Race and civil rights in 1963 Los Angeles provide a powerful backdrop in Gary Phillips’s riveting mystery about an African American crime scene photographer seeking justice for a friend—perfect for fans of Walter Mosley, James Ellroy, and George Pelecanos.

LOS ANGELES, 1963: Korean War veteran Harry Ingram earns a living as a news photographer and occasional process server: chasing police radio calls and dodging baseball bats. With racial tensions running high on the eve of Martin Luther King’s Freedom Rally, Ingram risks becoming a victim at every crime scene he photographs.

When Ingram hears about a deadly automobile accident on his police scanner, he recognizes the vehicle described as belonging to his good friend and old army buddy, a white jazz trumpeter. The LAPD declares the car crash an accident, but when Ingram develops his photos, he sees signs of foul play. Ingram feels compelled to play detective, even if it means putting his own life on the line. Armed with his wits, his camera, and occasionally his Colt .45, “One-Shot” Harry plunges headfirst into the seamy underbelly of LA society, tangling with racists, leftists, gangsters, zealots, and lovers as he attempts to solve the mystery.

Master storyteller and crime fiction legend Gary Phillips has filled the pages of One-Shot Harry with fascinating historical cameos, wise-cracks, tenderness, and an edge-of-your-seat thrill ride of a plot with consequences far beyond one dead body.
“Ben? Goddamn, it is you.” Ingram set his camera on a small shelf upon which were bottles of liniment for the horses.
     The two rushed at each other and hugged, slapping each other on the back.
     “When did you get back to town?”
     “A couple of weeks ago. Been meaning to look you up, cousin,” Ben Kinslow said. Addressing the silver-haired man, he added, “We were in the service together, Mr. Hoyt.”
     The silver-haired man nodded curtly. “That’s something. Korea, was it?”
     “Yes, sir,” Ingram said, smiling. He took the older man to be Kinslow’s employer, and wasn’t going to say something crude if he could help it.
     Hoyt and the trainer walked inside the stall, the trainer’s calloused hand on the horse’s hindquarters.
     “I’d heard you’re still taking them stills,” Kinslow said.
     “You still tooting the horn?”
     “Now and then.”
     They’d stepped away from the stall, but Ingram had heard enough to know that Hoyt was the owner of the horse being examined. He said in a low voice to Kinslow, “Look, I don’t want to get you in Dutch with your boss. I’m sure he wants you paying attention to every pearl of wisdom spilling from his spoon-fed mouth.”
     Kinslow smiled, looking over at the other man. “Lay your number on me. I’ll give you a shout.”
     Ingram wrote it down on one of his sheets in his notepad, tore it off and handed it over. “Don’t be no stranger,” he said in his normal volume.
     “Never,” his buddy said. “Give me some dap.” They slapped palms. Ingram retrieved his camera and walked to his car. Near his vehicle was a coal-black 1962 Lincoln Continental. He whistled at the swank car. Dispensing with his envy, he got into his car and after turning the engine over for several cranks, the vehicle started. He drove off, stopping at a pay phone on Imperial.
     “Hey, Doris. Got anything for your favorite runner?”
     “I think I do, Harry,” Doris Letrec said. He heard her set the handset down, then papers being shuffled before she came back on the line. “Got a divorce case, a car involved in a cross complaint and some kind of suit involving a truckload of refrigerators.” She paused, reading the paperwork further. “Oh, but that one’s in Glendale.”
     He almost cursed. “You might as well have said Mississippi.”
     “I hear you.” Letrec was white but she knew about sundown towns like Glendale. If you were Black, it was best you not be caught there after the sun set—by the cops or by the self-righteous residents. Ingram wasn’t going to be there during the day if he could help it. “Okay, I’ll swing by for the divorce and car.”
     “See you.” She hung up.
     Ingram drove back into L.A. proper and the offices of Galton Process Services and Legal Papers on Grand Avenue, manager, was at the front desk typing a report when Ingram entered. She was a middle-aged woman who lived with a female roommate, a younger librarian, in a garden apartment in East Hollywood.
     Her cat-eye glasses were on a chain and she removed them as she looked up from her Underwood. “I’ve got them right here, Harry.” She handed the paperwork over to him.
     “Thanks.” He glanced at the addresses, then tucked them
away.
     The main part of the office contained a row of gray file cabinets, a few chairs, two desks—there was a man who came on for the after-hours trade from four to midnight—and an inner office. This had a door inset with a large glass pane, a set of blinds behind that. As usual, the blinds were drawn.
     Ingram pointed his jaw at the door. “Is His Lordship in?”
     “He was here before I got in,” she said, hunching a shoulder. “He did stick his head out once to ask a question.”
     “Like the groundhog,” Ingram mused.
     Tremane Galton, the owner of the business, was of British extraction but had lived in the States since his twenties, some thirty-plus years ago. He was agoraphobic, though he managed to drive from his house in Frogtown to the office at least three days a week.
     Ingram started for the exit. “I’ll let you know how it goes.”
     “Keep ’em flying straight, Harry.”
     “Always above the flack.”
     Glasses back on, she gave him a last look, then resumed typing.
     Driving to his first destination, Ingram passed a sharp-dressed teenager standing on the corner hawking copies of the Sentinel.
     “‘Negro Workers Demand Fair Pay at Bethlehem Steel,’” the young man yelled. “Get your Sentinel newspaper, get your Sentinel newspaper.”
