Interview with Theodore Jermone Cohen
Today, Tyler R. Tichelaar of Reader Views is pleased to welcome back Theodore Jerome Cohen, who is here to be interviewed about his latest Detective Louis Martelli, NYPD, mystery thriller, “Lilith: Demon of the Night.” Theodore J. Cohen, PhD, holds three degrees in the physical sciences from the University of Wisconsin–Madison and has been an engineer and scientist for more than 40 years. He has been an investor for more than 50 years, and most recently, has focused on investigating and reporting on corruption in US financial institutions and agencies of the US government. Dr. Cohen has published seven novels and more than 350 papers, articles, columns, essays, and interviews on a broad range of topics primarily related to the fields of communications-electronics and investing. His analyses and opinions on Wall Street and the biotechnology industry are published under an exclusive agreement with SeekingAlpha. From December 1961 through early March 1962, Dr. Cohen participated in the 16th Chilean Expedition to the Antarctic, which he used as the basis for his Antarctic Murders Trilogy: “Frozen in Time: Murder at the Bottom of the World” (Book I); “Unfinished Business: Pursuit of an Antarctic Killer” (Book II); and “End Game: Irrational Acts, Tragic Consequences” (Book III). Dr. Cohen’s first novel, “Full Circle: A Dream Denied, A Vision Fulfilled,” which is based on his life as a violinist, was published in 2009. His most recent novel, “Lilith: Demon of the Night,” is the third in a series of mystery thrillers featuring the character of Detective Louis Martelli, NYPD. Martelli was earlier featured in Dr. Cohen’s “House of Cards: Dead Men Tell No Tales,” which is based on real events related to the 2008 financial crisis precipitated by the housing bubble. A still earlier Martelli novel of the same genre, “Death by Wall Street: Rampage of the Bulls,” focused on corruption within the Food and Drug Administration (FDA) and the incompetence of the Securities and Exchange Commission (SEC). Tyler: Welcome, Ted. I’m losing track of how many times I’ve had the privilege of interviewing you, but we’ve talked about your Martelli novels and your Antarctic Murders Trilogy in the past. I’m sure our readers can find those interviews here, on our Reader Views website. Frankly, I am amazed by your productivity. You seem to come out with a new book every six months or so. Yet I always ask you what’s next, and you tell me you don’t know. What’s your secret to such productivity?
Ted: Actually, you can blame Irene Watson of Reader Views for my writing my most recent novel. She’s the one who put me up to it! Tyler: Sure, pick on Irene. How did that happen? Ted: Well, Irene and I were chatting last November about book sales. In particular, I was kvetching about the fact that sales of “House of Cards” had not taken off in the same way sales for “Death by Wall Street” had a year earlier. She said she had heard similar laments from other independent authors. Tyler: Go on. Ted: So, we thought the problem might be the large number of books published today—I guess more than one million will be published in 2011, once the final count is in—and the state of the economy. Then, almost as a joke, Irene said, “Well, if you really want to sell books, why don’t you write a teenage vampire romance novel?” Tyler: Sounds good to me! I always say, “You can never have too many vampire books.” Great formula, especially given what you can find on bookshelves and at online bookstores today, not to mention in films in the theaters. Ted: Yeah, it’s a hot topic, all right! But teenage romance novels ain’t exactly my strong suit. However, Irene’s suggestion got me thinking. From reading the news over the years, I was aware of actual cases of vampirism here and in Europe. Some of these cases are mentioned in the novel, by the way. And with stories such as these as background, it didn’t take long to create the storyline behind “Lilith: Demon of the Night.” Tyler: So, let’s talk about the novel’s opening—the funeral. I understand at the funeral, a man dressed in a long priest’s robe walks into the church just before the service begins, stuffs garlic in the deceased’s mouth, and shoots him. My goodness—what a shocker! I’m sure you won’t tell us who this strange man is, but I’ll bet he’s not a priest. What can you tell us? Maybe who the funeral was for, to begin with? Ted: Well, I have to be careful here not to give away too much, but obviously, the man dressed as a priest has, shall we say, a “problem” with the deceased. In particular, he—let’s assume for now the person dressed as a priest is a male—apparently is going to great pains to ensure that the deceased does not walk upon the earth again. I had a lot of fun writing this portion of the book, especially because it brings back some of my favorite characters from the two earlier books: Martelli, certainly; Deputy Coroner Michael Antonetti; and Crime Scene Investigator Robin Peterson. Can I share with you an excerpt from Chapter One that I think your readers will enjoy? Tyler: Share on, Theodore! Ted: Okay, here we go: New York Police Detective Louis Martelli pulled his unmarked Crown Vic to the curb in front of the Church of the Holy Redeemer in Lower Manhattan, blocking the funeral procession’s lead vehicle and further heightening the tension among those on the sidewalk. The funeral director, family, and mourners, obviously puzzled by the unusual turn of events, were standing there, talking among themselves. None was allowed back into the church by the police, who were busy taking their names and other personal information in preparation for handing it to the lead detective—Martelli—for follow-up.
