Wednesday, September 11, 2019

The Manchette Quotes: from Nada (trans. Donald Nicholson-Smith)

"Four in the morning. The proletariat was sleeping with one eye open in its suburbs; middle managers for their part were sleeping like dumb logs in their luxury co-ops overlooking the Seine. The late-night pizzerias in Saint-Germain-des-Prés were closing up and shooting out languid, ravishing transvestites. Daughters of the well-to-do, stupified by drink and hashish, were getting fucked in Paris's western outskirts and faking orgasms to mask their nausea. Bums were passing around venereal diseases under the bridges. La Coupole had closed, and intellectuals were parting company at the Raspail-Montparnasse intersection and promising to phone one another. At the printing houses the Linotypists were working away. Headlines concerning the killings of the morning before were being composed. Editorials had been delivered with headlines varying according to the opinion of the particular paper: WHY? or BLOOD or HOW FAR WILL IT GO? or VICIOUS CIRCLE or FOOLHARDY JOE BLOW VS. STORM TROOPERS IN PEAK FORM."


                                            **************

"'I made a mistake," he said abruptly. "Leftist terrorism and State terrorism, even if their motivations cannot be compared, are the two jaws of...'

He hesitated.

'...of the same mug's game,' he concluded, and went on right away: 'The regime defends itself, naturally, against terrorism. But the system does not defend itself against it. It encourages it and publicizes it. The desperado is a commodity, an exchange value, a model of behavior like a cop or a female saint. The State's dream is a horrific, triumphant finale to an absolutely general civil war to the death between cohorts of cops and mercenaries on the one hand and nihilists armed groups on the other. This vision is the trap laid for rebels, and I fell into it. And I won't be the last. And that pisses me off in the worst way.'" http://www.facebook.com/facebook-widgets/share.php

Monday, September 09, 2019

Proletarian Roadkill: Colin's Asher's bography of Nelson Algren- Never a Lovely So Real

WITH THE PROLETARIAT, to a large degree, having morphed into today’s precariat, midcentury writers who sought to align themselves with the dispossessed tend to be a forgotten, if not extinct, species. Which is unfortunate because, until the onslaught of McCarthyism, they were a vital force in American cultural life. These days few people read the work of radical authors like Benjamin Appel, Tom Kromer, Meridel Le Sueur, Josephine Herbst, and Mike Gold, all of whom depicted the conditions of those surviving on the margins — indeed, declared their solidarity with those unfortunates, extolling their virtues and idiosyncrasies. Writers who survived that tradition with their proletarian credentials intact were, to a large degree, those — like Jim Thompson and David Goodis — who were able to convey their portrayals of the underclass via hardboiled pulp fiction. After all, they were themselves working writers, laboring in obscurity, grinding out paperback originals to make a living. By contrast, left-leaning authors such as John Dos Passos, James Agee, John Steinbeck, and Richard Wright had literary connections and writing ability that allowed them access to the upper realms of respectability. Rarer still were those writers who found themselves stranded between proletarian fiction and mainstream literature, yet who could nonetheless sidestep the pay-by-the-word pulp market. Notable among such talents was Nelson Algren, who, no matter how celebrated in his day, would eventually pay the price for adhering to that precarious position.

Born in 1909 in Detroit, Algren (née Nelson Ahlgren Abraham) moved with his family at the age of three to Chicago, where he remained for most of his life. Like many of his fellow writers during that era, he was briefly a member of the Communist Party, dividing his time in the 1930s between professional writing and organizing work for the Communist Party–inspired League of American Writers and the John Reed Club (and later, during the New Deal, for the Works Progress Administration’s Federal Writers’ Project). Always a dedicated, if individualistic leftist, he went on to raise funds for the Republican cause in the Spanish Civil War (1936–1939), then, some years later, for Julius and Ethel Rosenberg; not to mention voicing his opposition to creeping conformism (code for McCarthyism), the Vietnam War, and the false promise of consumerism. It was during the Great Depression that Algren, inspired by books like Stephen Crane’s Maggie: A Girl of the Streets (1893) and Aleksandr Kuprin’s brothel-set novel The Pit (Yama, 1915), as well as by witnessing the plight of ordinary people, kicked off his writing career. Like many during that era, he took to the road, riding the rails and hitching rides, ending up in Texas, where he hooked up with some petty criminals and eventually manned a rural gas station. It was at the local teachers’ college that Algren, seeking to hone his literary chops, stole a typewriter, was arrested, found guilty, and given a two-year suspended sentence.

