Friday, October 24, 2014

The Many Sides of Donald Westlake: The Getaway Car and The Comedy Is Finished

I am certainly no expert when it comes to the work of Donald Westlake. Nevertheless, he's someone I've been reading for more years than I care to remember. And I've enjoyed just about everything I've read by him. I guess my first Westlake book was The Hunter, which I probably read after seeing John Boorman's neo-noir classic, Point Blank.  That one, of course, was written under the name Richard Stark, who would become known as Westlake's hardboiled doppelganger. Around that time I also read The Juggler, which apparently was Westlake's least favorite Stark novel. Then I found a copy of Hot Rock, a Dortmund novel written under Westlake's own name, and part of a series typified by Westlake's sharp humour. That must have been before the movie came out, because, unlike Point Blank, the 1972 film by Peter Yates wasn't exactly a film that would have encourage me to read the novel. Likewise, the 1973 Cops and Robbers, based on another Westlake novel. On the other hand, I've long admired John Flynn's The Outfit, adapted from a Stark novel. And, of course, Westlake's screenplay Stephen Frears' The Grifters could be the best adaptation of a Jim Thompson novel. However, the two Westlake novels I think I've enjoyed the most were The Ax and The Hook, both devastating critiques of late American culture. I guess that leaves a fairly hefty number of  Westlake novels I haven't read, as well as a few movies that either I've  haven't seen or don't recall seeing.

However, you don't have to be an expert on Westlake's fiction to be charmed by the recent volume of Westlake ephemera The Getaway Car, edited by Levi Stahl, published by University of Chicago Press. Though you probably have to be somewhat familiar with the range of Westlake's work over the years. Because Donald Westlake was one of the last of the working writers, even more so than his long-time friend, Lawrence Block, who provides an introduction to the book. The Getaway Car  contains a range of Westlake's non-fiction:  a fragment of an autobiography, essays, book intros, interviews, letters, and even a couple recipes. Particularly enjoyable is his article on Peter Rabe. It's essential reading for anyone interested in one of the best pulpists around. And it's probably the best essay on the writer. Though Rick Ollerman's introduction to a recent Stark House edition of Kiss the Boss Goodby and Mission For Vengeance comes a close second. Also illuminating is the interview with Westlake conducted by Patrick McGilligan. And, of course, it was nice to read Westlake's appreciation of Charles Willeford and his extended essay on Rex Stout.  Likewise, his take on Jim Thompson, that Westlake was initially reluctant to adapt The Grifters, thinking it too grim, until Frears pointed out that the story really belongs to the mother. Moreover, just about every entry in The Getaway Car contains a sampling of Westlake's self-deprecating but cutting humour, no more so than Hearing Voices In My Head, which is a tongue-in-cheek panel discussion, its participants being Westlake's various pen personalities- Tucker Coe,  Richard Stark, Timothy J. Culver as well as Westlake himself, with each incarnation acting out their part in an appropriate manner, until it descends into chaos.

Donald E. Westlake: The Sixties crime novel was joky (as opposed to funny), smart alecky, full of drugs, and self consciously its cast of blacks and homosexuals. The only Sixties mysteries with any merit at all were written in the Fifties by Chester Himes. On the other hand, the Sxities Westerns were even worse: Remember Dirty Dingus Magee?
Richard Stark: Okay, this has gone on long enough. Everybody on your feet.
Moderator: Good God, he's got a gun.
Richard Stark: Empty your pockets on the table. Come on, snap it up.
Timothy J. Culver: You can't mean this, Dick. We're your friends.
Richard Stark: No book published since '74 How do you think I live? Give me everything you've got.
Donald E. Westlake: Will you take a check?
Richard Stark: Beat the Devil, 1954. Robert Morley to Humphrey Bogart. They ought to ask me where you get your ideas. You, Tucker Coe, on your feet.
Moderator: He's not moving, he...

