A weblog dedicated to noir fiction and film, music, poetry and politics.
Tuesday, June 15, 2010
What I like about the novels of Don Winslow is what learns from them. He never fails to throws in information about various subjects, which, for me, can't fail but to make the novels interesting. Whether the drug trade or the fire insurance business, Winslow's subjects and the information that derives from them invariably supersedes his plots, which usually turn every which way but loose. Then there are his characters, ranging from Lebowski types to hardcore psychos, all fully human, flawed and all too believable. Yet what I remember is the information. For instance, I can only vaguely recall the protagonist and plot in California Fire and Light, but I still retain bits and pieces of the information regarding indications of how fire spreads and the way insurance companies work. In The Gentlemen's Hour one learns, naturally, about surfing, which here is pretty much a metaphor for everything, but also the politics of real estate. I would even go so far as to say that Winslow is one of the most subversive writers around, seducing the reader through character and plot, while sneaking in a killer political punch. Plus his prose sometimes, particularly as a way of kicking-off his novels, can sometimes read like poetry. Though I like him best when he scales down his work rather than embraces larger subjects as in Power of the Dog, I'm looking forward to his next major work, Savages, out in the UK at the end of the summer.http://www.facebook.com/facebook-widgets/share.php
"Art and literature were a racket without the saving grace of gunmen."
Reading London Books' reprint of John Summerfield's May Day is a welcome antidote to the doldrums of post-election Britain. First published in 1936, Summerfield's novel, his second in a career interrupted by serving in the International Brigade in Spain, portrays a country in which the ruling class is squeezing workers more than ever, making them work more hours for less pay. The novel takes place over a three day period, leading up to the May march in London. Lacking a single protagonist, May Day moves through an assortment of characters and classes affected by the turmoil and the coming march, focusing on, amongst others, a seaman, a carpenter and young female works in the East End and factory owners. Portraying an era when class consciousness was rife and the proletariat was ready to take to the streets, the novel utilizes a montage technique delineated by circumstance, speech, observation, rumination, time and place. Born and raised off the Portebello Road, Summerfield was a member of the Communist Party and wrote for the Daily Worker and Left Review. In his Afterward, written for the 1980s edition of the book, Summerfield says, "When I wrote it I'd have probably said May Day was socialist realism. Now I'd call it early 30s Communist romanticism. I'm not in any way apologizing for the book's enthusiastic, simple-minded political idealism. Because it was a genuine idealism." Perhaps that's selling his book short, because May Day even today is a moving and poetic novel, sometimes satirical, but always lyrical and even pastoral, reminiscent of the film Naked City, John Dos Passos's USA, Wyndham Lewis's Apes of God, and Mass Observation's Humphrey Jennings. Like Simon Blumenfield's Jew Boy, Robert Westerby's Wide Boys Don't Work and Alexander Baron's Low Life, it's part of a genre that's no longer with us- working class London fiction. This at a time when such writing is needed more than ever.http://www.facebook.com/facebook-widgets/share.php
London-based journalist and author of Pulp Culture: Hardboiled Fiction and the Cold War; Neon Noir: Contemporary American Crime Fiction; and Heartbreak and Vine: The Fate of Hardboiled Writers in Hollywood.