By Peter Swirski
Peter Swirski appears to be like at American crime fiction as an artform that expresses and displays the social and aesthetic values of its authors and readers. As such he records the manifold ways that such authorship and readership are an issue of educated literary selection and never of cultural brainwashing or declining literary criteria. Asking, in impact, a sequence of questions on the character of style fiction as artwork, successive chapters examine American crime writers whose careers throw gentle at the dangers and rewards of nobrow site visitors among renowned varieties and intellectual aesthetics: Dashiell Hammett, John Grisham, William Faulkner, Ernest Hemingway, Raymond Chandler, Ed McBain, Nelson DeMille, and F. Scott Fitzgerald.
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Extra resources for American Crime Fiction: A Cultural History of Nobrow Literature as Art
Cain’s hardboiled classics, The Postman Always Rings Twice (1934) and Double Indemnity (1936), will have no trouble recalling the details of the case. Understandably, the names have changed on the way from real life to fiction. Cain, a seasoned journalist who was covering the Snyder trial on assignment, remodeled Ruth, Henry, and Albert to Cora, Frank, and Nick in The Postman Always Rings Twice, and to Phyllis, Walter, and Herbert in Double Indemnity. 1 Cain was nothing but accurate in grafting the hapless Albert Snyder onto a first-generation Greek restaurant owner, Nick Papadakis.
Years later Hammett explained that the Op was never given a name so as to stand for every operative. 9 Physically the Op was modeled after James Wright, assistant manager of Pinkerton’s Baltimore office and Hammett’s former boss. The short, thick-bodied, rough-spoken Wright used to drill into his underlings that morality was a strictly personal affair. When on the case, a detective may lie, cheat, remove evidence, and emotionally manipulate suspects so as not to disadvantage himself vis-à-vis men who abide by no code of honor.
Schwartz; Végső. See Swirski (1999), (2005), (2015); McCann. It actually precedes it by decades; see Troubridge, 169. Van Wyck Brooks. Page 1. In Gardiner and Walker, 53; next sentence, Hubin. McCann; O’Brian; Horsley; Cassuto; Breu. CHAPTER 2 Briefcases for Hire: Dashiell Hammett and John Grisham THE PAUPER AND THE PRINCE Although it may not be obvious at first glance, the chief difference between the gumshoe from the pages of tough-guy fiction and the lawyer-hero of contemporary courtroom procedural may be that one is packing a gun and the other a briefcase.