(You can find the remainder of the review at the LARB website) http://www.facebook.com/facebook-widgets/share.php

Sunday, August 18, 2019

On Dangerous Ground: The Postman Always Rings Twice (1946), Pushover (1954)




The Postman Always Rings Twice (Tay Garnett, 1946)

Lana’s lipstick rolls into the future, past 
Garfield, into a land where we forever grow 
bold, then punished for our pains. Where 
luscious legs and white shorts, suggest a 
sleazy tennis queen, rather than a bored hash-
slinger. Where instructions are such that not
even a postman can comprehend. An indelible 
mark in a city where door-bells are essential, but 
ill-used, whether twice, thrice or, if not, Ice. 
Where loose change clinks payment in kind, 
and firewater seeks its own Production Code. 
Chiming noblese oblige: the customary 
murder, a hint of sado-masochism, maladroit 
lawyers and insouciant insurance investigators. 
Living in a less than wholesome world, a sad 
universe ruled by sleight of hand, swerving 
whiffle balls and working stiffs. Where
cynical private replaces that indifferent insurance 
investigator, where Frank and Cora are guilty 
as sin, sentenced to tear each other apart. That's 
the American way, insisting the world be set to 
rights, but not caring about the consequences. 
To counter unfavorable publicity, Lana is 
photographed on the set with two-year-old Cheryl
Twelve years later, the blood seeps from Lana's
big dong gangster-boyfriend, the stains forming 
question marks of suspicion. Laughter at a post-
shoot party Lana presents Garnett with a fur-lined 
jock-strap, while the ambivalent Cain inscribes 
faint praise in a leather-bound copy of his novel: 
"For my dear Lana, thank you for a performance 
even finer than I expected." Though he had never
expected much. Surely, when the doorbell rings, 
hints of honesty disappears through the letter-box; 
with no special delivery, to assuage the weak,
second-class ignorant, or recalcitrant hoi-polloi.















Pushover (Robert Quine, 1954)

You don't have to be a sleaze-bag to carry a
torch for Kim, twenty-five years Fred's junior,
strutting that June-bugged street where you 
live. A cop with a hard-on, so why wouldn't
she keep him on a short lead, playing him for 
far more than he's worth. Anything to off her 
crooked boyfriend, grab the cash and fade like 
bad surf. With the line: “Money isn’t dirty, just 
people.” Yeah, but,  if it isn't dirty, why bother 
to launder it? Reeling him in, the bait and 
switcheroo, forget the dosh, it's really love. 
That might play in Azusa, but it's a sucker-punch 
on the demeaning streets of Burbank, a push-over,
knowing it's only money through which  he can 
possess- I mean, own- her. That story has been 
rehashed so often it might as well arrive with 
its own breakfast menu. Looking up at her, 
the wounded Fred says: “We really didn’t need 
the money, did we?" Kim scoffs, would that be
rhetorical, or you just happy to see me. Stopping 
short of stupidity, not quite laughing, much less
spitting, in his face. A scene straight out of 
The Indiscreet Charms of the Petit-Bourgeoisie. 
But, wait, one mustn't ignore the sub-plot: Dorothy 
Malone, stalked and spied upon by another cop, 
the weird Phil Carey, who works overtime to turn 
Dorothy into a suburban homemaker. No wonder 
it's not to him, but her hostage taker, the wounded 
MacMurray,  to whom she scurries. As though 
Stockholm Syndrome has become a cultural 
necessity. A revealing moment, but no more so than 
Kim’s dress, an ideal commodity for scum-sucking 
purveyors of public decency, or those who seek 
clean surfaces,  in a Pat and Mamie kind of way.