     Serving the divorce papers was not hard. The unshaven man who answered Ingram’s knock was wiping sleep out of his eyes. He worked the graveyard shift at a frozen fish supplier out in San Pedro.
     “Mr. Efrain Martinez?” Ingram said pleasantly.
     “Yes.” He regarded Ingram warily.
     “You’ve been served.” Ingram held out the tri-folded papers requiring his presence in court.
     “That puta bitch,” the man growled, taking the papers, muttering in Spanish and English as he slammed the door.
     The disputed car was another matter. The address took Harry to a residential street off of north Western Avenue. On his way he passed by the boarded-up Fox Uptown Theater. A few years ago, he’d taken a date there to see Vincent Price in a movie called The Tingler. The movie was pretty tame for a horror show. Ingram had hoped to get his lady friend all clingy. Instead, she’d fallen asleep by the second half.
     He slowed as he went past a California bungalow, double-checking the address. The car in question wasn’t out front, but there was a detached garage at the end of the driveway. First, though, he drove up and down the surrounding blocks, looking for the car whose plate and other details he’d memorized. Having done process server work for some time now, Ingram knew the tricks drivers used to hide cars they owed payments on—including switching the license plates. He rolled up on a Buick LeSabre, but it was the wrong color and plate. He didn’t think the driver, a Scott Jayson, had had the vehicle repainted. If he could afford that, he would have tried to come current on the note.
     Ingram parked several doors down from the bungalow and walked back to the house. He took a peek inside the garage. The double doors had a chain through where the locks had once been, and this was padlocked closed. But there was enough play between the doors that Ingram gapped them to shine his flashlight inside. The LeSabre was there.
     “Hey, what are you up to?”
     Ingram turned around to see a white man in jeans, his shirttail out. He was holding a baseball bat and had come out the back door.
     Ingram held up a hand. “Take it easy. You must be Mr. Jayson.” This wasn’t the first time he’d been threatened with violence when he’d been trying to serve someone. The war had taught him how to handle his fear.
     “What about it?”
     “Your car is involved in a cross complaint and I’m here to serve you papers initiated from Triton Auto Sales.” He’d also read the used car lot was run by Jayson’s brother-in-law.
     “Ain’t no coloreds work for Triton.”
     “I’m being paid to serve you.”
     “Yeah, then get in the kitchen and get my lunch ready.” The man chuckled.
     “No reason to not be civil.”
     Jayson came closer, waving the bat. “What you gonna do if I don’t? What if I use this to teach you a lesson about nosing in business that ain’t your concern? How would that be . . . boy?”
     “That would be a mistake, Mr. Ofay.”
     Jayson’s eyes popped open as if he’d been struck in the forehead. “What did you just say?”
     He swung the bat and Ingram turned his body into it, taking the brunt of the blow on his arm. He was hurting but focused. He got his hand on the bat and at the same time punched Jayson with his free hand.
     “How dare you, nigger,” the other man said, stumbling back but still holding the bat.
     Ingram allowed the other man’s momentum to carry the both of them backward, muscle memory dredging up the rudimentary jujitsu he’d learned in basic about leverage. Jayson aimed a fist at Ingram’s jaw, but he slipped aside, the jab glancing off the side of his face. Ingram got his foot behind Jayson’s heel and shoved. This sent them both down to the ground, Ingram landing as hard as he could atop the other man.
     “Get the fuck off me.”
     They both wrestled for control of the bat, rolling around on the ground. Ingram rammed an elbow into Jayson’s face, stunning him. An angered Jayson let go of the bat and got both his hands around Ingram’s neck, choking him.
     “I’ll teach you good, Blackie.”
     Ingram went flat on his back and as Jayson tightened his hands around his neck, the part-time process server got a knee against Jayson’s sternum, flipping him over. Ingram bolted to his feet, snatching the bat up from where it lay. The handkerchief pocket on his jacket was torn.
     Jayson was getting to a knee. “You better put that down. I’ll get you arrested for damn sure.”
     Ingram was mad enough to strike him, but feared sending him to the hospital, which would send him to jail quick. When it came to the testimony of a Black man against a white man’s word, what chance did he have in a so-called court of law? Still. He jammed the  opposite end of the bat into Jayson’s stomach.
     “You motherfucker,” the man wheezed, bending over and holding his middle.
     Ingram grabbed him by the shirt front and stood him up. “Listen, gray boy, if I have to come back here I’ll set that Buick on fire and you’ll never prove it was me. You’ll really be in the hole then.” He let him go and threw the court order at his feet. “You’ve been served, asshole.”
     “What about my bat?’
     “What about it?” Ingram started toward him and Jayson flinched. Ingram laughed harshly, then turned, spearing the bat through a bedroom window, shattering the glass with force. “There it is.”
     Off he went, a tremor in his leg. By the time he got into his car he was shaking all over, tears in his eyes as he gripped the steering wheel. Ingram didn’t give a shit about Jayson. It was the violence dogging him he knew. The war wouldn’t let him go.
     After a few minutes he calmed down. Hand steady, he inserted the key in the ignition, started the car and drove away.
Praise for One-Shot Harry

