Dashiell Hammett: Man of Mystery,” Sally Cline, 272 Pages, Arcade Publishing, 2016 (Review by Bill Hughes)

Total Page:16

File Type:pdf, Size:1020Kb

Dashiell Hammett: Man of Mystery,” Sally Cline, 272 Pages, Arcade Publishing, 2016 (Review by Bill Hughes) “Dashiell Hammett: Man of Mystery,” Sally Cline, 272 pages, Arcade Publishing, 2016 (Review by Bill Hughes) Posted by kybyrce On 08/25/2016 “Dashiell Hammett: Man of Mystery,” Sally Cline, 272 pages, Arcade Publishing, 2016 (Review by Bill Hughes) His family roots ran deep in the “Old Line State.” Dashiell Hammett, aka Samuel “Dash” Dashiell Hammett, was born on a tobacco farm in 1894, in Saint Mary’s County, Maryland. Before Hammett died in 1961, in New York City, at age 66, he had become one of America’s most famous detective/mystery novelists. When Hammett was seven years old, his family moved to 212 North Stricker Street, in Southwest Baltimore. He even attended Poly H.S. for one semester. Only “six blocks away” from him on Hollins Street resided the “Bard of Baltimore,” the incomparable, H.L. Mencken. Their literary paths would soon cross as Hammett began to find his life’s calling. Hammett’s mom, Annie Bond, was a nurse, but “sickly.” His “bad-tempered father,” Richard, was a loser. He couldn’t hold a job and was also a “drinker and a womanizer.” His father was related to the prominent Briscoe Clan of Southern Maryland. Father and son were “not friends,” wrote author Sally Cline. Whose off-the-wall conduct to you think Hammett would emulate as he matured into adulthood? Try - his father’s! In “Dashiell Hammett: Man of Mystery,” Cline brilliantly captures the life and times of this often private, enigmatic and talented man. By all accounts, he took pulp fiction yarns - about hard-boiled private eyes, such as his popular creation, Sam Spade, in “The Maltese Falcon” - to new, and higher, literary heights. Edgar Allan Poe and Arthur Conan Doyle would be proud. When I was growing up in the post-WWII era, I vividly recall enjoying the Spade character in the movie version of “The Maltese Falcon.” He was portrayed by the splendid actor, Humphrey Bogart. The film is a classic in that genre. The book went on to become the “best known American crime novel of all time.” Also in the film were some of the iconic actors of that black/white film era: Mary Astor, Peter Lorre, Sydney Greenstreet and Ward Bond. “The Maltese Falcon,” according to Cline, included some of Hammett’s darker, philosophical views on life. She wrote: “Its primary theme is how appearance belies reality, nothing is ever as it seems, how order and meaning are mere human fabrications, and blind chance is the only thing on which we can count.” The 1941 movie, directed by the legendary John Huston, helped to make the book “a massive best seller.” Whether or not Hammett appreciated the fact that his “most famous and meaningful passage” about life, was left out of the film, isn’t known. Getting back to Hammett’s formative years. Like his dad, he had a hard time holding onto a job until age 21. Then, in 1915, he went to work for the Pinkerton Detective Agency in Baltimore. One of his assignments was in Butte, Montana, to spy on the Wobblies, a radical union group. That chore turned his stomach. He left the agency in 1918, to join the U.S. Army at Fort Meade, MD. Hammett served stateside, during WWI, and rose to the rank of sergeant. In the process, however, he caught the “Spanish Flu,” which led to tuberculosis. While recuperating out in Tacoma, WA, he met his future wife, an attractive VA nurse, Josephine “Josie” Dolan. In July of 1921, they were married. Before long, they added two lovely daughters, Mary Jane and Josephine, to their household. To say that their relationship was complicated, is an understatement. While living in San Francisco, CA, in 1922, with his family, Hammett’s literary career began to flourish. Mencken published his story, “The Parthian Shot,” in his magazine “The Smart Set.” Four more short fiction pieces soon followed. When, in 1923, Mencken took over the “Black Mask” magazine that featured pulp fiction, it published Hammett’s first pulp fiction novel, “Arson Plus.” The rest, as they say, is history. “Five groundbreaking novels, one novella, and more than sixty short stories” were his lifetime output, Cline tells us. Hammett concluded his fiction output with “The Thin Man,” in 1934. Then, “writer’s block for twenty-seven years” intervened! In 1931, in Hollywood, Lillian “Lilly” Hellman entered his life. She was then 25 years old, short, plain-looking, high energy, Jewish, with red-hair, and a wannabe playwright. Hammett was then a 6 ft.