At 18.39 you bowthen move to the side 1 Preprints Edition

• Published in: Weekend Australian
• Main Author: Day, Marele
• Format: Newspaper Article
• Language: English
• Published: Canberra, A.C.T News Limited 26.04.2003
• Subjects: Doyle, Peter; Maloney, Shane

MR NAGASHIMA, editor, translated books department of Japanese mega-publisher Bungei Shunju, guides us along the softly carpeted corridor. "This is where we `can' the authors," he says, directing our attention to a locked door. "Japanese writers do not have agents, they work directly for the company. If an author is having trouble meeting the deadline, he can stay in the canning room until he finishes. Very comfortable -- desk, shower, bed." Nagashima pauses, before adding with the hint of a smile: "No going out at night, armed guards patrol the door." Australian publishers would love the idea of a cell in which to incarcerate their overdue authors. But crime writers [Shane Maloney], [Peter Doyle] and myself won't be needing a canning room for a while. For the moment we're at the other end of the process -- publicity and promotion. "This way, please" -- Nagashima ushers us into an adjacent room where our first interviews will take place. On the table, in pocket-sized bunkobon paperback format, are the three books that represent Bungei Shunju's Australian Mystery Collection. The cover of Shane's novel Brush Off is a blurred black- and-white photo of a man walking down a mean street. Peter's Get Rich Quick features full-colour drawings of natty 1950s spivs. The cover of my novel, The Last Tango of Dolores Delgado, is much more girlie -- luscious iridescent pinks with a shadowy tango dancer. This is the first time we have seen the books. It's Peter's first translation. "My books barely make it into English," he quips, examining the obi wrap-around that hypes the novel. The books open back to front. The Japanese characters streaming down the pages like falls of weeping willow leaves seem far too delicate for crime fiction. We take to the stage in alphabetical order. I compare the book to an aeroplane transporting readers to exotic locations, where they'll see a view of Australia that they won't get in an eight-day package tour. Peter tones down his introduction from the night before: his 1950s Yugoslav terrorists have now become "mysterious men". Shane, when his turn comes, thanks [Shirakawa] and Bungei Shunju for taking a risk in this risky business of books. There's a sumptuous buffet of Western and Japanese dishes. On a big screen in the background flashes a photo montage of our book covers, of Sydney and Melbourne, and iconic images from the books.