ANOTHER DESCENT INTO PULP MADNESS AND MAYHEM:

​Kiss the Devil Good Night


 
“The pervy noir thriller Kiss the Devil Good Night will make you thankful that your family isn’t criminally insane. Lowbrow and brilliant.”—New York Magazine
 
"Kiss the Devil Good Night is a hell of a ride. Buy yourself a ticket now.”
—Madison Smartt Bell, National Book Award and PEN/Faulkner Award finalist and author of Doctor Sleep and All Souls Rising
 
“Woods’ story has several pulp-fiction trademarks, including a slew of seedy characters and plenty of sex and violence. But the book isn’t as hard-boiled as readers may anticipate. For every brazen simile (“The afternoon sun beat down like a dominatrix in a sweat”), narrator Derringer drops a line that’s endearing or sentimental, as when he recalls when he and Edie “smooched and groped each other like movie matinee lovers.” Although the perpetually gruff protagonist is a hard man to like, he enjoyably teams up with fellow halfway house resident Jane Ryder, who’s equally cynical but also whip-smart and reliable. A gleefully convoluted final act includes Nazis, unexpected deaths, and an over-the-top villainous plot. [Kiss the Devil Good Night is] a sharp, contemporary crime novel with classic genre elements.”—Kirkus Reviews
 
“Yale dropout, Iraq War veteran, and laid-off garbage-truck driver Bill Derringer drops his kids at summer camp in Orlando before robbing a gun show with wife Edie and sexy Aunt Ida. Before he knows it, he’s cooling his heels in prison, with wife and aunt, now lovers, having played him for a sap and made a gleeful getaway to Mexico. Released on parole five years later, Derringer has vowed revenge—and a job picking up the lost suitcase of William S. Burroughs provides the perfect excuse to travel south of the border. This is the literary equivalent of a Big Daddy Roth drawing: all bulging eyeballs, lolling tongues, and high octane propulsion (even if Derringer ends up driving a VW Bug through the jungle). Like Hunter S. Thompson crossbred with [1960s pulp writer] Gil Brewer, Woods revels in paranoia, hallucinations, hapless saps, and language both playful and profane. Exuberantly shotgunning pulp-fiction clichés (from Mexican sojourns to Nazi scientists), he slathers on film noir homage and shakes until it explodes like the radioactive suitcase at the end of [the classic film noir] Kiss Me Deadly. Pulpy, pervy fun for those who like the wild stuff.”—Keir Graff, Booklist
 
“[A] picaresque story of antic insanity…Fans of offbeat noir will find a lot to like.”—Publishers Weekly
 
“Woods delivers a jumpy and sexually explicit tale …exploring locales from Florida to Mexico, as well as the dark ruminations of its antihero, [for] readers who like their noir with a side of vulgar.” —Library Journal
 
“Kiss the Devil Good Night is a frenzied and sprawling masterpiece that blasts through the boundaries of southern-gothic. Featuring one of the most memorable anti-heroes in literature, this novel cements Jonathan Woods' reputation as one of the truly original voices in crime fiction.”
—Jon Bassoff, author of Corrosion and The Incurables
 
“Jonathan Woods writes wild and crazy books, and Kiss the Devil Good Night is no exception, except that it might be even wilder and crazier than his earlier work. Bill Derringer is a veteran of the Iraq (he calls it I-rack) conflict who's spend some time in the mental wing of a VA hospital and who, while maybe not quite crazy, is close enough to do some strange things. The novel opens as he and his wife, Edie, decide on the spur of the moment to drive to Florida with the kids to attend the trial of a woman who killed her child and (maybe) ate it. They plan to stay with Edie's Aunt Ida. They never attend the trial, but they do decide to rob a gun show, which results in a five-year prison sentence for Bill, while Edie and Aunt Ida run off to Mexico together. And that's just for openers. When Bill gets out of prison, burning for revenge against Edie and Aunt Ida, he winds up in a very odd halfway house where he meets Jane Ryder (who appears as a minor character in Woods’ earlier novel, A Death in Mexico), and eventually they go to Mexico to find the fugitives. This brief summary barely hints at the copious amounts of sex, violence, and dark humor in Kiss the Devil Good Night. It's not safe for work, or for your own Aunt Ida, who, I'm positive, is nothing like Aunt Ida in the novel. With a narrator like Bill, we're never quite sure what's real and what's not. Even Bill's not sure. But we know it's a strange and engrossing trip, which eventually involves a locked suitcase that once belonged to William Burroughs, who'd probably appreciate the weirdness of this novel, which is offbeat and wild and crazy (or did I say that already?). Check it out.”
—Bill Crider, award-winning Texas crime fiction writer and critic on his blog Bill Crider’s Pop Culture Magazine
 
“Jonathan Woods’ Kiss the Devil Good Night, is debauched, deadpan, and inebriating—the confessions of a comedic psychopath. Wild fun! You’ll never take sex or death seriously again. Buy this book!”
—Vicki Hendricks, author of Miami Purity, Voluntary Madness and the Edgar Award finalist Cruel Poetry
 
 What a wonderful novel. I flat out loved this book…[I had] a pure surge of delight on reading it, it’s fun, fast, furious, frantic and oh so fantastically written.  A rare treat.”
—Ken Bruen, two-time Shamus Award-winning author of The Guards, London Boulevard and Blitz 
 
“Jonathan Woods’ Kiss the Devil Good Night is a street-smart, fast-paced and deliciously cynical tale that races like an 18-wheeler with blown brakes from Florida’s badlands to the dark heart of Mexico. The story it tells of sex, money and revenge is as steamy and dangerous as a crocodile-ridden swamp.”
—Stephen Amidon, author of Human Capital (basis of the Oscar-nominated Italian film of the same title)
 
“Kiss the Devil Goodnight is offensive in all the right places…by far Jonathan Woods’ finest work. 5 out of 5 STARS.”
—Jessica Argyle, author of No Name Key
 
“Kiss the Devil Goodnight is one of the top twelve works of crime fiction of 2016. This dark wild ride through a pulp hell is pure Heaven for crime fiction fans. If Barry Gifford was still running Black Lizard Books, he would have signed Woods up.”
—Scott Montgomery, MysteryPeople blog, BookPeople Bookstore, Austin
 
“Kiss The Devil Goodnight” is a lethal cocktail of pulp fiction and Beat poetry. It’s vibrant, violent and vivid. Lyrical and lurid. Fast moving and funny…Chock-full of great lines and powerful imagery, and is certainly not for those of a delicate sensibility. I loved it.”—Paul D. Brazill