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Tuesday, July 30, 2019

What I Learned from Bruce Cornforth and Gayle Dean Wardlow's Up Jumped the Devil- The Real Life of Robert Johnson

I would bet against there ever being a better and more informative Robert Johnson biography than Bruce Cornforth and Gayle Dean Wardlow's Up Jumped the Devil. Impeccably researched- something one has  come to expect from Wardlow in particular- the book sets out  to tell the story of Johnson's short life, and, in the process, fill in the various gaps in what is known, and to address those parts of his life that have remained a mystery. To the authors' credit, they have accomplished this, and, in doing so, have put together a highly readable and informative narrative. And it's about time. After all, Johnson has long been one of the greatest of the Delta bluesmen, but, at the same time, overly romanticized something which has  tended to obscure his place and even importance in the history of the music.

 In setting the record straight, Cornforth and Wardlow track Johnson from birth to death. They do so by citing friends, family, and Johnson's contemporaries, including the likes of Johnny Shines and Calvin Frazier, who not only knew Johnson first hand but played alongside him. Some of the material here has been collected by others and has appeared in past publications. However, there is a great deal here that is new here. And nothing, according to the authors, that is not corroborated. Although I've read most of what has been written about Johnson over the last fifty years- until this book, the best being being Elijah Ward's Escaping the Delta: Robert Johnson and the Invention of the Blues- Up Jumped the Devil is going to be invaluable to anyone interested in Johnson or Delta blues. Having said that, I thought I'd put together, pretty much off the top of my head and in no particular order of importance, a list of what I learned, or maybe knew but  forgot, from reading Cornforth and Wardlow's book: 
Son House

-Johnson was already proficient on guitar when still a teenager- though he was playing what is described by Cornforth and Wardlow, or their informantm as folk blues, rather than the deep blues with which he is  commonly associated. That Son House's famous assessment of RJ had  to do with the sudden realization that he now faced a competitor in RJ.
-That RJ went by a variety of names and nick-names, that he was subjected to what amounted to physical abuse by his step-father Dusty Willis. The latter wanted young Robert to work in the fields instead of playing music. Not surprisingly, RJ hated field work. Also, he enjoyed school, liked to read and was  sophisticated in his taste in music. 
-That RJ was capable of playing complex chords, had a near perfect ear, could hear a piece of music on the radio and reproduce it at gigs later that evening. He was also capable of playing in the jazzier style of his musical hero Lonnie Johnson. According to Calvin Frazier and Johnny Shines, RJ could play practically any type of music, would play  tarantellas at Italian weddings, Jewish music at at Jewish weddings, etc..
-Though RJ heard an array of Delta musicians, including House and Patton, and learned from them, his main influence was a local musician, Ike Zimmerman.
-That RJ  traveled widely, not only to Memphis, where he had immediate family, and Texas where he would record, but Chicago, Kentucky, New York, Detroit, Canada both on his own and in the company of Shines and  Frazier, to play music.
-That RJ kept a notebook, worked out renditions of songs and rarely varied the lyrics or melody.
-That RJ turned against religion after the death of his first wife and child while giving birth. He was nineteen at the time.
-That RJ's ambition was to play on Ted Mack's Amateur Hour, in the hope that it would be a springboard to national notoriety.
- That RJ didn't face the wall during his recording sessions out of nervousness but because he wanted to hide what he was doing from a group of Mexican musicians. He is reported to have often turned his back on musicians if he thought they were trying to steal his licks.
-That John Hammond Sr  kicked-off the misinformation surrounding RJ in his article that followed on from his Spirituals to Swing concert.
Johnson's death certificate
 -That much of the material on RJ in Alan Lomax's The Land Where the Blues Began is, for whatever reasons, fanciful.