-plus, suave, 36 years old, a successful novelist and a lapsed Catholic. They were both married. They also both loved sex, booze, life in the fast lane and literature. The connection was made. Their often rocky relationship was to last for 30 more years until Hammett’s death. When WWII started, Hammett, age 48, joined the U.S. Army in September, 1942, despite his serious medical problems. He spent two of the next three years assigned to the Aleutian Islands and loved every minute of it. He again made the rank of sergeant. During Hammett’s Hollywood days in the 1930s, he had been busy doing screenwriting. As “The Great Depression” sunk in, he was also a political “Lefty.” Many of the unions and groups, including the Communist Party that Hammett joined, supported the revolution in the Soviet Union and opposed the rise of Adolf Hitler in Page 1 Germany. During WWII, the Soviet Union was America’s ally. Soon after it ended, however, the “Cold War” began, along with the rise of McCarthyism. Red-baiting then became fashionable on Capitol Hill. Cutting to the chase, Hammett was targeted by the FBI’s J. Edgar Hoover and right-wing politicos in Washington, D.C. He once told Hellman: “I don’t let cops or judges tell me what democracy is.” His anti-fascist beliefs, and refusal to “name names,” led in 1951, to a six months' confinement in a federal slammer for “criminal contempt of court.” By then, Hammett was a broken man - physically and financially - and also blacklisted in the film industry. He owed hundred of thousands in back taxes. Despite making over one million dollars from his books and screenplay work, he died living off his VA disability pension and the charity of Hellman. In death, however, Hammett, a veteran of both WWI and WWII, scored a telling blow against the Right Wing creeps that had so viciously hounded him in life. He is buried in sacred ground among America’s most honored dead: Arlington National Cemetery! Summing up, I’m giving Sally Cline five out of five stars for her first-rate, well-researched and compelling biography on Dashiell Hammett. It is a gem of a book, very entertaining, and it belongs in the library of all lovers of American literature. Editor's Note: Bill Hughes is an author, actor and photojournalist. http://baltimorepostexaminer.com/dashiell-hammett-man-mystery-good-read/2016/08/25 Copyright © 2021 thebaynet.com. All rights reserved. Page 2.
Recommended publications
  • Before Bogart: SAM SPADE
    Before Bogart: SAM SPADE The Maltese Falcon introduced a new detective – Sam Spade – whose physical aspects (shades of his conversation with Stein) now approximated Hammett’s. The novel also originated a fresh narrative direction. The Op related his own stories and investigations, lodging his idiosyncrasies, omissions and intuitions at the core of Red Harvest and The Dain Curse. For The Maltese Falcon Hammett shifted to a neutral, but chilling third-person narration that consistently monitors Spade from the outside – often insouciantly as a ‘blond satan’ or a smiling ‘wolfish’ cur – but never ventures anywhere Spade does not go or witnesses anything Spade doesn’t see. This cold-eyed yet restricted angle prolongs the suspense; when Spade learns of Archer’s murder we hear only his end of the phone call – ‘Hello . Yes, speaking . Dead? . Yes . Fifteen minutes. Thanks.’ The name of the deceased stays concealed with the detective until he enters the crime scene and views his partner’s corpse. Never disclosing what Spade is feeling and thinking, Hammett positions indeterminacy as an implicit moral stance. By screening the reader from his gumshoe’s inner life, he pulls us into Spade’s ambiguous world. As Spade consoles Brigid O’Shaughnessy, ‘It’s not always easy to know what to do.’ The worldly cynicism (Brigid and Spade ‘maybe’ love each other, Spade says), the coruscating images of compulsive materialism (Spade no less than the iconic Falcon), the strings of point-blank maxims (Spade’s elegant ‘I don’t mind a reasonable amount of trouble’): Sam Spade was Dashiell Hammett’s most appealing and enduring creation, even before Bogart indelibly limned him for the 1941 film.