Finalist for the 2023 Nero Award
Nominated for the Sue Feder Memorial Award for Best Historical Mystery
A Washington Post Best Mystery & Thriller of 2022
A Booklist Editor's Choice Best Books of 2022
CrimeReads The Best Historical Crime Fiction of 2022
CrimeReads The Best Noir Fiction of 2022
A Mystery Finalist for the 2022 Golden Poppy Book Award

Amazon Best of the Year (So Far)

CrimeReads 10 Novels to Read this Month

CrimeReads Most Anticipated Books of 2022

She Reads Most Anticipated Mystery Novels of 2022
A Library Journal Editor's Pick for Spring 2022


“Terrific . . . What makes One-Shot Harry a standout is the cityscape of mid-century L.A it summons up—its music, chromium cars, hateful slurs, “invisible” racial boundaries and cautious hopes.”
—NPR's Fresh Air

“Phillips is a storyteller first, and the social chronicling never becomes didactic or overtakes the narrative. The wounds of 1963, and the foreshadowing of both better days and harsher ones, feel unnervingly fresh, and a reminder that progress, much as we wish otherwise, never adheres to a linear timeline.”
—Sarah Weinman, The New York Times Book Review

“One-Shot Harry
is fast-paced, tough, wry and smart, but what makes this novel a singular sensation is the diverse cityscape of mid-century L.A. that Phillips summons up. More than simply scattering cosmetic references to African American newspapers or notables like Dorothy Dandridge . . . Phillips takes readers deep into another world and time: its jokes, home furnishings, baloney-meatloaf-and-hot-dog-heavy meals; its hateful slurs, “invisible” racial boundaries and cautiously hopeful possibilities.”
—Maureen Corrigan, The Washington Post
 
“Propulsive . . . One-Shot Harry crackles with authenticity, and its resilient hero seems resourceful and tough enough to propel any number of sequels.”
—Tom Nolan, The Wall Street Journal

“Vividly depicts 1963 L.A . . . Phillips’ insight into racism, attitudes toward Black veterans, the Civil Rights movement, Black press and politics of the 1960s elevates One-Shot Harry. Readers will look forward to more camera work from Harry, and Phillips.”
—Oline Cogdil, The South Florida Sun-Sentinel

“Phillips’s writing has long been infused with big ideas and a scathing analysis of American greed, corruption, and racism . . . Encyclopedic knowledge of the history of Los Angeles’s economic development and progressive politics deepens the plot of One-Shot Harry.”
—Paula Woods, Alta Magazine

“[Phillips] has always striven to keep Los Angeles’ history in the forefront of readers’ minds and his most recent mystery novel, One-Shot Harry, which features a Black news photographer in the 1960s, perhaps most encapsulates his passion for the past.”
—Los Angeles Daily News

“The Phillips style of plotting fits squarely in the Chandler/Hammett tradition with the addition of intriguing and powerful issues of race.”
—Toronto Star