Another recent posthumous Westlake book is The Comedy is Finished,  recently published by Hard Case Crime/Titan. According to the Publisher's Note, Westlake wrote the novel in the late 1970s, but shelved it because he thought the novel too similar to Martin Scorsese's 1982 King of Comedy. Fortunately, he had sent a copy to Max Allan Collins, who stashed it away, only to reveal its existence after Hard Case published Westlake's Memory, which they claimed to be Westlake's final unpublished novel. Which is when Collins revealed the existence of this book. Westlake was partly right. The Comedy Is Finished does have an over-arching similarity, but the sub-plots and the characters are qualitatively different. Though I would personally prefer to re-read Westlake's novel than re-view Scorsese otherwise excellent film. One could just as easily say that Westlake's novel bears a resemblance to Don Carpenters A Couple of Comedians, though any such similarities would be equally superficial. Because Westlake's book distinctly his own, as is his absurdist view of the world. For me, its topicality- at least when it comes to the ear in which it was written and takes place- relates to those two favorites of mine- The Ax (mental note: must track down Costa-Gavras's screen adaptation) and The Hook.  In all, The Comedy Is Finished is a perfect showcase for  Westlake's writerly skills- that unique mixture of hardboiled prose and edgy, but razor sharp, humour.

Wednesday, October 08, 2014

A Fuller Life: The Story of a True American Maverick

I'm of the opinion that Samuel Fuller was a national treasure. If that's the case,  his films and autobiography, A Third Face, should be required viewing and reading in every high school and college. After all, his life not only covered most of the twentieth century, but he played an active role in that history, as both witness and participant. Unfortunately, he was never been accorded such accolades, at least not when he was alive.  Hopefully, Samantha Fuller's  heartfelt  hundred and twenty minute eulogy to her father might help change that.

A Fuller Life movie centres on Sam's own words and images taken from his films and personal archive,  including some hitherto unseen footage Samantha discovered after her father's 1997 death at age 87. Sam's words mostly come from his autobiography  read in Fuller's work-room by the likes of James Franco, Jennifer Beals, Buck Henry, Constance Towers, William Friedkin, Monte Hellman, Joe Dante, Wim Wendars and Bill Duke, who reads as though he's channeling his subject.  All, or most all, had dealings at one time or another with Fuller. Also thrown into this mix are a smattering of Sam's cartoons, articles and covers of his long-underrated novels.  

Samantha Fuller's film moves seamlessly from her father's years as a teenage journalist- a protege of Gene Fowler's- mostly as a crime reporter,  onto to Hollywood where he worked as a screenwriter. Only to give it up when the war arrived. Joining the infantry so he wouldn't miss out on "the biggest crime story of the century.", he participated in, and filmed, various campaigns including the Normandy landing ("War itself is organised insanity."), and the liberation of the Falkenau concentration camp where, as Fuller says in his daughter's film, "I made my first movie." Then back to Hollywood and a long career making hard-hitting, and often controversial, films, in some ways the visual equivalent of his populist tabloid journalism, always chasing down a story or pursuing the truth.

My only criticism  is that I would have liked to have had a few more personal asides. As it is only Constance Towers, still alluring some fifty years after appearing in Fuller's Naked Kiss and Shock Corridor, is given sufficient on-screen time to reminisce about working with Fuller. But that's a minor point in what is an extremely watchable and valuable film, whose simplicity never fails to work in its favour. This is a film that will interest all Fuller fans, and no doubt some who have only the vaguest notion of this most formidable of American directors.

An added note:  I thought I'd seen just about every Fuller film out there. But while watching A Fuller Life I discovered I'd actually missed one. Made for TV in 1990, starring Jennifer Beals, The Madonna and the Dragon is said to concern two journalists covering the People's Revolt in the Philippines. It would also be Fuller's final film. How could I have overlooked that one? Though I couldn't find it for sale on-line, the French version is on YouTube.