Of course, this is just the tip of the iceberg. There is clearly a great deal more in Up Jumped the Devil that's both surprising, illuminating and new. Interestingly, rather than simply debunking the various myths surrounding Johnson's life- meeting the devil at the crossroads, etc.- Wardlow and Cornforth spend time investigating the various beliefs common to the African-American culture at that time and in that place that behind such stories. Likewise, they do the same for some of Johnson's more obscure lyrics. While it remains debatable as to whether Johnson is the greatest of Delta bluesmen, when you finish this book you will not only know more about him, but you will definitely have a greater appreciation of him as a musician. http://www.facebook.com/facebook-widgets/share.php

Monday, June 10, 2019

On Dangerous Ground: Phantom Lady (1944), Point Blank (1967)


“Ontology! I’m just
  telling you a story
  about this projector, that’s all.”

                   Edward Dorn, Gunslinger, Book II















Phantom Lady (Robert Siodmak, 1944)

Oh, Phantom Hat, worn on the 

wrong side of a disturbed mind.
Even poor Henderson, cops
lingering in his apartment, wife
strangled, recalls a hat no one
will corroborate, reduced to:  
"Maybe I only imagined that
woman."  Hats like nobody's
business, blatant, yet universal,
real, if fanciful, with a credit of
its own. Chapeau-noir worn at 
a non-existent angle by Jack, his
psychopathic pal. A euphemism
for bonkers? If not those who 
bonk? Like Kansas, the secretary 
not the state, more than a match 
for Cliff, the drummer not the
precipice, who, having absconded 
with Jack's money, paradiddles 
himself into a frenzy. More 
perturbing is that fucking cop, 
Burgess, who, like a spit-roasted
Republican switches sides with  
the flimsiest of alibis. Perhaps it's 
the heat, back when courtroom 
settings had not yet been turned 
into  series of air-conditioned 
nightmares. No sweat, but saturated 
shadows and oblique confrontations. 
None so unsettling as Burgess's reply 
to Jack's suggestion- self-flattery, of 
course- that the killer might well be 
genius. "No," says Burgess, "he's 
paranoic. It's not how a man looks, 
but how his mind works. Some day 
we'll have the sense to train the mind 
like we train the body." To which one 
might reply, if the hat fits, why in the 
world would anyone want to wear it. 



















Point Blank (John Boorman, 1967)

If it really does all take place in his mind, had he, 
or the film, not been shot on AlcatrazOr turned 
to pulp by a literate projector (invented by E. 
Dorn, circa 1970). "A dream, a dream." In a land 
of sleep-walkers, where only the exhausted will 
be culpable and insomniacs reign supreme. Every-one else, irrelevant or speed-balling down the interstate. Riding shot-gun alongside bevy of
eroticised women, their eyeballs drawing circles, 
drugged, then examined for flaws. A tin ear for 
Walker's footsteps echoing through LAXplanes 
whining like badly educated mosquitoes. A woman's voice: “Can’t sleep, haven’t slept, keep taking 
pills, dreaming about you, how good it must be 
being dead.” What about that under-achieving 
nightclub waitress: "Walker, are you still alive?" Or Angie, switching on every produit blancecstatic 
under the sign of commodity fetishism, advising 
Walker, “Why don’t you just lie down and die.” No, not until he wreaks havoc on the corporate world: 
gangsters, outsourcers, accountants, and a car sales-
man. With glass partitioning the cruel from the 
sadistic, the kind from the  catatonic, and Walker 
from a freight train of thought. Through glass half-
empty, elliptical as a  Borgesian tango. Chasing 
shadow fading to all points blank, the money 
just yards away, untouched, a torch song turned 
to ashes, swept out in the mourning, this ghost of 
a chance, inherited hardboiled America forever.
 
