; January 12, 1998; January 26, 1998; February 11, 2002, review of Tishomingo Blues, p. 86.

New York Times, June 11, 1982; April 28, 1983; October 7, 1983; October 29, 1983; April 26, 1985; May 2, 1988; July 25, 1991, p. C18; September 23, 1993, p. C18; May 11, 1995; August 15, 1996; February 15, 1996; January 18, 1997; June 7, 1997; February 14, 1997; December 24, 1997; January 22, 1998, Christopher Lehmann-Haupt, "Viva la Genre! Elmore Leonard Visits Old Havana;" February 11, 1999, Christopher Lehmann-Haupt, "Get Musical: Chili Palmer's Latest Movie Idea;" September 7, 2000, Janet Maslin, "'New Elmore Leonard?' 'Yeah. You Know. Punks.'"

New York Times Book Review, May 22, 1977; September 5, 1982; March 6, 1983; December 27, 1983; February 10, 1985, p. 7; January 4, 1987, p. 7; July 29, 1990, pp. 1, 28; July 28, 1991, p. 8; August 16, 1992, p. 13; October 17, 1993, p. 39; May 14, 1995, p. 7; September 8, 1996; January 22, 1998; February 8, 1998; September 20, 1998, Charles Salzberg, review of The Tonto Woman, p. 24; February 21, 1999, Kinky Friedman, "The Palmer Method," p. 10; September 17, 2000, Bruce DeSilva, "Turned Collar."

New York Times Magazine, November 16, 1997.

People, January 26, 2004, Steve Dougherty, review of Mr. Paradise, p. 43.

Publishers Weekly, February 25, 1983; June 15, 1990, p. 55; June 10, 1996, p. 84; November 16, 1998, review of Be Cool, p. 52; December 10, 2001, review of Tishomingo Blues, p. 48; January 21, 2002, interview with Leonard, p. 52; February 3, 2003, review of Tishomingo Blues (audio version), p. 24; November 24, 2003, review of Mr. Paradise, p. 42; April 5, 2004, review of Mr. Paradise (audio version), p. 22.

Sun-Sentinel (South Florida), September 20, 2000, Chauncey Mabe, review of Pagan Babies.

Time, May 28, 1984, pp. 84, 86; February 24, 1997; August 18, 1997; January 12, 1998.

Times Literary Supplement, December 5, 1986, p. 1370; November 30, 1990, p. 1287; September 27, 1991, p. 24; October 30, 1992, p. 21; November 5, 1993, p. 20.

Tribune Books (Chicago, IL), April 10, 1983; October 30, 1983; April 9, 1989, pp. 1, 4; May 21, 1995, p. 5.

TV Guide, August 1, 1998, Lawrence Grobel, "Get Elmore!," p. 23.

Village Voice, February 23, 1982, Ken Tucker.

Wall Street Journal, January 29, 1998.

Washington Post, October 6, 1980; February 6, 1985.

Washington Post Book World, February 7, 1982; July 4, 1982; February 20, 1983; November 13, 1983; December 28, 1986, p. 3; August 23, 1987, pp. 1-2; May 1, 1988; July 14, 1991, pp. 1-2; July 19, 1992, p. 2.