Killing Is My Business
Ray Electromatic Mysteries
Author: Adam Christopher
Genre: Science Fiction
Released: July 25th 2017
Publisher: Tor Books
Ray Electromatic Mysteries
Author: Adam Christopher
Genre: Science Fiction
Released: July 25th 2017
Publisher: Tor Books
A blend of science fiction and stylish mystery noir featuring a robot detective: the stand alone sequel to Made to Kill
Another golden morning in a seedy town, and a new memory tape for intrepid PI-turned-hitman--and last robot left in working order-- Raymond Electromatic. When his comrade-in-electronic-arms, Ada, assigns a new morning roster of clientele, Ray heads out into the LA sun, only to find that his skills might be a bit rustier than he expected....
Killing is My Business is the latest in Christopher's noir oeuvre, hot on the heels of the acclaimed Made to Kill.
"Robot noir in 60s Los Angeles? You had me at 'Hello.'" —John Scalzi, New York Times bestselling novelist on Made to Kill
Praise for KILLING IS MY BUSINESS
"Hits hard, spins your head around, and leaves you stunned. The Ray Electromatic mysteries are so freakin’ perfect you’d think robot hitmen and retro supercomputers had always been part of noir fiction.”—Peter Clines, author of Paradox Bound and The Fold
"Humor, action, and heart: everything I've come to expect from an Adam Christopher book, and then some. A marvelous read!"—New York Times bestseller Jason M. Hough, author of Zero World
“Delivers like a punch from a two-ton robot in a zoot suit.”—Delilah Dawson
"Atmospheric and charming as hell. Adam Christopher has an extraordinary talent for scooping you up and dropping you into an alternative LA that feels just as real as the street outside your house."—Emma Newman
Praise for the RAY ELECTROMATIC MYSTERIES
"Robot noir in 60s Los Angeles? You had me at 'Hello.'"—John Scalzi, New York Times bestselling novelist
"Gripping, funny, deadly and suspenseful."—Boing Boing
“Delivers like a punch from a two-ton robot in a zoot suit.”—Lila Bowen (aka Delilah Dawson)
"The dialogue is effortlessly swift and clever, and even the B-movie climax is a spectacle to behold. Above that, though, Ray sparks to live, and his antiheroic slant only makes him that much more compelling and and sympathetic. Knowing that there are only two more Raymond Electromatic mysteries to come is the book's only disappointment."—NPR
"Genre mash-ups don't always succeed, but this one will please fans of both gumshoes and laser beams."—Publishers Weekly
"A fun, fast read for anyone willing to take the speculative leap--a must-add for most fiction collections."—Booklist (starred review)
"Made to Kill is yet more proof that we should all be thankful for Adam Christopher and his imagination. This tale of robot noir is unlike anything I’ve ever read—Adam’s is a weird and wonderful voice and we are lucky to have it."—Chuck Wendig, New York Times bestselling author of Aftermath
"Adam Christopher has brilliantly deduced what should have been obvious all along: Classic noir and robots are a perfect match. Part Chandler, part Asimov, and part Philip K. Dick, Made to Kill is a rip-roaring cocktail of smart, sharp, twisty, cyber-pulp awesomeness."—Adam Sternbaugh, author of Shovel Ready
"Made to Kill is just the sort of exciting genre collision that marks out Adam Christopher as one of the hottest new young SF writers."—Paul Cornell, author of The Severed Streets
"A smart, rollicking noir/SF mashup. One of the best books I've read all year."—Kelly Braffet, author of Save Yourself
EXCERPT
Killing is My Business
Chapter 1
Listen to this:
Vaughan Delaney was a planner for the city of Los Angeles. He occupied a position high enough up the ladder that it entitled him to an office at an equally high altitude in a tall building downtown that was home to a number of other local government desks. The office came with a salary that was high for a city employee but nothing to write a favorite uncle about, and a view that was simply to die for.
Vaughan Delaney was forty-two years old and he liked suits that were a light blue-gray in color. He carried a buckskin briefcase that wasn’t so much battered as nicely worn in. On his head he liked to position a fedora that was several shades darker than his suit. The hat had a brim that looked at first glance to be a little wide for the kind of hat that a city planner would wear, but Vaughan Delaney did not break the rules, neither in his job nor in his private life. He had a position a lot of people envied, along with the life that went along with it, and he stuck rigidly within the boundaries of both.
Actually, that wasn’t quite true. Because the one thing that didn’t fit Vaughan Delaney was his car.