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Wednesday, May 15, 2019

Arcana- A Stephen Jonas Reader

Too bad critics like Donald Phelps, Gilbert Sorrentino, Guy Davenport or, for that matter, William Corbett aren't around to write about Arcana- A Stephen Jonas Reader. All no doubt would have revelled in writing about Jonas and the subterranean world he precariously inhabited. Ever the poete maudit, Jonas would emerge seemingly from nowhere to play an integral role in the 1950s Boston poetry scene. And it would be no understatement to say that he was one of the most important mid-20th century poets to not be included in Don Allen's ground-breaking New American Poetry anthology. Arcana is ample evidence of what many readers have, over the years, missed out on. It brings together work, published and unpublished, including large sections from two collections, Orgasms/Dominations and Exercises for Ear- titles that reflect their poems which can move in a flash from in-your-face to subtle- and individual poems that originally appeared in small  magazines of the 1950s and 1960s like Measure, Origin, Floating Bear, Yugen and Caterpillar.

The two collections and individual poems differ in content and approach. Likewise accounts of Jonas' life. A gay African-American, Jonas (1921-1970) seemed to be  an enigma even to those who knew him. A man of various institutions- not academic, but military, penal and mental- Jonas could be described as the link connecting Pound and Olson to John Wieners  Joe Dunn, Robin Blaser and, when it comes to the deployment of the serial poem, Jack Spicer.  Spicer would acknowledge Jonas by basing his character Washington Jones in his detective novel Tower of Babel  at least partly on Jonas. Furthermore, according to Blaser as quoted in Ellingham and Killiam's Poet Be Like God, Spicer would dedicate his "translation" of Lorca's Ode to Walt Whitman to Jonas because it was "Steve who taught me to use anger (as opposed to angry irony) in a poem."An autodidact and man who inhabited the margins of the culture, Jonas was, on the one hand, well-versed in the classics, and, on the other, au courant with the language of the street. Above all, he was a jazz poet, with  various  references to musicians like Charlie Parker and Ornette Coleman, and a finely tuned ear that depended on precise timing and a be-bop control of both line and attack.

                            "....not so much for receiving
                   stolen goods
                                      as for placing the junk
                                                                            dead as the world
                  before the senses
 In such times
                     one is put upon within
 You know how we squeeze today
                                                       for meaning
  the few words we have left to us
  Here in a word is the sea before me
                         but the sea cannot be squeezed
  So I sit as close to it as close as safe
  The sea speaks if speech be sound
                        but speech is not sound
                                                                      so turn for meaning
   to the Poem..." 
   (from LOVE, THE POEM, THE SEA & OTHER PIECES EXAMINED BY ME)

I can't recall when I first  read Jonas- sometime in the late 1960s. Perhaps it was  then or later that I came  across the Ferry Press'  Transmutations, followed a few decades later by  Jonas' Selected Writings (1994). The latter was, for me, something like an incendiary device, almost too explosive to handle. Just a cursory look was enough to let me know that here was someone who had taken on board Pound's crankiness, a Black Mountain lyrical quality, and  Spicer and Duncan's obsessive pursuit of the occult, all of which articulated in his own  version of Olson's Projective Verse dictated by breath and the notion, now something of a cliché, that "polis is eyes." With  references, on one hand, to Greek myths, and, on the other, to street level  prostitutes, gay hustlers, petty thieves or junkies, Jonas' poetry sounded  like it could have come straight out of the pages of a book like Genet's Thieves' Journal.

"Spain is located somewhere between Polk Street & Laguna Beach/
                as you cross the Oakland Bridge into Portugal/
 Oh, that Spicer/
                            he was a flamenco, that one/
                                                              for wld save America from
             the abuses of rime. Like Lorca (our Fedy) was 'gipsified.'
  Heard 'Bird's' playing & for three years
                        didn't know the taste of meat. sd. he didn't know
    music had attained to it. A tear & one blue note upon yr brow..."
(CANTE JONDO FOR SOUL BROTHER JACK SPICER, HIS BELOVED CALIFORNIA & ANDALUSIA OF LORCA)


One can be forgiven for thinking that, for Jonas' work, the whole can be more than the sum of its parts. But any close examination will reveal that the parts are more than resilient and equal to the task, capable of standing on their own. The determining feature being Jonas' use of space, margins, parenthetical enclosures, line breaks and the exploration of breath and rhythms that power the poem, making him sound like the most cultured of that era's hard-boppers. Particularly in Exercises for Ear, the fragments of which display a hip intensity informed by an eye and ear that's never less than accurate, and lines that are seem like nuanced objects, existing somewhere between anger, observation and a sly sense of humour. Forget schools of poetry, what it all comes down to is the eye, the ear, how one views the world, and the manner in which that view reaches into every crevice of the poem.