    [Show full text]
  • Warner Bros. Entertainment, Inc.; * Warner Bros
    United States Court of Appeals FOR THE EIGHTH CIRCUIT ________________ No. 10-1743 ________________ Warner Bros. Entertainment, Inc.; * Warner Bros. Consumer Products, * Inc.; Turner Entertainment Co., * * Appellees, * * v. * Appeal from the United States * District Court for the X One X Productions, doing * Eastern District of Missouri. business as X One X Movie * Archives, Inc.; A.V.E.L.A., Inc., * doing business as Art & Vintage * Entertainment Licensing Agency; * Art-Nostalgia.com, Inc.; Leo * Valencia, * * Appellants. * _______________ Submitted: February 24, 2011 Filed: July 5, 2011 ________________ Before GRUENDER, BENTON, and SHEPHERD, Circuit Judges. ________________ GRUENDER, Circuit Judge. A.V.E.L.A., Inc., X One X Productions, and Art-Nostalgia.com, Inc. (collectively, “AVELA”) appeal a permanent injunction prohibiting them from licensing certain images extracted from publicity materials for the films Gone with the Wind and The Wizard of Oz, as well as several animated short films featuring the cat- and-mouse duo “Tom & Jerry.” The district court issued the permanent injunction after granting summary judgment in favor of Warner Bros. Entertainment, Inc., Warner Bros. Consumer Products, Inc., and Turner Entertainment Co. (collectively, “Warner Bros.”) on their claim that the extracted images infringe copyrights for the films. For the reasons discussed below, we affirm in part, reverse in part, and remand for appropriate modification of the permanent injunction. I. BACKGROUND Warner Bros. asserts ownership of registered copyrights to the 1939 Metro- Goldwyn-Mayer (“MGM”) films The Wizard of Oz and Gone with the Wind. Before the films were completed and copyrighted, publicity materials featuring images of the actors in costume posed on the film sets were distributed to theaters and published in newspapers and magazines.
    [Show full text]
  • Politics and the 1920S Writings of Dashiell Hammett 77
    Politics and the 1920s Writings of Dashiell Hammett 77 Politics and the 1920s Writings of Dashiell Hammett J. A. Zumoff At first glance, Dashiell Hammett appears a common figure in American letters. He is celebrated as a left-wing writer sympathetic to the American Communist Party (CP) in the 1930s amid the Great Depression and the rise of fascism in Europe. Memories of Hammett are often associated with labor and social struggles in the U.S. and Communist “front groups” in the post-war period. During the period of Senator Joseph McCarthy’s anti-Communism, Hammett, notably, refused to collaborate with the House Un-American Activities Committee’s (HUAC) investigations and was briefly jailed and hounded by the government until his death in 1961. Histories of the “literary left” in the twentieth century, however, ignore Hammett.1 At first glance this seems strange, given both Hammett’s literary fame and his politics. More accurately, this points to the difficulty of turning Hammett into a member of the “literary left” based on his literary work, as opposed to his later political activity. At the same time, some writers have attempted to place Hammett’s writing within the context of the 1930s, some even going so far as to posit that his work had underlying left-wing politics. Michael Denning, for example, argues that Hammett’s “stories and characters . in a large part established the hard-boiled aesthetic of the Popular Front” in the 1930s.2 This perspective highlights the danger of seeing Hammett as a writer in the 1930s, instead of the 1920s.