Monday, October 06, 2014

Anything Goes In Tinseltown: The Hollywood Trilogy by Don Carpenter

You can be sure that I'm never going to miss a chance to write about Don Carpenter. Not only is he one of my favorites, but no one writes about Hollywood better than he does. Which he ably demonstrates in The Hollywood Trilogy, recently published by Counterpoint. It's a volume that comprises three long unavailable novels:  A Couple of Comedians, The True Life Story of Jody McKeegan and Turnaround.  They, of course, come off the back of  the republication of Hard Rain Falling and, just a few months ago, Fridays at Enrico's, and represent those years Carpenter toiled in Tinseltown. The result of which was fairly meagre: the incredible film Payday, a TV movie and an episode of High Chaparral, not to mention a  purported screenplay based on Bukowski's The Post Office, which would never be made. No doubt there were many other unrealised projects.

All of which reminds me of the time I was visiting a writer friend.  It was sometime in late 1969. I was driving the graveyard shift for Yellow Cab,  the Zodiac was on the loose, and it was my night off.  I arrived at my friend's place to ask if he wanted to go out and hear some music. I think Tony Williams' Lifetime was playing at the Both/And club on Divisidero, the band that included Larry Young, Jack Bruce and John McLaughlin, which everyone was talking about.  My friend said, "Nah, I'm going to stay home and watch High Chaparral." I said, "High Chaparral?" He said, "Yeah, the episode that Carpenter wrote is on tonight." I rolled my eyes. Like, who cares?  I never watched TV and only knew a couple who owned one. "You know, the guy who used to work at Discovery," he said.  I said, "I know who he is, but I'm not going to sit around watching some fucking cowboy show just because he wrote it. Not on my night off."

Which is to say that we knew even then that Carpenter had some kind of form in Hollywood, though one senses that, other than the drugs and everything that goes along with that particular activity, it might not have been the happiest of times for him. However, it did result in these three novels, and a handful of stories, such as those that comprise The Art of Film from that early collection of his, The Murder of Frogs, another Carpenter book that thoroughly deserves republication.

Originally appearing in 1979, A Couple of Comedians is about a comedy team- think of a hip, drug-taking, women-chasing equivalent of Martin and Lewis.  In that usual Carpenter blend of humour, pathos and tragedy, the novel, narrated by one of the comedians, moves from Northern California down into that den of vipers known as Hollywood, where the two comedians encounter various types, pick up women, do as much dope as they can and meet up with their director, an egomaniac responsible for enhancing the careers of the duo. As the novel progresses it becomes clear that one of the two men, and consequently their comedy act, is about to collapse. The True Life Story of Jody McKeegan, first published in 1975, concerns a young woman who, from an early age, has wanted nothing more than to be a Hollywood actress.  She's had a rough life, moves through various men, using them and getting used by them, until, in her mid-thirties, she ends up with a Hollywood producer who just might give her the break she needs, even if it's a B-movie at best. The title sounds as though it might been something that would have appeared in Photoplay magazine in the 1950s, but the story is anything but that. Turnaround, which first appeared in 1981, is a coming of age novel centered around a young screenwriter, who has to learn the hard way how Hollywood works. Instead of writing screenplays, he churns out copy for Pet Care Hotline and gets advice from someone who runs the local porn bookstore.

When it comes to writing about Hollywood, Carpenter, who died in 1995, is, for me,  up there with Fitzgerald's Pat Hobby stories, or the gonzo-infested fiction of Bruce Wagner.  Still, there was another writer I kept thinking about while reading Jody McKeegan. At first I couldn't think who that writer might be.  Then I realised it was Jim Tully. That might sound odd, given Tully's reputation, but Carpenter's novels have the same narrative arc, are written in the same clear prose, touch on the low-life as well as the high-life, whether Hollywood, pool hall hustling, card playing or prison life. Though, unlike Tully, and, to some extent, Fitzgerald and Wagner, nothing in Carpenter's world is clear-cut or one-dimensional. What's more, The Hollywood Trilogy is as complex and honest a portrayal of Tinseltown as you are likely to come across.  Now if I could only track down that episode of High Chaparral.

Monday, September 29, 2014

Me and Sam and Whoever: Brainquake and the Origins of My Life as a Samuel Fuller Obsessive

Reading Samuel Fuller's recently published Brainquake, a novel any self-respecting Fullerista will want to read, made me think for some reason about the origins of my obsession- mild by some standards- for his films, from I Shot Jesse James to his adaptation of Goodis' Street of No Return, his fiction, from 144 Piccadilly to Brainquake, and his incredible autobiography A Third Face.