“Race—and racial tension—are the backbone of this novel of the early 1960s . . . Phillips captures the volatility of those times, when civil rights was literally on the march. He also effectively conjures the seamier side of Los Angeles . . . Phillips nails the atmosphere. He also keeps the reader guessing.”
—Pittsburgh Post-Gazette

“Gritty, graphic . . . a well-researched procedural tale that delves into the diverse mental attitudes in the jazz scene and Los Angeles neighborhoods in 1962.”
—Lansing State Journal

“For thirty years Phillips has been a must-read writer, and One-Shot Harry is probably his best ever—tense and suspenseful, of course, but also deep, resonant and intelligent. It's a story that needed to be told, and therefore a book that needs to be read.”
—Lee Child

“Few books are able to capture the essence and vibe of classic hardboiled fiction and still manage to make the prose feel modern and of-the-moment. Gary Phillips does just that with One-Shot Harry and the memorable titular protagonist, Harry Ingram. This book is a swift uppercut of gritty storytelling that will keep you hungrily turning the pages, loaded with moments that will linger in your mind long after you've finished reading.”
—Alex Segura, author of Secret Identity, Blackout, and Miami Midnight

“Phillips’ vision of Los Angeles in 1963 comes to vivid life in the form of Harry Ingram, a news photographer and part-time process server who’s putting himself in the firing line all day long as the city’s racial and social divides pull further and further apart. When an old Army friend of his is killed in a car accident, Ingram takes his crime scene photos and his wits on a journey through a deeply corrupt city, looking for the final answers for one man’s death.”
—CrimeReads

“Los Angeles is as much a character as any of them, and part of the joy of reading One-Shot Harry is immersing oneself in Phillips’ grittily detailed rendering of the city, informed by his past experiences as a community activist in South LA . . . The shadows of Raymond Chandler and Dashiell Hammett are discernible throughout Phillips’ lively narrative.”
—Pasadena Weekly

“With its setting, this novel might remind you of Easy Rawlins or Harry Bosch, but I would strongly recommend reading it as a counterpoint to the LA Quartet by James Ellroy. Gary Phillips authentically tells the other side – those who faced police and institutional racism in Los Angeles. And while, yes, it’s about race, the author succeeds in directing us well beyond that theme and towards something much bigger. It’s about justice.”
—Crime Fiction Lover

“The result of Phillips’ sensitive approach to character and situation is a story that is enjoyably complex, each conversation or phone call or snatched sight through a telephoto lens leading us, and Harry, to discover more details of a suspenseful web of intrigue.”
—Historical Novel Society

“Fast-paced, noir-flavored, tautly written . . . A cracking good mystery.”
—Reading Beauty

“Phillips vividly captures the sights and sounds of the era (jazz and blues on Central Avenue) as well as the ubiquitous racism and police brutality that threatened everyone in the Black community. Ingram emerges as a particularly satisfying, no-nonsense hero.”
Booklist, Starred Review

“Terrific . . . With close attention to period detail and precise prose, Phillips brings the era vividly to life. Crime fiction fans won’t want to miss this one.”
Publishers Weekly, Starred Review

“Phillips roots his hero’s adventures in a densely woven web of real-life local history that emphasizes both Black Angelenos’ historic oppression and the moment for resistance crystallized in the Freedom Rally King plans en route to the demonstration in D.C. whose approach signals the possibility of historic change for both haves and have-nots. Like Walter Mosley in his stories about Easy Rawlins, Phillips presents a powerfully history-driven mystery.”
Kirkus, Starred Review

Praise for Gary Phillips


“Gary Phillips is my kind of crime writer.”
—Sara Paretsky, New York Times bestselling author
 
“In the tradition of Dashiell Hammett . . . Makes us feel that the war he’s waging is for our own salvation.”
—Walter Mosley, author of the Easy Rawlins series
 
“Gary Phillips writes tough and gritty parables about life and death on the mean streets . . . his is a voice that should be heard and celebrated.”
—Michael Connelly, author of Void Moon and Angel’s Flight
Gary Phillips has published various novels, comics, novellas, and short stories and edited or co-edited several anthologies, including the Anthony-winning The Obama Inheritance. Violent Spring, his 1993 debut, was named in 2020 one of the essential crime novels of Los Angeles. He as also a story editor on Snowfall, an FX show about crack and the CIA in 1980s South Central, where he grew up. View titles by Gary Phillips

About

Race and civil rights in 1963 Los Angeles provide a powerful backdrop in Gary Phillips’s riveting mystery about an African American crime scene photographer seeking justice for a friend—perfect for fans of Walter Mosley, James Ellroy, and George Pelecanos.