Tyler: Sounds like this is going to be quite a romp! Ted: You know me, Tyler. I delight in these types of exchanges. The book is loaded with them—between and among all of the characters. There were times, while writing this novel, that I actually found myself laughing out loud at the keyboard. Tyler: All right, before we get any farther, let me ask about the title. I know a little about Lilith as a literary or legendary person, but will you tell us why she’s significant for you and this book? Ted: Well, if you start poking around the Internet looking for information on the biblical Lilith, you’ll find a number of citations, not all of which are wholly consistent. There are tales of the mythical Lilitu, which gave rise to the Hebrew Lilith and her daughters, the Lilu, from Hebrew demonology. Importantly, Lilitu, who was considered a demon, was often depicted as living on the blood of babies. Tyler: Ah . . . so now we come to the link between the name “Lilith” and the subject of vampirism. Interesting. Ted: Yes, and I’ve attempted to weave a tangled web, my friend, one I hope my readers will thoroughly enjoy. Tyler: I understand the police initially thought the deceased in Chapter One—as discussed above—died of a heart attack, but it turns out that isn’t true. How did his death actually occur? Ted: Well, it would be nice for the readers to discover exactly how he died at the same instant Martelli does. Let’s just say that his manner of death was about as slow and unpleasant as it could be. It’s a method I’ve never used before in my books. Tyler: I understand the killer, whoever he is, is a serial killer. Will you tell us a little about some of the other murders? Ted: There are several, but the method used by the murderer is not readily apparent upon first examination by a coroner. And, importantly, as you would expect, the victims are linked to one another in a unique way. Which keeps Martelli and O’Keeffe hopping in their attempts to stay one step ahead of the killer. Tyler: Ted, your previous novels always seem to have social commentary or criticism attached to them, but serial killers seem removed from that. Is there a deeper message in “Lilith” like the ones you put forth regarding Wall Street and the US government in “Rampage of the Bulls” and “House of Cards?” Ted: That’s an excellent question. Not really, in the strictest interpretation of what you ask. On the other hand, there are, as you are well aware, a number of themes that constantly reappear in all of my novels, sometimes in subtle ways. I’ve incorporated several in “Lilith.” Tyler: Would you tell us a few of those themes? Ted: Readers familiar with my novels know, for example, that in them, bad things happen to good people. We generally don’t like to think about this. Somehow, we are led to believe—or is it that many of us are taught?—that if we lead good lives, treat others well, and generally live by the Golden Rule, our lives will be made better by some Unseen Hand. But the fact is, that’s not necessarily true. And it’s a painful lesson for some people to learn. In the extreme, it can shake their faith in God. In addition, my novels also pay homage to people in uniform, whether they be in the military or public service. Martelli, for example, is a disabled Iraqi War Veteran. In creating him, I really was honoring a good friend of mine, CPT Jimmy F. Adamouski, who died in the crash of his Black Hawk helicopter on April 2, 2003. Tyler: There’s no hiding your great respect for the police and such organizations as the Police Unity Tour®,” which also comes through loud and clear in the novel. Ted: Correct. Readers know, for example, that Martelli’s father was a police officer who was gunned down in the line of duty . . . hence the inclusion of the Police Unity Tour in my books. Interestingly, one of my editors is Officer Sy Nankin of the Essex County (NJ) Sheriff’s Department. He’s the one who makes sure that the police procedures, radio exchanges, and so forth, incorporated in the novel are up to snuff. Tyler: What is another theme we might find in “Lilith” that you’ve used before? Ted: Well, as you know from the Antarctic Murders Trilogy and more recently, “House of Cards,” deception plays a big role in all of our lives. So, it should come as no surprise that I’ve incorporated this theme in “Lilith.” As well, I’ve often had my characters remark that “It’s the person closest to you who can do the most damage.” When you think about it, these two themes go hand-in hand. In “Lilith,” for example, readers will learn some interesting things about the lives of certain characters . . . characters who could, for all intents and purposes, be the readers’ next door neighbors. We never really know what goes on behind closed doors, do we, even when those