    [Show full text]
  • A Visit with Jack Benny 0Lddmeradio "»Act.R,~ 'DIGESJ' S.,S: .., ~ ~ Old Time Radio No
    No.141 Summer ZOU $J.75 A visit with Jack Benny 0ldDmeRadio "»act.R,~ 'DIGESJ' S.,S:_..,~ ~ Old Time Radio No. 141 Summer 2013 "'Fled Allen is tnaklnz cr.acks <1 bo111 ~ bar,g on lht Dt ~nis Day Sho'fl­ The Old Time Radio Digest 1s pnnted r11,, i lfY is 50 l ltt>n tt/lh mvy_ BOOKS AN D PAPER published and distributed by trery timt he opens his mr:1uu RMS & Associates SOmobo(fy mails • letter. 1ulle 1ii, Den,,;~ :show toniRbt- Allt.11 We have one of the largesc scledions in the USA of out of print Edited by Bob Burchett lt'On't be on it! books and paper items on all aspects of radio broadcast in~. Published qu,nlerly four I1111es a year ------------------·---- ·------· ·--------- -------- One year subscription 1s $15 per year - -- Hooks: A large asso11ment of books on tlw history ofbroacka~ting. Single copies $3.75 each radio writing, stars' biographies. radio sho\, "· and radio play~. Past issues are available. Make checks t;;/.. payable to Old Time Radio Digest. ~,s- Also hooks on broadcasting tcchniqul.'.s. social impact l1f radio etc .. Business and editorial office radio RMS &Assoc,ales, 10280 Gunpowder Rd ~ phcmcra: Material on specific stations. radio scripts, Florence. Kentucky 41 042 advertising literature, radio premiums. NAB anmwl reports, etc. 859.282 0333 -·----------·--- ----- bob [email protected] 6:30 P .M. ORDER OUR CATALOG Advertising rates as of January 1, 2013 ( Jur last cmC1lop, (/12.'i) 11·11s issued in .lufi- .'O I IJ ,md incl11dt•~ o\'l't ./Ofl ,1,•111< Full page ad $20 size 4 5/8 x 7 i11c/11d111y, n 111,e vart,'I)' o.f 1/em , 11 ,, hav1- 11e1·,•r 1een h<'/<,re p/m, cl 1111111/w, of Half page act $10 size 4 5/8 x 3 0/djal'orite.1 that ll'l'/'C llfl/ i11cl11ded Ill (//{/"'"'' colalug Mo.\/ / (('Ill.\ Ill lhi' Hall page ad $10 size2x7 ('(l/(l/og are still (Jvtlllahlt:.
    [Show full text]
  • Dreams, Parables and Hallucinations: the Metaphorical Interludes in Dashiell Hammett's Novels
    Rl'l·ista de Es1cu/ios Nor1ea111erícanos, n. º 9 ( 2003 ), pp. 65 - 80 DREAMS, PARABLES AND HALLUCINATIONS: THE METAPHORICAL INTERLUDES IN DASHIELL HAMMETT'S NOVELS JOSÉ ÁNGEL GONZÁLEZ LóPEZ Escuela Oficial de Idiomas (Santander) Dashiell Hammett has generally been regarded as the creator of «realistic» detective fiction ever since Raymond Cbandler used bis works in «The Simple Art of Murder» as the main argument against classic detective fiction: Hammett ... was one of a group - the only one who achieved critica! recognition- who wrote or tried to write realistic mystery fiction .. [he] took murder out of tbe Venetian vase and dropped it into the alley ... gave murder back to the kind of people that commit it for reasons, not just to provide a corpse ... He put these people down on paper as they were, and he madc them talk in thc language they customarily used for these purposes. ( 13-15) Cbandler's views were based on Hammett's own statements on the pages of Black Mask. where he reminded readers that his stories were based on bis first-hand experience with crime and criminals as opposed to fictional detectives like Arthur Conan Doyle's Sherlock Holmes or S.S. Van Dine's Philo Vanee. But we should not overlook the fact that Hammett had worked in the advertising industry before joining Black Mask, and that he knew very well how to sell a product, including literary products like his own stories. Accordingly, his editor Joseph Shaw wrote introductions to his stories, where he emphasized their «reality»: «If you kili a symbol, no crime is committed and no effect is produced.