His car was 1957 Plymouth Fury, a mobile work of art in red and white with enough chrome to blind oncoming traffic on the bright and sunny mornings that were not uncommon in this part of California. The machine had fins like you wouldn’t believe and when the brake lights lit you’d think they were rocket motors. It was the kind of car you could fly to the moon in, only when you got to the moon you’d cast one eye on the fuel gauge and you’d pat the wheel with your kidskin-gloved hand, admiring the fuel economy as you pointed the scarlet hood off somewhere toward Jupiter and pressed the loud pedal.
It was a great car and it was in perfect shape. Factory fresh. It was getting on for ten years old but Vaughan Delaney had looked after it well.
And, I had to admit, that car caught my optics. It wasn’t jealousy—I liked my own car well enough, a Buick that was a satisfying ride, functional and elegant and with a few optional extras you wouldn’t find outside a science laboratory.
No, what I had for the red Plymouth Fury was something else. Admiration, and admiration for Vaughan Delaney too. He was every element the city man but that car was a jack-rabbit. Perhaps it was his mid-life crisis. Perhaps he was telling the city to go take a jump while he sat shuffling papers in his nice office with his sensible suit and practical hat. Look what I get to drive to the office in the morning, he said. Look at what I get to drive out to lunch every Wednesday. Look what I get to drive home in the evening. It was the kind of car that people would lean out of the office windows to take a look at, and Vaughan Delaney did every bit to help, the way he parked the red-and-white lightning bolt right outside the office door.
Because Vaughan Delaney had reached a certain level within the city hierarchy that allowed him to pick his own secretary based on the color of her hair and the length of her skirt and he was not a man who had to walk very far from his car to his desk.
He was also a family man. When the Plymouth Fury wasn’t outside the office or being driven to lunch on Wednesdays it lived in a two-car garage that sat next to a modest but modern bungalow in Gray Lake. Next to the Fury was commonly parked a yellow vehicle that General Motors had shooed out the door without much of a fuss, a rectangular lozenge on wheels with whitewall tires shining and seat belt tight and the sense of humor removed for safety reasons.
This was not a car to take much of an interest in. It belonged to Vaughan Delaney’s wife. Her name was Cindy Delaney.
Cindy Delaney loved her husband and let him know by kissing him on the cheek each and every morning before her husband went to work. The children loved him too. There were two of those, a boy and a girl, and both of them had blond hair like their mother and they were both a decade shy of joining the army and both of them kissed their father on the cheek each and every morning like their mother did, the only difference being that Vaughan Delaney had to go down on one knee so they could smell his aftershave. Then he blasted off in the Plymouth Fury and the quiet street in Gray Lake was quiet once more until Cindy Delaney took the children to school in the yellow boat and then came back again twenty minutes later. Then she put on a housecoat to keep her dress clean and she drove a vacuum over the bungalow while her husband drove a desk down in the city.
They were a nice family. Middle class, middle income, middle ambition. The children would grow up and the boy would play football at high school with his parents watching and the girl would play flute in the school orchestra with her parents watching and all was right with the world.
I knew all of this because I’d been watching Vaughan Delaney for three weeks. I’d been to the street in Gray Lake and had sat in my car and I’d watched life in and around the bungalow. I’d been to the office building downtown and had sat in my car and watched the Plymouth Fury come in for landing and Vaughan Delaney hop, skip, and jump up the stairs into the building and then waltz down the same steps some eight hours later.
Vaughan Delaney looked like a swell guy with a good job and a nice car and a happy family.
It was just a shame that he had to die.
© Adam Christopher, 2017
ABOUT THE AUTHOR
Adam Christopher’s debut novel EMPIRE STATE was SciFiNow’s Book of the Year and a Financial Times Book of the Year. The author of MADE TO KILL, STANDARD HOLLYWOOD DEPRAVITY, and KILLING IS MY BUSINESS, Adam’s other novels include SEVEN WONDERS, THE AGE ATOMIC, and THE BURNING DARK.Adam has also written the official tie-in novels for the hit CBS television show ELEMENTARY, and the award-winning DISHONORED video game franchise, and with Chuck Wendig, wrote THE SHIELD for Dark Circle/Archie Comics. Adam is also a contributor to the STAR WARS: FROM A CERTAIN POINT OF VIEW 40th anniversary anthology.
Born in New Zealand, Adam has lived in Great Britain since 2006.
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