I'm pretty sure I first became aware of the culture importance, not to mention poetry, of Fuller's films sometime in 1968 while attending San Francisco State. At the time State's film department had a well-deserved reputation, with a number of screenings of different genres each week. Yet no one at State at that time would have dared screen a Samuel Fuller film. He just wasn't in fashion, probably considered too low-brow and in-your-face, neither European, avant-garde nor Alfred Hitchcock. A friend of a friend- I never actually knew his name- pointedly mentioned to me that Fuller's 1957 film Run of the Arrow was playing at a theatre on Market Street. At the time I didn't know a whole lot about  Fuller other than what I'd read in  Film Culture- those Naked Kiss stills!- and Andrew Sarris, who liked to maintain that Fuller was an authentic American auteur. Though, as a child, I'd been obsessed by Fuller's first film, I Shot Jesse James, watching it whenever it was shown on TV. Anyway, I went to see Run of the Arrow, and was entranced by it, fascinated by the camera work and narrative drive, though, at the same time, troubled by the complex motivations of Rod Steiger's O'Meara, a rebel veteran who, having refused to surrender at Appomatox, joins the Sioux. But I knew I had to see more films by this director.

Parenthetically, that same person who'd recommended Run of the Arrow, alerted me a little later to Coogan's Bluff playing on Market Street, then Fistful of Dollars. Soon I was a frequent visitor to those theatres which were either flea-pits or palaces, but usually a combination of the two.  This at a time when no self-respecting film addict would venture beyond  the Surf Theatre, the Presidio or Berkeley rep houses. It wasn't long before I became obsessed with not only Fuller, but Nick Ray and an assortment of film noir directors. So this mysterious person whose name I never knew was responsible in some way for my interest not only in Fuller but film noir. Interestingly, when the SF State student strike was in full swing, he sidled up to me to ask if I knew where he could buy a piece.  Very noir, but why was he asking me?  Did I look like some kind of arms dealer or gun runner?  I wonder now if he might have been, given the era and the ferment, some kind of police informer.  If so, it would have somehow been perversely appropriate.

Later I would seek out Samuel Fuller films wherever I could find them- a double-bill of Shock Corridor and Naked Kiss in London in the early 1970s, White Dog (never shown in the US) in Paris, Dead Pigeon on Beethoven Strasse in Berkeley,  and most of the others on British TV at one time or another.  Then, in the mid-1970s,  I bought a secondhand copy of Phil Hardy's Studio Vista book, which, at the time, was probably the only book available on Fuller.  I could now track down his TV work as well as movies. I clearly remember my excitement at seeing a daytime re-run of Fuller's episode of The Virginian, which, despite its obvious compromises, seemed at the time almost as dark as I Shot Jesse James.

Around that time I started coming across his novels, beginning, thanks to Nick Kimberly at Compendium Books in Camden Town, with 144 Piccadilly, followed by The Big Red One. Soon I was collecting the novels, including a pristine armed services edition of The Dark Page. Actually, when you think about it, there aren't many novel-writing film directors. Or at least I can't think of many. There's Sayles, Pasolini, Cimino, Mamet, Elia Kazan, Mailer, Peter Handke, and no doubt some others. But no one makes films and writes novels quite like Sam Fuller. In fact, his films and books are pretty much interchangeable, and, of course, a number of his films would be adapted from novels he'd written.    

Which brings us back to Brainquake. This is a novel written during the 1980s in Paris where  Fuller had exiled himself in the wake of the White Dog debacle. It wasn't unusual for Fuller to spend his non-directing time writing fiction. But the result this time was one of his best. Though Brainquake found a publisher in Japan as well as France, it would go without an English language publisher until the present edition by Hard Case Crime. Too bad Fuller didn't live long enough to turn it into a film. Yet so rapid and sensational are the first few pages of the novel that I was left as exhausted as I was perplexed. Then in the fourth chapter I came across the following and was totally hooked:

She didn't believe in redemption when it came to taking a human life. To her that was breaking the law of life, not the law written somewhere on a piece of paper. She didn't believe in the why of murder, in any medical or psychological explanations for it. The hell with why. What, where, when, who. You kill, you're caught, the door slams behind you. You can spend the rest of your life in a cage, or you can do the decent thing and kill yourself. That was fine. She never begrudged a killer a second killing, as long as the second victim was herself...