LOS ANGELES, 1963: Korean War veteran Harry Ingram earns a living as a news photographer and occasional process server: chasing police radio calls and dodging baseball bats. With racial tensions running high on the eve of Martin Luther King’s Freedom Rally, Ingram risks becoming a victim at every crime scene he photographs.

When Ingram hears about a deadly automobile accident on his police scanner, he recognizes the vehicle described as belonging to his good friend and old army buddy, a white jazz trumpeter. The LAPD declares the car crash an accident, but when Ingram develops his photos, he sees signs of foul play. Ingram feels compelled to play detective, even if it means putting his own life on the line. Armed with his wits, his camera, and occasionally his Colt .45, “One-Shot” Harry plunges headfirst into the seamy underbelly of LA society, tangling with racists, leftists, gangsters, zealots, and lovers as he attempts to solve the mystery.

Master storyteller and crime fiction legend Gary Phillips has filled the pages of One-Shot Harry with fascinating historical cameos, wise-cracks, tenderness, and an edge-of-your-seat thrill ride of a plot with consequences far beyond one dead body.

Excerpt

“Ben? Goddamn, it is you.” Ingram set his camera on a small shelf upon which were bottles of liniment for the horses.
     The two rushed at each other and hugged, slapping each other on the back.
     “When did you get back to town?”
     “A couple of weeks ago. Been meaning to look you up, cousin,” Ben Kinslow said. Addressing the silver-haired man, he added, “We were in the service together, Mr. Hoyt.”
     The silver-haired man nodded curtly. “That’s something. Korea, was it?”
     “Yes, sir,” Ingram said, smiling. He took the older man to be Kinslow’s employer, and wasn’t going to say something crude if he could help it.
     Hoyt and the trainer walked inside the stall, the trainer’s calloused hand on the horse’s hindquarters.
     “I’d heard you’re still taking them stills,” Kinslow said.
     “You still tooting the horn?”
     “Now and then.”
     They’d stepped away from the stall, but Ingram had heard enough to know that Hoyt was the owner of the horse being examined. He said in a low voice to Kinslow, “Look, I don’t want to get you in Dutch with your boss. I’m sure he wants you paying attention to every pearl of wisdom spilling from his spoon-fed mouth.”
     Kinslow smiled, looking over at the other man. “Lay your number on me. I’ll give you a shout.”
     Ingram wrote it down on one of his sheets in his notepad, tore it off and handed it over. “Don’t be no stranger,” he said in his normal volume.
     “Never,” his buddy said. “Give me some dap.” They slapped palms. Ingram retrieved his camera and walked to his car. Near his vehicle was a coal-black 1962 Lincoln Continental. He whistled at the swank car. Dispensing with his envy, he got into his car and after turning the engine over for several cranks, the vehicle started. He drove off, stopping at a pay phone on Imperial.
     “Hey, Doris. Got anything for your favorite runner?”
     “I think I do, Harry,” Doris Letrec said. He heard her set the handset down, then papers being shuffled before she came back on the line. “Got a divorce case, a car involved in a cross complaint and some kind of suit involving a truckload of refrigerators.” She paused, reading the paperwork further. “Oh, but that one’s in Glendale.”
     He almost cursed. “You might as well have said Mississippi.”
     “I hear you.” Letrec was white but she knew about sundown towns like Glendale. If you were Black, it was best you not be caught there after the sun set—by the cops or by the self-righteous residents. Ingram wasn’t going to be there during the day if he could help it. “Okay, I’ll swing by for the divorce and car.”
     “See you.” She hung up.
     Ingram drove back into L.A. proper and the offices of Galton Process Services and Legal Papers on Grand Avenue, manager, was at the front desk typing a report when Ingram entered. She was a middle-aged woman who lived with a female roommate, a younger librarian, in a garden apartment in East Hollywood.
     Her cat-eye glasses were on a chain and she removed them as she looked up from her Underwood. “I’ve got them right here, Harry.” She handed the paperwork over to him.
     “Thanks.” He glanced at the addresses, then tucked them
away.
     The main part of the office contained a row of gray file cabinets, a few chairs, two desks—there was a man who came on for the after-hours trade from four to midnight—and an inner office. This had a door inset with a large glass pane, a set of blinds behind that. As usual, the blinds were drawn.
     Ingram pointed his jaw at the door. “Is His Lordship in?”
     “He was here before I got in,” she said, hunching a shoulder. “He did stick his head out once to ask a question.”
     “Like the groundhog,” Ingram mused.
     Tremane Galton, the owner of the business, was of British extraction but had lived in the States since his twenties, some thirty-plus years ago. He was agoraphobic, though he managed to drive from his house in Frogtown to the office at least three days a week.
     Ingram started for the exit. “I’ll let you know how it goes.”
     “Keep ’em flying straight, Harry.”
     “Always above the flack.”
     Glasses back on, she gave him a last look, then resumed typing.
     Driving to his first destination, Ingram passed a sharp-dressed teenager standing on the corner hawking copies of the Sentinel.
     “‘Negro Workers Demand Fair Pay at Bethlehem Steel,’” the young man yelled. “Get your Sentinel newspaper, get your Sentinel newspaper.”