    [Show full text]
  • The New Wild West: the Urban Mysteries of Dashiell Hammett And
    THE NEW WILD WEST: THE URBAN MYSTERIES DF DASHIELL HAMMETT AND RAYMDND CHANDLER by Pau l Ske noly BOISE STATE UNIVERSITY o BOISE. IDAHO o Boise State University Western Writen Series Number 54 7Ae llew Wil4 WeJt: 7Ae 1,(,.6I1n I1t¥Jte"ieJ cf /:)IIJltiell IIlIfttfttett IIn4 f<1I¥ftt cn4 Cltlln41e,. By Paul Skenazy University of California Santa Cruz EWton: WayIW Ot.attenoa Jamft H. Marui~ CoYer o.:.igD and tuUllfatioQ by Amy SJuno. Copyrirbt 19B! Boise State University. Boise. Idaho Copyright 198! by the Boile St a~ University Western Writen Series ALL RIGHTS RESERVED Library of Congress Card No. 8!·710'" Int<:mational Standard Book No. 0· 88430· 028· " Printed in the United Slates of America by J &. D Printing Mer idian, Idaho 7Ae l1ew Wi" We~t : 7Ae 1/1-6f111 /1I~~tel'ie~ pi ~fI~kie" 1If1/11/11ett fllld RfI~/IIP/1d CAfllldlel' 7lre llew tVil4 tVe.6t : 7lre 1(,-6411 JJt~.6t e";e.6 III ~4.6lrie" 11411llllett 4114 «4~1Il111l4 C1r41l41el' Puzzles and suspense have always been a part of storytelling. and some loyal critics of detective fiction like to say that every story has a mystery in it somewhere. They trace the roots of the detective form back to Oedipus and to the Bible. But the detective story as a genre is a product of the nineteenth century; it developed alongside the new police forces and detective agencies in the new industrial cities suc h as Paris and London, which required organized forms of municipal control and law enforcement and which used scientific methods of detection.
    [Show full text]
  • Sherlock Holmes Print Study Guide
    STUDY GUIDE IntroductionTABLE OF CONTENTSPg. 3 Pg. 4 Top Ten Things to Know About Going to the Theatre Pg. 5 Cast and Creative Team Credits The Man Behind The Thin Man Pg. 6 Synopsis and Characters Pg. 9 Inside Vertigo Theatre- An Interview with Playwirght Lucia Frangione Pg. 10 Pre-Show Projects and Discussion Questions Pg. 13 The One Liner Characters From Your Life The Amazing Asta Your Burning Questions Pre-Show Activities To Get You Up On Your Feet Pg. 15 A Crazy Family Let's Party Post Show Discussion Questions Pg. 22 The Art of The Theatre Review Pg. 24 Pg. 25 About Vertigo Theatre Vertigo Teatre is committed to creating a welcoming atmosphere for schools and to assist teachers and parent chaperones with that process. It is our wish to foster and develop our relationship with our student audience members. It is our intention to create positive theatre experiences for young people by providing study guides and post-show talk backs with our actors and theatre personnel, in order to enrich students’ appreciation of theatre as an art form and enhance their enjoyment of our plays. Introduction Welcome to the study guide for Vertigo Theatre's production of Dashiell Hammett's THE THIN MAN adapted by Lucia Frangione. In this guide you will find information about crime writer Dashiell Hammett, the creative team and performers involved in this production, as well as a variety of activities to do with your class before and after the show. There are topics suitable for a class discussion, individual writing projects, as well as games and exercises that get students moving around and learning on their feet.