We're back to Fuller the humanitarian iconoclast. Having opened with the literary equivalent of a newspaper headline, Fuller digs down into the characters themselves. Though at first they seem to have jumped from the pages of a comic book, they quickly turn into complex individuals. Everyone- whether mobster, cop, veteran, femme fatale, or hit-men- has their own agenda, code of conduct, rationalisations and peculiarities. So there's a hit-man with well-defined principles, as well as a mentally damaged bagman who's also a poet, barely verbal and lacking any knowledge of the world. Here everyone is a victim, deranged by their crimes or their circumstances. As under-rated  a novelist  as he was once under-rated as a director, Fuller's novels might be plot-driven, but he could write character-driven scenes of considerable beauty, with all the contradictions of everyday life, as in this description of the police photographer doing his job, while dreaming of what might be:

The tunnel between Al's lower teeth at closest focus was cutaneous crypt. His tongue drooped down the corner of his mouth through red lava. Fingernail scratches were red trenches in a Sahara wadi. The ceiling bulb reflecting in his frozen eyes was elliptical Daliism. Taken by the police photographer for his personal collection, the photos would eventually win acclaim when he published them in an art book selling for fifty dollars a copy.

He returned to the mundane official coverage of Al sprawled on the floor littered with red roses and pieces of broken vase. It was boring but the picture editor had a hard-on for that stuff. Picture editors had no taste. They had no imagination, nor artistry. Rarely would of them understand the many things a corpse reflected other than a body on the floor, in a tub, in the street. They were antiquated. Like Norman Rockwell today.

To catch the impact of sudden death, it took art. Only an artist could make that impact memorable, breathe life into death. Take this body. It was so goddam corny the photographer wanted to gag. Not the slightest spark of anything original to it. He could write the whole story of it himself, in the words of one syllable. The man, the girl. The want. She's shy. He takes. She shoots. He's dead. She runs. One day he would have his book, and it would haunt everyone who saw it, because all kinds of violent death caught a different picture of beauty, of nature that homicide create. This here?  Was why newspapers were used for lining litterboxes.

Beautifully put though, in the context of the novel, one hundred percent wrong.  However, in Fuller's fiction and films everyone has their own way of perceiving the world.

Brainquake, like all his other books and films, represents Fuller the tabloid reporter, muckraker, observer, and absurdist. This is a novel that's full of surprises and moves like a low flying aircraft from New York to France. It's as though Fuller had finally shaken loose the shackles of those dark pages of reportage and, juggling various characters and points of view, emerged into the world of modernist noir fiction.  

And for those interested, here's a trailer for A Fuller Life, directed by Samuel Fuller's daughter, Samantha:

Wednesday, September 03, 2014

A Spy Among Friends by Ben Macintyre

In the last years of his life, French noirist Jean-Patrick Manchette concluded that the genre in which he had been writing had, when it came to addressing the political reality of the world, become ensnared in the parameters of its own invention. So he decided to turn his attention to spy fiction. Though I would agree that  espionage novels often display a wider scope and can be politically acute, I'm not quite ready to abandon noir fiction altogether. This even though I'm often left asking myself why I'm reading such books, wondering just what a given author is trying to say other showing that they are familiar with the grim reality of the everyday world. Not that espionage novels don't function within their own spectrum of cliches. Which might explain why I've lately been turning to non-fiction, for example the fascinating A Spy Among Friends by Times journalist Ben Macintyre, which  revolves around the notorious spy and Russian defector Kim Philby and his two friends, associates and eventual adversaries Nicholas Elliott and James Jesus Angleton. The former, like Philby, a golden boy in  MI6, while the latter, Angleton, was instrumental in the formation of the CIA and head of counter intelligence.