Although Jonas had advocates such as Gerrit Lansing, he would in his lifetime never receive  the recognition he deserved. Published, yes, but, until recently, rarely written about. The exceptions being Lansing's Preface to Exercises for Ear, Torra's introduction to the Selected Poems, Garrett Caples' interview with David Rich, and the late critic, poet and translator David Rattray's 1991 essay  "Lightning Over the Treasury," that would appear in his How I Became One of the Invisible (Semiotexte).  Though it should be said that  Rattray's essay focuses less on Jonas' poetry than on his eccentricities, as he, Rattray and others tried to negotiate a world in which  drug taking, all night conversations and cultural circumlocutions were the currency of a close knit group of marginal figures.


"the set-up of a poem
           may not always please
the eye;
          but the ear can be
led
      conducted along
             surprising causeways
where the hither-to un-
                                       expected
             (one might even venture un-
suspected)
                  comes in-
                                  to prominence."
                                        (Exercises for Ear LXIV)

All of which makes the publication of Arcana is not only welcome but long overdue. And City Lights has to be commended for getting Jonas' work out there.  Likewise, the book's editors Garrett Caples, Derek Fenner, David Rich and Joseph Torra.  Their introductory remarks and postscript have managed to not only gumshoe Jonas' life- a noir existence by any definition of the term- but to place his poetry in a historical context.

Of course,  Jonas, like many a poete maudit,  had personal problems. These no doubt fed into the occasional off-the-wall sentiment- though none worse than Spicer's anti-semitic diatribe, or Pound's WW2 rants- not to mention run-ins with the law. But Jonas was never one to take an easy turn, much less turn-of-phrase, or allow himself or his  poetry to become an object of public consumption. Strip away some of the excess and what is left is a beauty and sense of being in the world that runs deep.  As  I mentioned elsewhere, no matter good you might have thought Jonas was, read this volume and you'll discover he was even better. One hopes Arcana will succeed in placing Jonas' work before a wider  poetry reading public.

     "i have come to
chew up yr language

to make more palatable
the L's & collaterals

               (at the service
                    entrance"
                        (CVIII, Exercises for Ear)


You can hear Stephen Jonas reading (from around 19 minutes) in Joseph Torra's excellent talk on Jonas.
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Thursday, May 02, 2019

On Dangerous Ground: On Dangerous Ground (1952), Out of the Past (1947)















On Dangerous Ground (Nicholas Ray, 1952)

Why do you punks make me do it
growls the cop as he beats the shit 
out of a pathetic street hood. As if
the same old same old, aggressor
blaming victim, perking watch and
wonder. Law and order cracking as
inevitable as the saturated light, an
apartment filled with testosteronised
artifacts: what once was, will never
be. Violence, as always, feeding the
conundrum. If only it wasn't so addictive,
or family of last resort. A jones exiling
him to a sparsely populated snow-
ridden town, viewed- a movie within
a movie- through a windscreen, the
schtumed backseat viewer cachéd
in their own private critique, bleached
out by the death of a young girl at the
hands of a teenager barely knowing
better. With darkness bleeding into
domesticity, a match is lit for unblinking
eyes, and a wounded plea to locate
her brother before revenge can freeze
his tracks. Frightened, the kid invariably
slips from higher ground, recycling a
geology of clichés, footnotes in an 
expurgated history of crime and 
punishment. Fifty years on, the screen-
writer, blagging in his local coffee shop,
tells a redacted story: how he'd simply
wanted the cop to return to the city a
different person. But the studio’s arc was
non-negotiable. After all, the politics of
money dictates that only a miracle can
suffice. A capitulation, however generous,
not quite more than barely nothing at all.