doors may be just down the hall from us or across the street? How much of what we see of another person’s life is real? And how much of what we see is a fiction . . . or better, a deception? Tyler: So, in essence, this novel, for lack of a better description, is a “snapshot” of life, albeit on the dark side. Ted: And not totally outside the realm of possibility, given the actual cases of vampirism cited in the book. Tyler: What kind of research did you do in writing the book? Ted: Fortunately, we have this wonderful tool called the Internet. That’s the place I spent most of my time studying the subject of vampirism and news reports of actual cases involving the practice. What’s really interesting is to look back into history at how the subject was treated by different cultures in Europe and Asia extending back thousands of years. Tyler: Do you have any insights into the vampire fascination so prevalent in recent years? Ted: Funny you should ask that question. It’s exactly the one Martelli put to his daughter, Tiffany, at the breakfast table one morning. Here’s the exchange: Tiffany Martelli had no sooner come to the breakfast table when her father put down the New York Times and turned to her. “Honey, what is the fascination teenagers have with vampires these days?” Now, I’m not going to tell you how the conversation ends, but I will say that readers will gain some insight into what is driving the current boom in vampire books and films, especially such things as the Twilight Saga. By the way, Stephanie, Martelli’s wife, is concerned about her husband because since his helicopter crashed in Iraq with the loss of the pilot and co-pilot, her husband has suffered from recurring nightmares. Tyler: Did you end up adding any romance into “Lilith?” Ted: Actually, yes! But it’s not where you might expect to find it. I think readers are in for a big surprise. Tyler: You have a warning with this book that it contains adult language. Do you find it difficult to decide how much or what level of adult language to include, and do you feel including it is being realistic, or do you do it a bit for the shock or sensationalism it provides? Ted: Great question. When I wrote “Death by Wall Street,” I hid the adult language by using keyboard symbols—@#$%&—to represent everything after the first character of an offensive word. And then, as I wrote “House of Cards,” which dealt with some pretty nasty characters, including street hoods and Islamic terrorists, I got to thinking. These people aren’t going to say “darn it,” or “gosh darn,” or other language of that ilk. So, I decided to throw caution to the wind and use “street language” . . . words I would expect to hear under the circumstances unfolding. But I also felt an obligation to warn my readers because I know some might be offended. So, as is the case with “House of Cards,” “Lilith” carries an Adult Language warning. But I do not use such language for shock and awe. It’s used because, well, I would expect the characters to speak the way I have them speak under the circumstances in which they find themselves. Hey, two police detectives—especially two war veterans—in a car by themselves on a long road trip are going to “let it all hang out.” That’s exactly what Martelli and O’Keeffe do in this book. As a writer, I would have no credibility whatsoever if I didn’t use the language I used. Tyler: As noted at the beginning, you like witty reparteé in your dialogue. Would you say dialogue is key for your character development? Ted: Dialogue certainly is a key element in conveying the essence of a character’s soul to the reader. They can “hear” in their mind’s ear how he or she is speaking, the words used, the syntax, how the character interacts with others . . . is he or she slow to respond, quick witted, and so forth? But it’s only half the story. As is the case with all of us, each character must necessarily be a product of his or her past. So that “history,” if you will, must be developed as well. Again, this can be done using dialogue, or as I sometimes choose to do, through the narrative. And here, it can either be done by allowing another character to provide the needed insight or by conveying it through the “all-seeing” observer. It all depends on how an author structures the novel’s presentation. In “Lilith,” for example, we learn a great deal about O’Keeffe from Martelli, based on what he has been able to piece together after working with him for three years. That said, however, we also learn a lot about the O’Keeffe based on what he says to Martelli and others, and how he says it. Characters in a novel—at least in my novels—are as complex as any person you might meet in real life. Tyler: Why is that? Ted: I guess it’s because I love listening to, and watching, people . . . what they say, how they say it, the language they use, how they interact with one another, how they resolve situations, and so forth. Sometimes, when I’m having coffee at the local bagel shop, I’ll look over at a couple, say, and wonder what they’re talking about. I’ll posit that their married, for example, are having money problems, and are trying to figure out how to make ends meet. Then, I’ll create a dialogue in my head for them. Sounds dumb, I know. But believe it or now, the idea for doing that goes back to a freshman English course I took at the University of Wisconsin in Milwaukee in 1956. Then, the professor told each of us to write a 500-word essay based on a hypothetical conversation between a man who came home from work late and tired, and his wife, who wanted to discuss a problem she was having with a merchant. That was it . . . that was the whole assignment. We had to make up everything . . . the names of the people, why the man was late and tired, what type of merchant was involved, what type of problem the wife was having, and so forth. Actually, it’s kind of fun. Good practice for writing novels. <laughter> But I continue to play out these conversations in my head when I write novels today, and sometimes, I’m surprised where the conversations lead. Tyler: I’m not surprised at all, Ted. Sounds like a great exercise for creating characters and dialogue. So, in this novel, O’Keeffe, as Martelli’s partner, has a more significant role than he did in the last book. What made you decide to develop him more in “Lilith?” Ted: Marty Shaw, who reviewed “House of Cards” for Reader Views, got on my case because he felt I had slighted O’Keeffe in that book. And you know what? He was correct. So I decided right from the get-go, when I first sat down to write “Lilith,” that O’Keeffe was going to play a major role in the book. And he does. “Lilith,” more that “Death by Wall Street” and “House of Cards” is about how two detectives work as a team to hunt down a serial killer. Tyler: Do you think you’ll keep O’Keeffe around for future Martelli thrillers? Ted: Ah, you’re trying to trick me, Tyler. But if there’s another Martelli thriller, you bet. I really like him, as I do most of my characters . . . even some of my villains. I don’t know if you’ve noticed or not—my guess is, you have—but even some of my “bad guys” have socially redeeming qualities. Tyler: <laughs> Well, I have to admit, I did take a liking to Captain Roberto Muñoz in the Antarctic Murder Trilogy. Ted: I rest my case. Tyler: Our reviewer at Reader Views, Paige Lovitt, commented that “Lilith” was “unique” among vampire stories and not what she expected. What about it do you feel is unique, and how does it differ from the usual vampire books today? Ted: I think Ms. Lovitt expected to read a “traditional” vampire story that focused on one of two things. In the first instance, perhaps she thought that the story would fall into the traditional realm of a classical vampire tale, with vampires sucking the blood of others, creating additional creatures of the night, and terrorizing a community. Or, in the second instance, she may have pictured what Irene had in mind . . . something closer to what seems to be popular today . . . that is, the teenage vampire romance novel. Of course, the book is neither, but is, instead, a modern-day tale of vampirism in our society. Tyler: So, I’m going to ask the usual question again and see whether you give me a different answer this time. Do you know what your next book will be about and will you give us a preview of it? Ted: <laughs> I haven’t a clue. Seriously. All I can tell you is that some morning, whether it be a day next week or a year from now, I’m going to wake up with an idea in my head, walk upstairs to the loft, create a template from one of my earlier novels, and start writing. I suspect it will be a “Martelli” novel—as I said, I genuinely like the characters I’ve created for this series, they are like old friends—but more than that, I couldn’t say. Tyler: Thank you, as always, Ted, for the opportunity to interview you today. Before we go, will you remind us please about your website address and anything fun or interesting we can find there? Ted: First, I’m sorry if I “bent your ear.” You asked me what time it was and I told you how to make a watch. But that said, my website is available at: http://www.theodore-cohen-novels.com The site is loaded with videos. Readers may find that those associated with the Antarctic Murders Trilogy are extremely interesting . . . some are downright entertaining. As always, Tyler, it was a pleasure talking with you today. Thanks for inviting me to chat with you. Tyler: Thank you, Ted. May “Lilith” be kind to you.
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