    [Show full text]
  • The Tenth Clew 53 Reprinted As “The Tenth Clue” in the Return of the Continental Op (1945)
    Sec01_LC_Hammett_II_791030 3/29/01 9:07 AM Page 53 Sec01_LC_Hammett_II_791030 3/29/01 9:07 AM Page 52 The Library of America • Story of the Week From Dashiell Hammett: Crime Stories & Other Writings (Library of America, 2001), pages 52–83. First published in the January 1, 1924, issue of The Black Mask; the tenth clew 53 reprinted as “The Tenth Clue” in The Return of the Continental Op (1945). He turned slowly around and faced me with a face that was gray and tortured, with wide shocked eyes and gaping The Tenth Clew mouth—the telephone still in his hand. DASHIELL HAMMETT “Father,” he gasped, “is dead—killed!” “Where? How?” chapter 1 “I don’t know. That was the police. They want me to come down at once.” “Do you know . Emil Bonfils?” He straightened his shoulders with an effort, pulling him- self together, put down the telephone, and his face fell into r. Leopold Gantvoort is not at home,” the servant less strained lines. Mwho opened the door said, “but his son, Mr. Charles, “You will pardon my—” is—if you wish to see him.” “Mr. Gantvoort,” I interrupted his apology, “I am con- “No. I had an appointment with Mr. Leopold Gantvoort nected with the Continental Detective Agency. Your father for nine or a little after. It’s just nine now. No doubt he’ll be called up this afternoon and asked that a detective be sent to back soon. I’ll wait.” see him tonight. He said his life had been threatened. He “Very well, sir.” hadn’t definitely engaged us, however, so unless you—” He stepped aside for me to enter the house, took my over- “Certainly! You are employed! If the police haven’t already coat and hat, guided me to a room on the second floor— caught the murderer I want you to do everything possible to Gantvoort’s library—and left me.
    [Show full text]
  • The Adventures of Sam Spade, Detective
    Aug. 28, 1949 Sam Spade – The Flopsy Mopsy and Cottontail Caper Page 1 of 23 1. ANNCR The adventures of Sam Spade, Detective – brought to you by Wild Root Cream Oil hair tonic, the non-alcoholic hair tonic that contains Lanolin and new Wild Root liquid cream shampoo. 2. MUSIC Cue #1 opening theme followed by telephone ringing 3. EFFIE Sam Spade Detective Agency 4. SAM It’s me, sweetheart. Have you heard of pulling a rabbit out of a hat? 5. EFFIE Yes. 6. SAM Well, I pulled one out of a pickle. 7. EFFIE What happened, Sam? 8. SAM What happened, she asks. Well, goodbye. 9. EFFIE Oh, don’t go Sam. Don’t you feel like talking about it? 10. SAM Frankly no, but it’s expected of me. Eh, sharpen a carrot. Buy me some rabbit punch … 11. EFFIE What? 12. SAM Get the hutch ready. I’m about to hippity-hop through the door with the low- down on the Flopsy, Mopsy and Cottontail Caper. 13. MUSIC Cue 2 bridge 14. ANNCR Dashiell Hammett, America’s leading detective fiction writer, and creator of Sam Spade, hard-boiled private-eye and William Spears, radio’s outstanding producer-director of mystery and fine drama, join their talents to make your hair stand on end with the Adventures of Sam Spade, presented by the makers of Wild Root Cream Oil for the hair. (slight pause) Say, Mother, if you get a special thrill buying things your whole family can use, then stop at your drug or toilet goods counter for a big, family size bottle or tube of Wild Root Cream Oil, America’s favorite family hair tonic.
