David Goodis: Five Noir Novels of the 1940S and 50S Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

David Goodis: Five Noir Novels of the 1940S and 50S Pdf, Epub, Ebook DAVID GOODIS: FIVE NOIR NOVELS OF THE 1940S AND 50S PDF, EPUB, EBOOK David Goodis, Robert Polito | 848 pages | 16 Oct 2014 | The Library of America | 9781598531480 | English | New York, United States David Goodis: Five Noir Novels of the 1940s and 50s PDF Book To see what your friends thought of this book, please sign up. My impression, and I'm nowhere near the end of reading all of Goodis, is that he is a kind of American Sartre, a two-fisted Dante being backed into a solid wall of desperation and doubt. It will allow future generations to plunge into the luxurious sensation one experiences when reading a Goodis novel, even though it never lasts for long, and is accompanied by the dismal knowledge that it will soon be over. Robert Polito Editor. Parry steps into the room, and addresses his best friend:. May 27, Ben rated it liked it. Goodis is more like a Mickey Spillane with a soul. Robin Friedman I don't feel that this is a fault, however, because I believe Goodis's surrealism is intentional. One of the problems with this is clunky plotting. How to read this? Project support for this volume was provided by the Geoffrey C. He is overly reliant on coincidence and often having a character overhear long sections of dialogue. I much-loved the anthology, especially "Street of No Return. Nicholson Baker. No trackbacks yet. And then the reach for the lever that opens the strongbox and While hitchhiking he is picked up by a woman named Irene Janney. Library of America Noir Collection 3. Long a cult favorite, Goodis now takes his place alongside Raymond Chandler and Dashiell Hammett in the pantheon of classic American crime writers. Biography portal. Besides emphasizing lonely and lost people, Goodis' novels display a strong sense of atmosphere and place. It was pure in itself, and it was entirely devoid of pretense or embroidery. Low four in the context of the world's Goodis seems an overlooked writer, or underappreciated. Friend Reviews. It's always the dame that does this trick, but she's never straight, she's never front-to-back clear in her own noggin about what's going on, and what he's willing to put on the line. Verified purchase: Yes Condition: Pre-owned. On the river side of Dock Street the big ships rocked gently on the black water like monstrous hens, fat and complacent in their roosts. Aug 04, Robert Hann rated it liked it. At heart the novel has themes of crime, honor, loyalty and a futile search for redemption. The protagonists and the secondary characters are sharply drawn, and they tend to illustrate many sides of a single pessimistic view of the human condition. Charles J. I'm a little sorry, because I couldn't get the Bogart film out of my head as I was reading it. Think Jackson Pollock, the extremities of pop art, or the labyrinthine chaotic train-set-type networks in the paintings of Manny Farber. The little guy, innocent, gets caught up in crime and does the right thing every time. He can only direct his anger at the street, the slum, the gutter. Hard hitting from the very first line. You have helped me add some books to my summer reading list. Thompson wrote, among other things, The Grifters and The Getaway. Born and bred in Philadelphia, David Goodis was an American noir fiction writer. David Goodis: Five Noir Novels of the 1940s and 50s Writer The other complimentary paragraph of some length that I wanted to quote comes a little earlier in that same novel. And that's another thing-- it's never morning, unless you're talking about four or five in the morning. Goodis' works deserve a place in the Library of America, which chronicles the breadth and diversity of America and its people. The Washington Post. Discount offer available for first-time customers only. Born in Philadelphia , Goodis alternately resided there and in New York City and Hollywood during his professional years. I reviewed each novel independently - the review links are below. The New York Review of Books: recent articles and content from nybooks. Goodis is also credited with writing the screenplay to The Burglar , a film noir directed by Paul Wendkos that was based on his novel published by Lion Books. That was a logical color, that pale blue, logical for the start of it, because it had started out in a pale, quiet way, the pale blue convertible cruising along peacefully, the Colorado mountainside so calm and pretty, the sky so contented, all of this scene pale blue in a nice even sort of style. A brother, Jerome, born