But this is also a book about class, the old boys network, and the British establishment, the remnants of which are still with us. Though the present government, ruled by ex-members of the Bullingdon Club, tells us otherwise. Though they are amateurs in comparison, and London mayor Boris Johnson a pale imitation to his predecessors.

By "establishment," we're talking about unaccountable power in the hands of the few, brought together, at least in  Philby and Elliott's day, by public school, club, country, cricket and Tory politics. With, of course, a high tolerance for peccadilloes and eccentric behaviour. Macintyre traces Philby's, Elliott's and Angleton's respective lives, including how, over the years, they intersect. In the case of Philby and Elliott, growing up with distant and eccentric fathers (Philby's an advisor to King Ibn Saud and eventually convert to Islam, Elliott's a headmaster who believed in an extreme version of tough love), public school, and Cambridge, where  Philby,  MacLean, Burgess and Blunt met, and their idealistic belief in the Soviet Union was nurtured. From which point it was an easy leap to MI6 (reminding me of Tony Benn saying that when he left Oxford he was expected to join MI6,  politics being a career of a distinctly lower order) and, for Philby, Burgess, Maclean and Blunt, Soviet spies.

As pathetic and, in the end, sad as his life was, and as duplicitous and destructive as his action were, I couldn't help but feel a certain amount of admiration for Philby. After all, he might have been a traitor, responsible for a number of deaths, but one could say that at least he never acted out of self-interest. Macintyre believes he was simply addicted to deception. That might be the case, but it might also be a slight over-simplification. Philby was also a true believer and there was nothing in his life that could possibly over-ride that. Of course, the establishment gathered around him, as they usually do. Nevertheless, I still found it remarkable that the political  career of the foreign secretary Harold Macmillan could have survived after exonerating Philby in parliament. That he could then go on to become prime minister would be unthinkable today. Or that Anthony Eden could have also survived having rejected an inquiry. Most touching of all was the final meeting between Elliott and Philby,  separated by their respective positions, with Elliott taking it upon himself to extract a confession from his old friend. This after Philby had spent years milking Elliott for information, just as he had spent years gaining information form  the anglophile Angleton, deflating this ex-poet and supremely paranoid spook in the process. John Le Carré's afterward highlights this brotherhood. He asks Elliott, who by the 1980s had retired only to advise Thatcher on intelligence matters, "Could you have him (Philby) killed?" Elliott responds: "My dear chap...One of us." Nevertheless, after Philby's defection, things would never be the same. The establishment would continue to exist, of course, but Angleton would never recover from the betrayal, nor would Elliott. Likewise,  the relationship between MI6 and CIA, and between MI6 and the more déclassé MI5, who had always been out to get the toff Philby.

Coincidentally,  Owen Jones in a recent article in the Guardian writes about the origin and meaning of the term "establishment," tracing it back to the formidable Times and Spectator journalist and author of such books as The Spoiled Child of the Western World: The Miscarriage of the American Idea in Our Time and The Kennedy Promise, Henry Fairlie who coined the term:

Fairlie had grown cynical about the higher echelons of British society and, one day in the autumn of 1955, he wrote a piece explaining why. What attracted his attention was a scandal involving two Foreign Office officials. Guy Burgess and Donald Maclean, who had defected to the Soviet Union. Fairlie suggested that friends of the two men had attempted to shield their families from media attention... This, he asserted, revealed that "what I can the 'establishment' in this country is today more powerful than ever before.

For Fairlie, the establishment included not only "the centres of official power- though they are certainly part of it"- but "the whole matrix of official and social relations within which power is exercised...This "exercise of power", he claimed, could only be understood as being "exercised socially". In other words, the establishment comprised a set of well-connected people who knew one another, mixed in the same circles and had one another's backs. It was not based on official, legal or formal arrangements, but rather on "subtle social relationships."