    [Show full text]
  • Dashiell Hammett's Detective Fiction
    University of New Orleans ScholarWorks@UNO English Faculty Publications Department of English and Foreign Languages 1999 The Crime of the Sign: Dashiell Hammett's Detective Fiction Carl D. Malmgren University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/engl_facpubs Part of the Literature in English, North America Commons Recommended Citation Malmgren, Carl D. "The Crime of the Sign: Dashiell Hammett's Detective Fiction." Twentieth Century Literature: A Scholarly and Critical Journal 45.3 (1999): 371-384. This Article is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The Crime of the Sign: Dashiell Hammett's Detective Fiction CARL D. MALMGREN Hammett took murder out of the Venetian vase and dropped it into the alley. -Raymond Chandler 234 In 1941 Howard Haycraft wrote a literary history called Murderfor Plea- sure: The Life and Timesof the DetectiveStory. In it he celebrated what he termed the Golden Age of Detective Fiction, and he singled out certain people as masters of the "classic detective story"-Christie, Sayers, and Bentley, among others. In December 1944, in an essay in the AtlanticMonthly called "The Simple Art of Murder,"Raymond Chandler issued a broadside against Haycraft's primarily British tradition. This narrative form, Chandler claimed, fails to provide, among other things, "lively characters, sharp dia- logue, a sense of pace and an acute use of observed detail" (225).
    [Show full text]
  • The Maltese Falcon Read by Eric Meyers
    COMPLETE CLASSICS UNABRIDGED Dashiell Hammett The Maltese Falcon Read by Eric Meyers NA0042The Maltese Falcon (U) booklet amend.indd 1 11/03/2011 15:06 CD 1 1 The Maltese Falcon by Dashiell Hammett: Chapter 1 – Spade and Archer 5:00 2 ‘That was in New York.’ 5:13 3 Spade winked at his partner. 6:31 4 Chapter 2 – Death in the Fog 4:49 5 Spade turned from the parapet… 6:02 6 Tom, scowling, opened his mouth... 4:44 7 The Lieutenant put his hands on his knees… 5:26 8 Spade spoke, taking equal pains with his words… 6:02 9 Chapter 3 – Three Women 6:05 10 Effie Perine opened the door and came in. 4:32 11 ‘Look at me, Sam.’ He looked at her and laughed… 5:14 12 Chapter 4 – The Black Bird 6:12 13 She went down on her knees at his knees. 5:08 14 She smiled contritely, returned the hat to the table... 3:59 15 She hung her head and wept. 4:03 Total time on CD 1: 79:09 2 NA0042The Maltese Falcon (U) booklet amend.indd 2 11/03/2011 15:06 CD 2 1 The small man flourished a cold cigar-stub at Spade... 4:05 2 Spade inclined his head at his visitor... 4:10 3 Chapter 5 – The Levantine 5:09 4 Besides the wallet and its contents... 4:56 5 Spade shrugged. ‘Where are they?’ he asked. 5:18 6 Chapter 6 – The Undersized Shadow 5:15 7 The eagerness with which Brigid O’Shaughnessy welcomed Spade..
    [Show full text]
  • Expressions of Modernity in Dashiell Hammett's Pulp Fiction
    Scorched Earth: Expressions of Modernity in Dashiell Hammett's Pulp Fiction The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37799762 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Scorched Earth: Expressions of Modernity in Dashiell Hammett’s Pulp Fiction Anna P. Kelly A Thesis in the Field of English Literature for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2017 Abstract Samuel Dashiell Hammett (“Dash”), American author and activist, is today best known for one of the novels he published 1930, The Maltese Falcon. My thesis presents evidence that a close study of a selection of Hammett’s short stories and novels published between 1925 and 1930 (“Dead Yellow Women,” “The Scorched Face,” “The Gutting of Couffignal,” Red Harvest, and The Maltese Falcon) exposes his personal struggle with modernity in America, through a discussion of three motifs. In his stories and novels, Hammett explores the fluctuating treatment of immigrants, and changing social spaces for newly independent women in post-World War I America. He also questions the consequences of increasing mechanization in cities, through everyman detectives Sam Spade and the Continental Op. As Hammett’s career progresses, he continues to passionately challenge the benefits of conservative cultural values, while urging caution against the unreserved embrace of modernism.
    [Show full text]