in , died of meningitis at age three. In a story told from at least three different perspectives, the protagonist Jim Vanning struggles to clear himself and to find a home and a woman to love. A very nice introduction to Goodis and his writings. Cassidy's Girl sold over a million copies, and he continued to write for paperback publishers, notably Gold Medal. This volume is available for adoption in the Guardian of American Letters Fund. The term noir is one we would tend to associate with a particular cycle of variably bleak Hollywood films of the immediate postwar period, generally urban tales made on a budget and reflecting a The title of The Library of America edition of five novels by David Goodis —esteemed crime writer best known for the spate of sixteen remarkable novels he published between and —wastes no time in getting around to the imposition of a curious frame-up as concerns genre. Expressionism as a principle is meant above all to indicate the primacy of the representation or the arousal of mental states over the naturalistic or realistic depiction of things as they supposedly are. In , another brother, Herbert, was born into the family. Wikimedia Commons. Thanks Ken, for all the great Noir articles! Other Editions 3. Learn More. She pushed the car at medium speed, sat there behind the wheel with a relaxed smile on her face as she listened to the music. Hes one of a kind. In this novel, Lou Ford is a deputy sheriff who seems like a good old boy to everyone in town. Often he accomplishes this through repetition. Thompson wrote, among other things, The Grifters and The Getaway. Comments 0 Trackbacks 0 Leave a comment Trackback. David Goodis: Five Noir Novels of the 1940s and 50s Reviews Days earlier, Goodis had been beaten while resisting a robbery. At fate, in other words. Link will be live May 27, The Water-Method Man. Goodis has an extraordinary talent for colors, the flow of the story unlike the stark writing of a lot of his contemporaries with a feel of music and art. Jun 08, Teighlor Chaney rated it really liked it. Want to Read Currently Reading Read. Yet by the end of the novel Goodis renders all of these questions moot. Top Create a free website or blog at WordPress. Add to Cart. A sample line from Dark Passage which captures some of Goodis at his best: "The lobby of the apartment house was dreary. She brings him to her San Francisco apartment. There was no getting away from Gladden. Untamed Special Edition! Goodis attended Simon Gratz High School and was engaged in student affairs, editing the school newspaper, serving as student council president, and participating in athletics as a member of both the track and swim teams. The main thing to realize, says Gladden, is that. He returned the smile, not knowing why. Archived from the original on February 28, More by Nathaniel Rich American Humbug. In the Hellhole, these nights, they were having race riots. Sign in. Unique approach to the genre. The characters in his book have little, and they tend to be searching for love and for other forms of human connection. Along the way Goodis paints the times with hard boiled pictures of Philadelphia and life on the streets and uses historical events such as Puerto Rican race riots as a back drop. Grey-violet of a blouse belonging to a girl with blonde hair. He published his first novel at the age of 22 and spent several years producing a large quantity of words for pulp magazines and learning the craft of a writer. He was buried in Roosevelt Memorial Park in Pennsylvania. Become a Member Start earning points for buying books! Goodis was hired by Warner Brothers and he moved to Los Angeles, where he stayed for six years, splitting his time between screenwriting and fiction. Feb 17, Ravanagh Allan rated it it was amazing. And that's another thing-- it's never morning, unless you're talking about four or five in the morning. I quite liked Dark Passage but didn't care for Nightfall, which I found sloppily written and not very compelling. The bathroom is yellow tile; the soap is lavender; the cologne is violet; the handkerchiefs are in grey-violet satin. Whitey now has no future, and only wants the next drink. Goodis stated that The Fugitive was based on his novel Dark Passage. There are five novels here. The other works chosen here are The Moon in the Gutter , which tells the story of a street hardened man whose sister commits suicide after being raped. Typical noir plots, extremely stylish execution. John Updike. The other six appear not to have been reprinted for many years. No trivia or quizzes yet. Charles J. Withers is Astor's son by a later marriage.