Out of the Past (Jacques Tourneur, 1947)

It’s all about that hat, and the
light, Acapulco golden, straight
outta the sun, fat man staring,
one last cramped tete-a-tete
with Mitchum. Throwing down
mis-coined phrases: like it's a
small world or a big sign for a
dame with a rod or a guy with 
a knitting needle. They say no
one is all bad, but she comes
close. serial betrayer. Who
never claimed to be anything
other than herself. Gallows
steadfastly high. That's how it
works if it works at all. She
walks into a bar and finds you
there, not even capable of
hatred. Dream on, have another
Cuba Libre on me. You know,
like one for the road that never
ends, that is until suddenly it does.
Double-murderer, sans chapeau, 
dressing as a nun, pretending
she has the Big Guy on her side.
But isn't it true that it's always
the psychopath who take charge.
Machine-gun hidden behind 
tree, cash on the floor, blood on
the wheel. And simpering Ann
now free to marry her childhood
Rotarian. Mitch aside,  it can 
only be a losing battle, with
everyone no one in disguise.    


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Friday, March 22, 2019

On Dangerous Ground: Night and the City (1950), Nightmare Alley (1947)





















Night and the City (Jules Dassin, 1950)

Warning: when blacklisted, better to become an export,
like a bottled beer. With a never-to-be-read novel tucked
under your belt. The point being there was no point.
The shadows, all too familiar. Urban sleaze slicing up
a foreign landscape where it's always night and the city
is still the city.  This time a depleted London, where Dassin
is sent to recoup Zanuck's frozen profits. Shooting fast,
the most expensive scenes first, to keep the studio “on
the hook.” Harry Fabian, whether unlikeable corrupter 
or fast-talking wide-boy,  traipses through dark alleyways
and pocked bomb sites. There's rationing for everyone
save those who would follow the money. Kersh’s novel
bought, still unread, by Charles Feldman for $45,000, 
then selling book and script to Zanuck for $175,000. 
A tasty return, but, hey, turnarounds are what Hollywood's
all about. So long as one can milk the dregs: in this case,
Fabian, the Silver Fox and wrestling, punctuated by
dawn-and-dusk photography,  and a litany of geo-exotica:
Soho’s Richmond Buildings, St Martin’s Lane and in-the-Field, 
Waterloo Bridge, the Shot Tower, St Paul’s, Charing Cross
Road, Trafalgar Square, County Hall, Leicester Square’s
Cafe Anglais, and Hammersmith Bridge, where, a half-hour
of light, Dassin, using six cameras, completed twenty-two
shots in eighteen minutes.True to its title, though more
so had anyone been interested enough to read the novel.
















 
Nightmare Alley (Edmund Goulding, 1947)

Forget the reprobates, crawling parasites and fallen angels
who some say have flown too close to the ground. Only to
lose yourself amongst their wounded ilk: barkers, freaks,
dodgy mind-readers and cross-dressing shrinks. Each with
a sideshow of their own. No way out, other than to turn into
some ill-fated geek, down on his luck, his cage littered with
bottles of rot-gut, sleepless nights spent howling at the moon.
Gresham first heard about such creatures from Doc Faraday,
an ex-carny, who, like Gresham, had thrown in his lot with
the Lincoln Brigade. “I can’t understand how a man can get
that low,” says Stanton, as he takes another wrong road to
 nowhere, reading the signs but never their significance.
How easy to fall, in an era before euphemisms became a
language spoken beyond the beyond. Back when cops still
smiled as their truncheons split skulls, owned or borrowed
by the discontented or dispossessed. So basic the desire for 
world of one's own. Can he hack geekdom? “I was born to
it,” Stanton declares. Words inked at the Dixie Hotel, Coney
Island, the missus in the arms of some high church author.
No passaran, though the darkness surrounds us, but no god-
damn big car for the effort. The rope breaks, but eventually
he's just  another suicide statistic. As for Goulding, paranoid
the blacklist would come knocking, his peccadilloes revealed,
a studio mark, who would never again walk that razor's edge.

