Mean Streets | |
Author: | Jim Butcher, Kat Richardson, Simon R. Green, Thomas E. Sniegoski |
Country: | United States |
Language: | English |
Publisher: | Roc Books |
Release Date: | January 6, 2009 |
Media Type: | Print (Trade paperback) |
Pages: | 368 pp |
Isbn: | 0-451-46249-1 |
Oclc: | 233548413 |
Mean Streets is a 2009 anthology of four novellas featuring protagonists from four urban fantasy series. The book promotes the characters and authors to existing readers of genre, as well as provides new readers to the genre a sample of each series. It was well-received as providing good, intriguing stories consistent with style of each series. The four stories collected in this book are "The Warrior" from The Dresden Files series by Jim Butcher, "The Difference a Day Makes" from the Nightside series by Simon R. Green,"The Third Death of the Little Clay Dog" from the Greywalker series by Kat Richardson, and "Noah's Orphans" from the Remy Chandler series by Thomas E. Sniegoski.
Mean Streets is an anthology, collecting four novellas. Each story is an original piece in four existing urban fantasy series published by Roc Books. The book was meant to cross promote series between one another, so fans of one series could try something similar or new readers could sample several styles in the subgenre. While all four series use a private investigator as their main character, "The Warrior" of The Dresden Files, set in Chicago between Small Favor and Turn Coat, used more "dry wit", while the Nightside story "The Difference a Day Makes" used more "darker humor". "The Third Death of the Little Clay Dog" uses more "mystery and intrigue", as well as Mexican culture in the backdrop. "Noah's Orphans", set between the novels A Kiss Before The Apocalypse and Dancing On The Head of a Pin of the Remy Chandler series, is a murder mystery that uses biblical figures, like Noah and Sariel, as characters.
The book was released January 4, 2009, as a trade paperback published by Roc Books, an imprint in the Penguin Group. An unabridged audiobook version, narrated by Dion Graham, Richard Poe, Mia Baron, T. Ryder Smith, was released in April 2009.
The book was well-received, with the reviewer in Publishers Weekly writing, "All [stories are] solid and suspenseful, these stories are sure to please",[1] and Kimberly Swan of Darque Reviews writing, "They're equally well-told and intriguing ... This is a keeper that will easily rise to the top of the list of favorite anthologies for fans of the genre."[2] Similarly, book reviewer Harriet Klausner wrote "Each tale is well written feeling complete even in the novella format and complement one another as the writers rose to the occasion of expectations from their fan base."[3] The critic at Monsters and Critics concluded that "Imaginative, yet humanizing storylines with familiar characters make this collection a treat and a great introduction for readers new to the genre."[4]
The Publishers Weekly reviewer selected Sniegoski's "Noah's Orphans" as the best of the four stories noting that "Sniegoski manages to make a far-fetched setup both plausible and moving".[1] The editor at SFRevu wrote "the depth of characterization and emotional conflict [in "Noah's Orphans"] stands out". The Entertainment Examiner reviewer identified both "Noah's Orphans" and Butcher's "The Warrior" as equally the best stories saying “Both Sniegoski and Butcher infuse their characters...with solid, relatable emotion that truly makes you care about what is going on. Their action and dialogue is tense and engaging, even in the calmest scene, and the details they use are vivid enough to create a strong mental image of the scene without taking over the story."[5] Other reviewers found "The Warrior" to be typical of the Harry Dresden series.[6] [1] Richardson's "The Third Death of the Little Clay Dog" was called "a delightful tale"[4] and "an intriguing mystery"[6] that "neatly merges noir conventions with a fantastical plot",[1] though the characterization was panned as being "flat and inexpressive".[5] Though described as "a roller coaster ride of a story"[7] and "wildly imaginative"[5] Green's "The Difference A Day Makes" was found to employ "gratuitous macabre writing" in trying to describe "increasingly twisted and depraved scenarios, using the same stock descriptions and dialogue".[5] Another reviewer wrote that "Green goes overboard" describing Nightside so that "story is more about the setting than any actual plot...[making] the ending feel like a letdown".[6]