 But the more important point is that not only did the establishment offer protection to the likes of Philby, Burgess, and Maclean, but that they would make sure the three would, for as long as possible, remain impervious right up to the time of their ultimate exposure and defections. Certainly neither their drunken behaviour, homosexuality, communist past, or social slights had prevented their promotion.  Written in a witty and effortless style, A Spy Among Friends is one of some ten books written by Macintyre, all in one way or another about spooks and outsiders, including The Napoleon of Crime, about Adam Worth whom Macintyre calls the real Moriarty, and Agent Zig Zag, about Eddie Chapman, who was a WW2 MI5 spy, both of which sit atop a stack of books I'm looking forward to reading at some point in the not-so distant future.

Tuesday, August 05, 2014

Paperback Confidential- Crime Writers of the Paperback Era by Brian Ritt

Paperback Confidential, put together by Brian Ritt, is the latest and, in my opinion, the best encyclopaedia-reference book when it comes to paperback pulp writers. At least in English. Its cover recalls the heyday of the scandal sheet, Confidential, and shows the famous and the infamous, in this case, Chandler, Hammett, Highsmith, Goodis, Woolrich and Charles Williams. But there are many other writers inside the book's covers, some  well known, and some not so well known, like John Trinian, Malcolm Braly, Elisabeth Sanxay Holding and Benjamin Appel.  No, Ritt does include everyone. How could he? So there's no mention of writers like Mary Holland, Jay Thomas, George Milburn, Robert Ames, Vera Caspary, Robert Finnegan or Daniel Fuchs. Nevertheless, there's enough ammunition here to last a lifetime. Ritt includes,  under each writer's name, a biographical entry, as well as a bibliography, and writers one might also like, many of whom are not included in this book, which makes Ritt's volume even more expansive. My only criticism, other than the various noirists left out, would be that the cover misplaces the importance or, at any rate, the emphasis of the writers included, putting them in the category of scandalous rather than transgressive, political or subversive. But that's only a minor point, because,  if you're after an  overview of the genre, from the Depression the present, you'll want to get hold of Ritt's book.

While pouring through Paperback Confidential, I couldn't stop thinking about how much easier these days it is to find  information on writers of crime-noir fiction than when I was writing Pulp Culture in the mid-1990s. On the other hand, for me, tracking down information was  part of the fun of writing Pulp Culture, followed by Neon Noir and Heartbreak and Vine.  Though no doubt about it, had Ritt's volume been available, it would have made the writing of those books a much simpler process. But at the time there wasn't anything like it around, at least not in English. What was available was Geoffrey O'Brien's groundbreaking Hardboiled America, followed by a small handful of books over the following years. Like  Lee Server's Over My Dead Body and Danger Is My Business, followed a number of years later by Pulp Fiction Writers: the Essential Guide to More Than 200 Pulp Pioneers and Mass Market Masters. The latter not a bad book, but not nearly as comprehensive as Ritt's volume. Likewise, Arthur Lyon's Death on the Cheap. Not forgetting the essays in Gorman, Server and Greenberg's anthology The Big Book of Noir.

In the writing my books,  I mostly relied on information from French publications. I remember pouring over a copy of Les Ecrivains des Etats-Unis, 1800-1945, published by L'oeil in magazine format, and given away for free that I found in the window of a bookstore in Perpignan.  That must have been sometime around 1992. Then at that same bookstore, I saw and bought a copy of Mesplede and Schleret's Les Auteurs des Serie Noire: Voyage au bout de la Noire. That was just what I needed. That was followed, a decade later, by Mesplede's more comprehensive, and, for me, indispensable, Dictionaire des litteratures policers, in two volumes, published, as was Les Auteurs..., by Joseph K.  These days, with the likes of  Paperback Confidential, the relevant information has become fairly accessible. Likewise, the reprints of the novels themselves. No need to scour around secondhand stores. You can just sit in front of your computer and order all those rare books on the internet, albeit at inflated prices. Nor is there any need to learn a foreign language or travel to a foreign country to acquire some fairly routine information. No doubt one of the wonders of the modern world. Though, of course, something has been lost in the process. Still, if you want to keep up with the novels and their authors, Brian Ritt's Paperback Confidential is a good place to start.