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Description

 							
  
  From Publishers Weekly
  
  Teran's cinematic fifth novel portrays the 1910 Mexican revolution via the gun sights of an unlikely duo: Rawbone, a
hardened smalltime assassin, and John Lourdes, a Bureau of Investigation agent. The two are thrown together when Rawbone
is caught smuggling munitions from Texas into Mexico and Rawbone's lawyer arranges a deal: immunity in exchange for
Rawbone sharing his criminal intel. A bargain is struck, with Lourdes assigned to accompany Rawbone into the Mexican
underground. The twist: Lourdes, unknown to everyone but himself, is Rawbone's son. As the two men make their way
through a snake's nest of smugglers, thugs and professional killers, Lourdes must suppress the angst he feels toward his
father and focus on surviving another day. While this bit of dramatic irony quickly wears thin, father and son share a
sharp wit, cunning instinct and thirst for adventure that make this spy mission the very definition of a thrill. Teran's
fast-paced prose reads like it was written for the big screen (Universal scooped up the film rights), and even if the
moralizing about U.S. foreign intervention gets heavy-handed, this remains an intelligent page-turner. (Nov.) 
 
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
  
  Review
  
  Praise for The Creed of Violence:
  
  "Boston Teran's The Creed of Violence is a terrific story
and beautifully written. It works as a story about imperialism, and it's also a touching tale of fathers, sons and one
very bad man's attempts at regeneration. But most of all it's exciting and tense and you'll probably read it, as I did,
in one great sitting." —Robert Ward, author of Red Baker and Four Kinds of Rain
  
 
“Teran’s considerable skills sneakily transform his characters, who use language like a concealed weapon.
His Rawbone, a raconteur straddling the gutter between the old West and belle époque, is a Manila line braided with
wit, cold-blooded efficiency, and a surprisingly expansive soul—a romantic cynic too wise to misinterpret
derision for insight. The hallucinogenic epic he traverses with young John Lourdes produces one of the most exciting
literary pairings since Fagin met Twist.” —Todd Field
  
  Praise for God Is a Bullet:
  
  “Ranks with Joan Didion’s The White Album . . . and John Ford’s classic film The
Searchers.” —_The San Francisco Examiner_
  
  “A millennial morality play . . . that might
well have been written by William Blake [and] James Ellroy . . . if they’d all sat around with a few gallons of
absinthe.” —_Dallas Morning Herald_
  
  Praise for Never Count Out the Dead:
  
 
“Cements Teran’s talent as a . . . virtuoso.” —_Publishers Weekly_
  
  
  
  Gardens of Grief, a sequel
to Boston Teran's literary classic, The Creed of Violence, is not only a powerful and thrilling piece of literature, it
is also a forceful condemnation of one of the most monstrous and controversial events of the twentieth century-the
Armenian genocide. In 1915, Islamic fundamentalists in Turkey annihilated two million innocent Armenians. Were the
atrocities committed by the Turkish government an unfortunate act of war, or the methodical extermination of a people
that was unequalled in history up to that time? The novel has been compared to Hemingway's For Whom the Bell Tolls,
where honor and bravery align with selflessness, to the impassioned advocacy for justice of Emile Zola's J'Accuse, the
writer's 1898 open letter on the Dreyfus Affair, and to the work of Solzhenitsyn, for his treatment of the horrors of
oppression.
  
  
  
  In Rio Vista,
California, Taylor Greene, the perfect son and heir to a fortune, dies in what is called a suicide. But two hundred
miles away in an anonymous motel room, a federal agent waiting to meet Taylor has been murdered. Months later, Dane Rudd
enters Rio Vista for a memorial to this young man whom he had never even met. Dane owes his life to Taylor Greene, for
he was almost blinded in an accident and it is because of the donation of Taylor's corneas that he is able to see again.
Soon Dane begins a journey along a pathway lined with liars, thieves, murderers and innocents - a fool's errand, and a
dangerous hunt for truth. 'Not for those of a nervous disposition.' - "Daily Telegraph", (for "God Is a Bullet") 'Grim,
glorious Gothic.' - "Val McDermid", (for "Never Count Out the Dead").
  
  **
  
  Amazon.com
Review
  
  Taking his title from author Owen Wister's description of the eye of man as "the prince of deadly
weapons," Boston Teran spins out a forceful yet surprisingly unsatisfying yarn in which what you see is almost never
what you get.
  
  While still wracked with guilt over the supposed suicide of his only son, Taylor, wealthy
Sacramento Delta developer Nathan Greene meets Dane Rudd, a young man who'd lost his vision in a subway attack years ago
and only regained it through the posthumous transplanting of Taylor's corneas. Nathan is now putting together a research
center in his son's name, and he needs Rudd as his guileless pitchman, "the miracle of modern science he'll troop out to
fund-raisers." But the enigmatic Rudd has his own agenda, which could lay Nathan--as well as an avaricious banker; a
randy, paraplegic district attorney with political ambitions; and a pair of brutish sibling pilots--open to charges in a
conspiracy that involves money laundering, missing diamonds, and murder.
  
  Although the pseudonymous Teran
gets off a clever line here and there (he describes a comely woman as having "legs that went all the way from the ground
up and into a man's psyche"), the prose in The Prince of Deadly Weapons is a flabby version of what drew readers to his
previous works, God Is a Bullet and Never Count Out the Dead. Equally discouraging, this story's characters never rise
above the one-dimensionality of concept, and its plot twists are less accomplished than they are confounding. Despite
some fast-pitch episodes of cinematic drama (Rudd's last-minute escape from an onrushing train, exploding boats in the
denouement), The Prince of Deadly Weapons lacks the lethal edge that fans have come to expect from this author. --J.
Kingston Pierce 						

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