LUELLEN SMILEY ADVENTURERS IN LIVINGNESS

Where Gaps of Expression are Liberated

ABOUT

Luellen Smiley is a creative nonfiction writer, author, columnist, and historian whose writing is deeply rooted in a controversial personal history. She is the daughter of Allen Smiley, a close friend, associate, and business partner of notorious Las Vegas gangster Benjamin “Bugsy” Siegel. Her father was sitting only feet from Siegel when Siegel was murdered in Beverly Hills on June 20, 1947.

That extraordinary childhood history became the foundation for Smiley’s first book, Cradle of Crime: A Daughter’s Tribute, published in 2017. The memoir explores what it was like to grow up as the daughter of a man connected to organized crime while trying to reconcile her love for her father with the secrecy, fear, and criminal world surrounding him.

Smiley’s work has appeared in publications including the New York Post, MORE Magazine, Southern California newspapers, and Authorlink. She wrote the newspaper column Smiley’s Dice—Adventures in Livingness, which earned a Blue-Ribbon Award from the California Newspapers Association for her Growing Up With Gangsters columns.

Her interest in her father’s history also led her to become a researcher and commentator on organized crime history. She has participated in television, radio, and documentary interviews.

Smiley’s next book, Gaslighting Greta, will be published this year. A personal story that reads like fiction. Her own website describes the project as exploring a woman whose life is destabilized by gaslighting and psychological manipulation.

Her writing career reflects a recurring theme: using personal experience and research to uncover the truth behind complicated relationships and extraordinary lives. From the secretive world surrounding her father and Bugsy Siegel to the deeply personal territory of Gaslighting Greta, Smiley’s work transforms difficult experiences into stories of survival, discovery, and ultimately reclaiming one’s voice.

Luellen Smiley is an author whose life has given her an unusual perspective on secrecy, manipulation, family loyalty, betrayal, and survival—and she uses that perspective as the raw material for her nonfiction storytelling.

ART OF BAR WRITING


SANTA FE, NM

It was just 3 in the afternoon, and I’d returned from a trip to San Diego, and my body craved relaxation, but not in the house, where suitcases remained unpacked, and dishes to be washed.  I walked down to La Fonda Hotel and sat at a table in the woodsy and old leather bar.  The smell of tequila and chips permeates the room, so I flowed with the

ambiance and ordered guacamole and a margarita. Sipping slowly, I took notice of the other people around me; old men in Spanish colonial chairs staring into the hotel activity, the reception desk staff, fudging with room reservations, and the lovely waiter, who bowed each time he came to my table. I hadn’t planned on thinking about the script I’m working on, and just as I was unwinding my limbs from the plane ride and trip from Albuquerque, ideas started boiling up like bubbles about this script. I panicked because I didn’t have my journal, or even a pen.   Ah! the gift shop.. …

” Do you have a writing pad?”

“What kind?”

“With lines.”

” We have a few.”

” I’m in a hurry, anything will do.”

” What’s the rush?”

” I’m a writer,”

” Oh, I get it.” The clerk rushed through the transaction, and as I was about to leave I remembered,  

” And a pen.”

She handed me the one she was writing with, and off I went.

Seated with my tools, I scribbled the thoughts as fast as they entered my still sober self, and when I finished, I took to writing about my surroundings.  Yes, this is a place to bar write. I’ve observed Sam Shepard in several places writing through a meal. He has the distinction of not being bothered, but if he is, he draws a line around his space with his power pupils, one glance, and you’re blown off his planet. Sam does not always  position his power pupils to defer interruption, I’ve seen him put his pen down and engage the stranger. His eyes turn to a likeness of the Mustang horse, wild and waiting for tenderness.

 You have to practice this art, because invariably someone will ask if you are a writer, if you are published, and then they tell you they want to be a writer too.  I don’t have power pupils so I put on my head-set and if necessary place  my phone to the ear, if I am in the middle of a superlative sentence that I cannot stop.  You also have to monitor your drinking, because I’ve learned more than one glass, is not going to read like it did while you were drinking.  

 


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