     Serving the divorce papers was not hard. The unshaven man who answered Ingram’s knock was wiping sleep out of his eyes. He worked the graveyard shift at a frozen fish supplier out in San Pedro.
     “Mr. Efrain Martinez?” Ingram said pleasantly.
     “Yes.” He regarded Ingram warily.
     “You’ve been served.” Ingram held out the tri-folded papers requiring his presence in court.
     “That puta bitch,” the man growled, taking the papers, muttering in Spanish and English as he slammed the door.
     The disputed car was another matter. The address took Harry to a residential street off of north Western Avenue. On his way he passed by the boarded-up Fox Uptown Theater. A few years ago, he’d taken a date there to see Vincent Price in a movie called The Tingler. The movie was pretty tame for a horror show. Ingram had hoped to get his lady friend all clingy. Instead, she’d fallen asleep by the second half.
     He slowed as he went past a California bungalow, double-checking the address. The car in question wasn’t out front, but there was a detached garage at the end of the driveway. First, though, he drove up and down the surrounding blocks, looking for the car whose plate and other details he’d memorized. Having done process server work for some time now, Ingram knew the tricks drivers used to hide cars they owed payments on—including switching the license plates. He rolled up on a Buick LeSabre, but it was the wrong color and plate. He didn’t think the driver, a Scott Jayson, had had the vehicle repainted. If he could afford that, he would have tried to come current on the note.
     Ingram parked several doors down from the bungalow and walked back to the house. He took a peek inside the garage. The double doors had a chain through where the locks had once been, and this was padlocked closed. But there was enough play between the doors that Ingram gapped them to shine his flashlight inside. The LeSabre was there.
     “Hey, what are you up to?”
     Ingram turned around to see a white man in jeans, his shirttail out. He was holding a baseball bat and had come out the back door.
     Ingram held up a hand. “Take it easy. You must be Mr. Jayson.” This wasn’t the first time he’d been threatened with violence when he’d been trying to serve someone. The war had taught him how to handle his fear.
     “What about it?”
     “Your car is involved in a cross complaint and I’m here to serve you papers initiated from Triton Auto Sales.” He’d also read the used car lot was run by Jayson’s brother-in-law.
     “Ain’t no coloreds work for Triton.”
     “I’m being paid to serve you.”
     “Yeah, then get in the kitchen and get my lunch ready.” The man chuckled.
     “No reason to not be civil.”
     Jayson came closer, waving the bat. “What you gonna do if I don’t? What if I use this to teach you a lesson about nosing in business that ain’t your concern? How would that be . . . boy?”
     “That would be a mistake, Mr. Ofay.”
     Jayson’s eyes popped open as if he’d been struck in the forehead. “What did you just say?”
     He swung the bat and Ingram turned his body into it, taking the brunt of the blow on his arm. He was hurting but focused. He got his hand on the bat and at the same time punched Jayson with his free hand.
     “How dare you, nigger,” the other man said, stumbling back but still holding the bat.
     Ingram allowed the other man’s momentum to carry the both of them backward, muscle memory dredging up the rudimentary jujitsu he’d learned in basic about leverage. Jayson aimed a fist at Ingram’s jaw, but he slipped aside, the jab glancing off the side of his face. Ingram got his foot behind Jayson’s heel and shoved. This sent them both down to the ground, Ingram landing as hard as he could atop the other man.
     “Get the fuck off me.”
     They both wrestled for control of the bat, rolling around on the ground. Ingram rammed an elbow into Jayson’s face, stunning him. An angered Jayson let go of the bat and got both his hands around Ingram’s neck, choking him.
     “I’ll teach you good, Blackie.”
     Ingram went flat on his back and as Jayson tightened his hands around his neck, the part-time process server got a knee against Jayson’s sternum, flipping him over. Ingram bolted to his feet, snatching the bat up from where it lay. The handkerchief pocket on his jacket was torn.
     Jayson was getting to a knee. “You better put that down. I’ll get you arrested for damn sure.”
     Ingram was mad enough to strike him, but feared sending him to the hospital, which would send him to jail quick. When it came to the testimony of a Black man against a white man’s word, what chance did he have in a so-called court of law? Still. He jammed the  opposite end of the bat into Jayson’s stomach.
     “You motherfucker,” the man wheezed, bending over and holding his middle.
     Ingram grabbed him by the shirt front and stood him up. “Listen, gray boy, if I have to come back here I’ll set that Buick on fire and you’ll never prove it was me. You’ll really be in the hole then.” He let him go and threw the court order at his feet. “You’ve been served, asshole.”
     “What about my bat?’
     “What about it?” Ingram started toward him and Jayson flinched. Ingram laughed harshly, then turned, spearing the bat through a bedroom window, shattering the glass with force. “There it is.”
     Off he went, a tremor in his leg. By the time he got into his car he was shaking all over, tears in his eyes as he gripped the steering wheel. Ingram didn’t give a shit about Jayson. It was the violence dogging him he knew. The war wouldn’t let him go.
     After a few minutes he calmed down. Hand steady, he inserted the key in the ignition, started the car and drove away.