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Thursday, March 14, 2019

Philly and South Jersey Gothic: On Jay A. Gertzman's Pulp According to David Goodis

Hard-boiled noir fiction has produced more than its share of cult writers, but pulp novelist and periodically successful Hollywood screenwriter David Goodis is in a league of his own. His status, first nurtured in France through Gallimard's Série Noire imprint, has grown steadily since Francois Truffaut;s film Tirez fur le pianiste, based on Goodis's novel Down There (1956), was released in 1960. That book would be reprinted in the United States a few years later by Grove Press, retitled, to capitalize on the film, Shoot the Piano Player (1962). What success the latter garnered no doubt had less to do with Goodis's name and reputation than with Truffaut's, though Henry Miller's blurb gracing its cover might have given the reprint added heft. Yet even before Down There's initial publication as a Gold Medal paperback in 1956, Goodis had some 14 novels under his belt, including classics like Dark Passage (1946), adapted for the screen by Delmer Daves in 1947; Nightfall (1947), adapted by Stirling Silliphant for Jacques Tourneur in 1957; and The Burglar (1953), filmed by Paul Wendkos in 1957 from a screenplay- his most accomplished- by Goodis himself.

The publication of Philippe Garnier's groundbreaking Goodis, la vie en noir et blanc in France in 1984 went some way toward confirming Goodis's status as a cult writer. Nine years later, James Sallis's Difficult Lives (1993) placed Goodis in a select pantheon alongside two other cult noir writers, Jim Thompson and Chester Himes.  Goodis would also feature heavily in two of my own books, Pulp Culture: Hardboiled Fiction and the Cold War (1995) and Heartbreak and Vine: The Fate of Hardboiled Writers in Hollywood (2002). The last three volumes all owe a debt to Garnier's investigative work, which turned up a number of people who had been close to Goodis throughout his truly troubled life.

(You can click here to read the review in its entirety on the L.A. Review of Books website.)

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Friday, March 01, 2019

Finally: Paul Oliver and Mack McCormick's The Blues Come to Texas

It seems like I've been hearing about this book for ever. The Blues Came to Texas was, and is, intended as a definitive history of Texas blues.  It was first  conceived way back in 1959 at a time when blues scholarship was still in its infancy, by two of the most renown blues scholars Paul Oliver, author of, amongst many other books Blues Fell This Morning and Songsters and Saints, and Mack McCormick, "discoverer" of Mance Lipscomb and Lighnin' Hopkins, also known for his research on Robert Johnson and, for legal reasons, perhaps the most infamous blues research project, on Johnson entitled The Biography of a Phantom, never to see the light of day. For various reasons- health problems, mistrust and the difficulties of transatlantic communication in a pre-internet era- the book has languished in literary limbo ever since 1977. Thanks to Texas A&M University, the project is now available, thanks to researcher, photographer and film-maker Alan Govenar who, after conferring with Oliver during the last years of the latter's life. revived the project. Urged on by the likes of  Tony Russell and Arhoolie's Chris Strachwitz, Govenar, in turn, brought on board the noted musicologist Kip Lornell to assist him in putting together the final manuscript.

Their collaboration certainly does not disappoint. It really is the definitive history of Texas blues, and though a large format, relatively expensive book, this is hardly the coffee table book its size implies. Instead, the text  predominates, along with a handful of photographs. No doubt this book is really meant for a small band of blues scholars, but I think any blues enthusiast, particularly those interested in the southwest variety, will want to give this volume serious attention. This even though  the publisher notes that what is now available is, in fact, more like a literary artifact, a draft of what was, and is, a massive research project. Certainly,  the unfinished format of the book- chapters listed as sections in alphabetical order, notes in which Oliver queries McCormick, missing texts, grammatical inconsistencies, etc.- would back up the publisher's claim. Though that hardly detracts from the book's importance.  Though hopefully a more affordable format will one day become available. Nevertheless, The Blues Come to Texas is finally here, and the wait has been long but well worth it. http://www.facebook.com/facebook-widgets/share.php