Intense and powerful, NINE IN THE MORNING is an explosive collection of short stories by Kevin Michaels. Filled with vivid storytelling, razor-sharp dialogue, and burning intensity, the book takes a sharp, dark ride through urban America. The ten stories in the collection include: The Way It Crumbles Revenge, honor, and family obligations explode in a 24 hour liquor store Falling Down A bank robbery goes bad in ways nobody expects Between The Lines A chance encounter between two prison inmates turns into a tragic confrontation NINE IN THE MORNING offers hard, raw snapshots of thugs, gangsters, addicts, dreamers, and dealers searching for a better life in a world rife with crime, betrayal, hurt, and desperation. Even when the odds are stacked against them, each of these characters holds on to hope, no matter what it takes or how much it costs. The writing is cinematic and compelling. NINE IN THE MORNING is a must-read. Q & A with Kevin Michaels How would you describe the book? KM: NINE IN THE MORNING is crime fiction. The stories are filled with bad guys and people on the edge - some have a few moral gray zones, but most are flawed characters willing to do whatever they have to do. No matter what it takes. No heroes. Good versus bad never enters into their thinking. NINE IN THE MORNING offers readers a look into lifestyles that they might not normally see. Do you think there's much of an audience for this kind of book? KM: Absolutely. These are stories about people struggling to get by and the steps some of them take to survive from day to day. Desperation creates need, and that fuels their actions - usually with horrific results. Writers like David Simon and George Pelecanos have done an excellent job writing about the fate of the American city, the black urban poor, and the inner workings of gangs, dealers, and people caught in that struggle - I wanted to follow that same path, although with slightly more violent outcomes for some of these characters. The stories range in length from flash fiction pieces to longer, more contemporary lengths - why is that? KM: There's no such thing has a "one-size fits all" approach with storytelling. Some short stories could be told with more impact as flash fiction, while others needed longer lengths to develop completely. I wanted to write and put together a book on urban life the same way Tim O'Brien wrote about Vietnam in THE THINGS THEY CARRIED. There's a connection between some of these characters - either directly or indirectly - that gives readers a glimpse into a different kind of world they live in.