Recommended publications
  • Poetry in America for Teachers: the City from Whitman to Hip Hop
    Poetry in America for Teachers: The City from Whitman to Hip Hop SYLLABUS | Spring 2017 Course Team Instructor Elisa New, PhD, Powell M. Cabot Professor of American Literature, Harvard University Teaching Staff Carra Glatt, PhD, Harvard University Christopher Spaide, Doctoral Candidate, Harvard University Josephine Reece, Doctoral Candidate, Harvard University Khriseten Bellows, National Board Certified Master Teacher Course Developers Adrienne Raphel, Course Developer and Doctoral Candidate, Harvard University Emily Silk, Course Developer and Doctoral Candidate, Harvard University Caitlin Ballotta Rajagopalan, Course Manager, Poetry in America Leah Reis-Dennis, Producer, Poetry in America Course Overview Poetry in America for Teachers is a course designed specifically for secondary school educators interested in developing their expertise as readers and teachers of literature. In this course, available for Professional Development, undergraduate credit, or graduate credit, we will consider those American poets whose themes, forms, and voices have given expression to visions of the city since 1850. Beginning with Walt Whitman, the great poet of nineteenth-century New York, we will explore the diverse and ever-changing environment of the modern city – from Chicago to Washington, DC, from San Francisco to Detroit – through the eyes of such poets as Carl Sandburg, Emma Lazarus, Edna St. Vincent Millay, Langston Hughes, Marianne Moore, Frank O’Hara, Gwendolyn Brooks, Allen Ginsberg, Robert Hayden, and Robert Pinsky, as well as contemporary hip hop and spoken word artists. For a preview of what you can expect in this course, watch our trailer at http://bit.ly/PoetryCityPreview. Course Objectives This course will develop teaching expertise relevant to the Common Core English Language Arts (ELA) standards in grades 6-12.
    [Show full text]
  • “Putting My Queer Shoulder to the Wheel”: America's Homosexual
    1 “Putting my Queer Shoulder to the Wheel”: America’s Homosexual Epics in the Twentieth Century Catherine A. Davies University College London UMI Number: U592005 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592005 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 I, Catherine Davies, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Index Pages 4 Abstract 5 Introduction 47 “Stranger in America”: Hart Crane’s Homosexual Epic 105 “It occurs to me that I am America”: Ginsberg’s Epic Poems and the Queer Shoulder 165 “Narcissus bent / Above the gene pool”: Merrill’s Epic of Childlessness 203 John Ashbery’s Flow Chart: “The natural noise of the present” 247 Postscript 254 Bibliography 4 Abstract This thesis examines five poems by four twentieth-century poets who have explored the epic tradition. Some of the poems display an explicit concern with ideas of American nationhood, while others emulate the formal ambitions and encyclopaedic scope of the epic poem.
    [Show full text]
  • WED 5 SEP Home Home Box Office Mcr
    THE DARK PAGESUN 5 AUG – WED 5 SEP home home box office mcr. 0161 200 1500 org The Killing, 1956 Elmore Leonard (1925 – 2013) The Killer Inside Me being undoubtedly the most Born in Dallas but relocating to Detroit early in his faithful. My favourite Thompson adaptation is Maggie A BRIEF NOTE ON THE GLOSSARY OF life and becoming synonymous with the city, Elmore Greenwald’s The Kill-Off, a film I tried desperately hard Leonard began writing after studying literature and to track down for this season. We include here instead FILM SELECTIONS FEATURED WRITERS leaving the navy. Initially working in the western genre Kubrick’s The Killing, a commissioned adaptation of in the 1950s (Valdez Is Coming, Hombre and Three- Lionel White’s Clean Break. The best way to think of this season is perhaps Here is a very brief snapshot of all the writers included Ten To Yuma were all filmed), Leonard switched to Raymond Chandler (1888 – 1959) in the manner of a music compilation that offers in the season. For further reading it is very much worth crime fiction and became one of the most prolific and a career overview with some hits, a couple of seeking out Into The Badlands by John Williams, a vital Chandler had an immense stylistic influence on acclaimed practitioners of the genre. Martin Amis and B-sides and a few lesser-known curiosities and mix of literary criticism, geography, politics and author American popular literature, and is considered by many Stephen King were both evangelical in their praise of his outtakes.
