Overview

The case was a loser. Just another Skid Row stiff washed-up dead with a needle in his arm. But Buck Bordell-Portland's premier pain-in-the-ass detective-happens to be a sucker for lost causes. Only this time he's forced to work alongside Frank Takahashi, some war hero turned PI, whose boy scout scruples and Japanese name are a terminal pair of liabilities in a cynical town where VJ Day has come and gone and done little to clear the wartime hysteria still lingering in the air. Which is too damn bad, because Buck and Frank are stuck together. And once they start pulling the first threads of this supposed nothing of a case, their investigation quickly devolves into a tangle of underworld intrigue, trigger-happy cops, and a vast conspiracy to strip the Rose City of its thorns by any means necessary. Fists. Bullets. Acts of God. Nothing is off-limits as the danger mounts and the two detectives are forced to sink or swim if they mean to discover the truth of not only one man's death, but of what justice means in a country ever defined by the depths of its hypocrisy.

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Corbin was writing before he could even read -- scribbling his stories into second-hand moleskins using an invented shorthand that was as quickly forgotten as it was conceived. His first published work -- a 400 word epic bound into book form by a supportive teacher -- was a cribbing of Lord of the Rings so blatant that it only avoided a lawsuit because of the poor press that might result in the Tolkien estate suing a fourth grader in SW Washington State. As the years came on, while Corbin scrubbed teppanyaki grills, felled timber in the Chuckanut Mountains, ran zip lines in Northern Ireland, and lived his happiest years in the squalor of a Dickensian boarding house on an AmeriCorps stipend of $900 a month, he started to pursue his writing in earnest.His works have appeared in The Southern Review, CIRQUE, Quarterly West, and Crannóg. His fiction spans multiple genres -- ranging from the imagined hundred year history of an impossibly vast subterranean national park, to the story of two doomed handymen facing down an apocalypse that comes first for the world, for their senses, and then for language itself. His works can be funny. They can be macabre. Wistful and barbed. But they are always fiercely relevant.

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