Elaine Ash perfectly summed up the work of Frank Bill:
His style is defined by direct, sharp, staccato sentences, and I think of him as the Ornette Coleman of the crime short. When Ornette first played horn in the 1950s, he was considered highly controversial with his cascade of bleeps, blats and squawks. Some critics dismissed him as a music illiterate. But jazz musicians and free thinkers recognized something very special in Ornette, and they were eventually proven correct by his exemplary career. Like Ornette, Frank Bill has a rhythm all his own, with a sentence structure that takes deliberate grammatical “license” to create a cadence in his prose.
And at BEAT to a PULP we are doing something a little different and featuring two of this extraordinary writer’s stories. “Tweakers” through Wednesday and then “The Need” the remainder of the week.