Reviews

Praise for One-Shot Harry

Finalist for the 2023 Nero Award
Nominated for the Sue Feder Memorial Award for Best Historical Mystery
A Washington Post Best Mystery & Thriller of 2022
A Booklist Editor's Choice Best Books of 2022
CrimeReads The Best Historical Crime Fiction of 2022
CrimeReads The Best Noir Fiction of 2022
A Mystery Finalist for the 2022 Golden Poppy Book Award

Amazon Best of the Year (So Far)

CrimeReads 10 Novels to Read this Month

CrimeReads Most Anticipated Books of 2022

She Reads Most Anticipated Mystery Novels of 2022
A Library Journal Editor's Pick for Spring 2022


“Terrific . . . What makes One-Shot Harry a standout is the cityscape of mid-century L.A it summons up—its music, chromium cars, hateful slurs, “invisible” racial boundaries and cautious hopes.”
—NPR's Fresh Air

“Phillips is a storyteller first, and the social chronicling never becomes didactic or overtakes the narrative. The wounds of 1963, and the foreshadowing of both better days and harsher ones, feel unnervingly fresh, and a reminder that progress, much as we wish otherwise, never adheres to a linear timeline.”
—Sarah Weinman, The New York Times Book Review

“One-Shot Harry
is fast-paced, tough, wry and smart, but what makes this novel a singular sensation is the diverse cityscape of mid-century L.A. that Phillips summons up. More than simply scattering cosmetic references to African American newspapers or notables like Dorothy Dandridge . . . Phillips takes readers deep into another world and time: its jokes, home furnishings, baloney-meatloaf-and-hot-dog-heavy meals; its hateful slurs, “invisible” racial boundaries and cautiously hopeful possibilities.”
—Maureen Corrigan, The Washington Post
 
“Propulsive . . . One-Shot Harry crackles with authenticity, and its resilient hero seems resourceful and tough enough to propel any number of sequels.”
—Tom Nolan, The Wall Street Journal

“Vividly depicts 1963 L.A . . . Phillips’ insight into racism, attitudes toward Black veterans, the Civil Rights movement, Black press and politics of the 1960s elevates One-Shot Harry. Readers will look forward to more camera work from Harry, and Phillips.”
—Oline Cogdil, The South Florida Sun-Sentinel

“Phillips’s writing has long been infused with big ideas and a scathing analysis of American greed, corruption, and racism . . . Encyclopedic knowledge of the history of Los Angeles’s economic development and progressive politics deepens the plot of One-Shot Harry.”
—Paula Woods, Alta Magazine

“[Phillips] has always striven to keep Los Angeles’ history in the forefront of readers’ minds and his most recent mystery novel, One-Shot Harry, which features a Black news photographer in the 1960s, perhaps most encapsulates his passion for the past.”
—Los Angeles Daily News

“The Phillips style of plotting fits squarely in the Chandler/Hammett tradition with the addition of intriguing and powerful issues of race.”
—Toronto Star

