
Crime Novel Red Harvest by Dashiell Hammett
Dashiell Hammett’s crime novel Red Harvest is more than just a gripping detective story. It’s also a political statement, inspired
Tom Epperson joins Tea, Tonic & Toxin to discuss his latest novel, Baby Hawk: A Novel in Verse.
The Arkansas native began his career by heading west to L.A. with his boyhood friend Billy Bob Thornton. He co-wrote the scripts for One False Move; A Family Thing; The Gift; A Gun, a Car, a Blonde; and Jayne Mansfield’s Car. His L.A. noir The Kind One was nominated for an Edgar Award and the Barry Award for Best First Novel.
Tom Epperson lives in Santa Fe, New Mexico, with his wife, Stefani, two pampered cats, and two frisky dogs.
Tom Epperson joined Carolyn Daughters and Sarah Harrison to discuss Baby Hawk: A Novel in Verse.
Tom Epperson was born in 1951 in the small town of Nashville, Arkansas, and raised in nearby Malvern, where his father served as a lawyer and judge. A shy boy who preferred comic books, monster movies, and fishing on Lake Catherine to the classroom, he grew up in a segregated South that left an indelible mark on his worldview. From an early age he recognized the injustice of racism and learned to question conventional wisdom—a principle that would guide his life and work.
At the University of Arkansas, Epperson discovered his calling as a writer under the mentorship of English professor George Horneker. Abandoning plans to follow in his father’s legal footsteps, he earned his B.A. and M.A. in English and briefly entered a Ph.D. program at the University of Texas at Austin. Realizing he needed to experience more of life beyond academia, he left the program to seek his own stories in the wider world.
In his twenties, Epperson reconnected with a childhood neighbor, a spirited young man named Billy Bob Thornton. The two shared a love of sports, comic books, and movies, and soon became inseparable collaborators in ambition and adventure. Their early escapades—from a failed attempt to conquer New York City during the “Summer of Sam” to wanderings across California and Mexico—taught them resilience, humility, and the bittersweet comedy of youthful dreams.
After a brief stint teaching high-school English in rural Arkansas and a succession of odd jobs and false starts, Epperson resolved to merge his literary aspirations with his passion for film. In 1981 he and Billy Bob Thornton set out for Los Angeles with little more than a typewriter, $500, and unshakable faith that they could make it as screenwriters. The early years were grueling—heat waves, cheap motels, day jobs, and stacks of rejection slips—but their partnership endured.
Four years later, they landed an agent; six years later, they sold their first script. Their breakthrough came with One False Move (1992), a gritty crime drama about a small-town Arkansas police chief confronting L.A. criminals. Though initially shelved, the film was championed by critics Roger Ebert and Gene Siskel, whose praise helped it earn theatrical release and widespread acclaim. The success launched both writers’ Hollywood careers and jump-started Billy Bob Thornton’s rise as an actor and director.
Tom Epperson and Billy Bob Thornton went on to write several more screenplays together, crafting stories steeped in moral complexity and Southern Gothic atmosphere. After years in Hollywood, Epperson returned to his literary roots, publishing The Kind One in 2008—a dark, lyrical noir set in Depression-era Los Angeles. The novel showcased his gift for blending literary elegance with cinematic tension and confirmed that his long detour through film had sharpened his storytelling craft.
Over the decades, Epperson’s life has been marked by perseverance, curiosity, and transformation. From the quiet classrooms of Arkansas to the chaos of Los Angeles studios, his journey has embodied the restless spirit of an artist unwilling to settle. He has written through lean years, heartbreaks, and triumphs alike, believing that every setback is part of the narrative.
After forty-one years in Los Angeles, Epperson and his wife, Stefani—the woman who once lent him rent money when he was broke—settled in Santa Fe, New Mexico. Their home sits on a hill surrounded by piñon and juniper, with the Sangre de Cristo Mountains visible in the distance. Epperson describes it as “like living in a dream,” a quiet vantage point from which to reflect on the improbable path his life has taken.
Now in his seventies, Epperson continues to write for both page and screen, maintaining the same curiosity and moral awareness that have guided him since childhood. He remains outspoken about injustice, environmental peril, and the dangers of complacency, believing that stories—told honestly—can awaken empathy and inspire change.
Looking back, Tom Epperson credits his modest beginnings, creative detours, and lifelong partnership with Billy Bob Thornton for shaping not just his career but his character. As he puts it, he’s grateful he didn’t find success too early: without the struggle, he might never have written movies, found his way to California, or built the life he treasures today.
Called simply “the female,” she is seventeen, one of the few survivors of a worldwide plague known simply as the Sickness—and quite possibly the last woman on Earth.
She lives in the mountains and forests of northern California, protected by her father. Life is hard, but they’re happy.
Until one chilly autumn morning when a violent, racist band of males, led by an elite ex-soldier called Braydon, finds them. Overjoyed at discovering a female they can “enjoy,” the men kill the female’s father and take her prisoner. Life becomes intolerable for the female. Delighted to be in possession of the last woman on Earth—or so they believe— they keep her isolated in a cabin of her own, for them to take turns with. Braydon sets up a strict rotation to avoid any unrest within the camp—but his own intention is to make her the new Eve, to breed with her and repopulate the Earth.
Throughout the winter, the female trains—making herself as strong and fit as she can for the spring. She is determined to escape, or die trying.
What inspired you to write the particular story told in Baby Hawk? What are some of your influences?
Before writing Baby Hawk, you hadn’t written poetry in decades. What led you to write the novel in verse?
In what ways was writing this book similar to writing a screenplay?
What are your thoughts about the future holds of and for humanity? What’s coming?
When did you learn you wanted to be a writer?
Tell us about deciding to leave Arkansas with your childhood friend Billy Bob Thornton, first for New York and later for Hollywood.
Talk about what you see as the importance of perseverance in the face of suffering.
How did you come up with the story in One False Move?
One False Move aired at a few film festivals in 1992. Can you tell the story of how the film finally made it into theaters and became a cult classic?
Talk about what you see as the dramatic purpose of the violence in One False Move.
How does the film deal with the complexities of race, particularly in scenes involving interactions between black and white characters and the presence of racism?
Talk about the motivations of Ray, Pluto, and Fantasia in One False Move. What’s driving each of them?
One False Move is often described as a neo-noir. What elements of classic noir does it incorporate, and what makes it distinct? (explicit content, moral ambiguity, genre blending, self-awareness, pushes Hays Code sexuality/violence – 1934-1968)
Despite its graphic violence, the film has a humanistic quality. How does this humanism create a moral complexity that challenges the audience?
The ending is poignant and ambivalent. How do you see the ending? Is it hopeful?
Tom Epperson, what are you working on next?
We may share your thoughts in an upcoming episode and send you the world’s best sticker.
Tea, Tonic, and Toxin is a book club and podcast for people who love mysteries, thrillers, introspection, and good conversation. Each month, your hosts, Sarah Harrison and Carolyn Daughters, will discuss a game-changing mystery or thriller from the 19th and 20th centuries. Together, we’ll see firsthand how the genre evolved.
Along the way, we’ll entertain ideas, prospects, theories, doubts, and grudges, along with the occasional guest. And we hope to entertain you, dear friend. We want you to experience the joys of reading some of the best mysteries and thrillers ever written.
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