“Race—and racial tension—are the backbone of this novel of the early 1960s . . . Phillips captures the volatility of those times, when civil rights was literally on the march. He also effectively conjures the seamier side of Los Angeles . . . Phillips nails the atmosphere. He also keeps the reader guessing.”
—Pittsburgh Post-Gazette

“Gritty, graphic . . . a well-researched procedural tale that delves into the diverse mental attitudes in the jazz scene and Los Angeles neighborhoods in 1962.”
—Lansing State Journal

“For thirty years Phillips has been a must-read writer, and One-Shot Harry is probably his best ever—tense and suspenseful, of course, but also deep, resonant and intelligent. It's a story that needed to be told, and therefore a book that needs to be read.”
—Lee Child

“Few books are able to capture the essence and vibe of classic hardboiled fiction and still manage to make the prose feel modern and of-the-moment. Gary Phillips does just that with One-Shot Harry and the memorable titular protagonist, Harry Ingram. This book is a swift uppercut of gritty storytelling that will keep you hungrily turning the pages, loaded with moments that will linger in your mind long after you've finished reading.”
—Alex Segura, author of Secret Identity, Blackout, and Miami Midnight

“Phillips’ vision of Los Angeles in 1963 comes to vivid life in the form of Harry Ingram, a news photographer and part-time process server who’s putting himself in the firing line all day long as the city’s racial and social divides pull further and further apart. When an old Army friend of his is killed in a car accident, Ingram takes his crime scene photos and his wits on a journey through a deeply corrupt city, looking for the final answers for one man’s death.”
—CrimeReads

“Los Angeles is as much a character as any of them, and part of the joy of reading One-Shot Harry is immersing oneself in Phillips’ grittily detailed rendering of the city, informed by his past experiences as a community activist in South LA . . . The shadows of Raymond Chandler and Dashiell Hammett are discernible throughout Phillips’ lively narrative.”
—Pasadena Weekly

“With its setting, this novel might remind you of Easy Rawlins or Harry Bosch, but I would strongly recommend reading it as a counterpoint to the LA Quartet by James Ellroy. Gary Phillips authentically tells the other side – those who faced police and institutional racism in Los Angeles. And while, yes, it’s about race, the author succeeds in directing us well beyond that theme and towards something much bigger. It’s about justice.”
—Crime Fiction Lover

“The result of Phillips’ sensitive approach to character and situation is a story that is enjoyably complex, each conversation or phone call or snatched sight through a telephoto lens leading us, and Harry, to discover more details of a suspenseful web of intrigue.”
—Historical Novel Society

“Fast-paced, noir-flavored, tautly written . . . A cracking good mystery.”
—Reading Beauty

“Phillips vividly captures the sights and sounds of the era (jazz and blues on Central Avenue) as well as the ubiquitous racism and police brutality that threatened everyone in the Black community. Ingram emerges as a particularly satisfying, no-nonsense hero.”
Booklist, Starred Review

“Terrific . . . With close attention to period detail and precise prose, Phillips brings the era vividly to life. Crime fiction fans won’t want to miss this one.”
Publishers Weekly, Starred Review

“Phillips roots his hero’s adventures in a densely woven web of real-life local history that emphasizes both Black Angelenos’ historic oppression and the moment for resistance crystallized in the Freedom Rally King plans en route to the demonstration in D.C. whose approach signals the possibility of historic change for both haves and have-nots. Like Walter Mosley in his stories about Easy Rawlins, Phillips presents a powerfully history-driven mystery.”
Kirkus, Starred Review

Praise for Gary Phillips


“Gary Phillips is my kind of crime writer.”
—Sara Paretsky, New York Times bestselling author
 
“In the tradition of Dashiell Hammett . . . Makes us feel that the war he’s waging is for our own salvation.”
—Walter Mosley, author of the Easy Rawlins series
 
“Gary Phillips writes tough and gritty parables about life and death on the mean streets . . . his is a voice that should be heard and celebrated.”
—Michael Connelly, author of Void Moon and Angel’s Flight

Author

Gary Phillips has published various novels, comics, novellas, and short stories and edited or co-edited several anthologies, including the Anthony-winning The Obama Inheritance. Violent Spring, his 1993 debut, was named in 2020 one of the essential crime novels of Los Angeles. He as also a story editor on Snowfall, an FX show about crack and the CIA in 1980s South Central, where he grew up. View titles by Gary Phillips