    [Show full text]
  • ENGLISH College of Arts and Sciences Newsletter 2014/2015 Dear Friends
    DEPARTMENT OF ENGLISH College of Arts and Sciences NEWSLETTER 2014/2015 Dear Friends, We begin the 2014-15 academic Professors in the English Department. I am especially pleased to note that year with a newly formatted department the inimitable Joyce Troy, administrative assistant to the English Department newsletter. After some consideration, we Graduate Office, received a SUNY Chancellor’s Award for Excellence in decided to move to an annual newsletter – Classified Service, in recognition of her many years of outstanding service to one that is in color and longer, with more faculty and students at UB. content. I hope you enjoy learning about research coming out of the English As always, I am deeply impressed by the creativity and accomplishments Department by faculty like Ruth Mack, a of our students and alumni. To single out just one instance, this past spring specialist in Eighteenth Century Literature a collection of English and Art majors planned and executed a major public who spent last year at the Radcliffe arts project in the hallway linking Clemens to Lockwood Library. Now people Institute for Advanced Study, or Arabella walking through the corridor enjoy poetry by English majors written on the Lyon, Director of UB’s new and highly walls in lettering designed by Art majors. This kind of collaborative project successful Center for Excellence in not only elevates a well-trafficked but otherwise unremarkable hallway, Writing, whose recent book on democracy, rhetoric, and rights received the it represents the kind of creative work we aim to promote in the Arts and 2014 Best Book Award from the Rhetoric Society of America.
    [Show full text]
  • The Cambridge Companion to Bob Dylan Edited by Kevin J
    Cambridge University Press 978-0-521-88694-9 - The Cambridge Companion to Bob Dylan Edited by Kevin J. H. Dettmar Frontmatter More information the cambridge companion to bob dylan A towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the center of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan’s creative output. The first Part approaches Dylan’s output thematically, tracing the evolution of Dylan’s writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Chapters in Part II analyze his landmark albums to examine the consummate artistry of Dylan’s most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer. kevin j. h. dettmar is W. M. Keck Professor and Chair of the Department of English, Pomona College, California. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88694-9 - The Cambridge Companion to Bob Dylan Edited by Kevin J. H. Dettmar Frontmatter More information CAMBRIDGE COMPANIONS TO AMERICAN STUDIES This series of Companions to key figures in American history and culture is aimed at students of American studies, history and literature. Each volume features newly commissioned essays by experts in the field, with a chronology and guide to further reading.
    [Show full text]
  • Next Stop: Hollywood &
    Next Stop: Hollywood & God; Conversing about Form with Ro... http://bookclubs.barnesandnoble.com/t5/Unabashedly-Bookish... Register · Sign In · Help Unabashedly Bookish Browse Book Clubs : B&N Blogs : Unabashedly Bookish : Next Stop: Hollywood & God; Conversing about Form with Robert Polito Choose a Discussion ... Thread Options Search Advanced Users Next Stop: Hollywood & God; Conversing about Form with Robert Polito About by Jill_Dearman on 06-18-2009 11:49 AM - last edited on 06-22-2009 01:16 PM by PaulH Unabashedly Bookish I first became acquainted with Robert Polito's work in 1997 when I received the gift of his beautifully bound two book American Library set, Crime Novels. Unabashedly Bookish features new articles every day from the Book I'd never heard of Patricia Highsmith before, but after reading The Talented Mr. Ripley on a long Clubs staff, guest post-Christmas Amtrak ride, I was hooked enough to imbibe the rest of her works. Highsmith soon authors, and friends on went through a posthumous popular resurgence after Anthony Minghella's film of the first Ripley hot topics in the world of book, books, language, Talented Mr. Ripley. writing, and publishing. From trends in the This week, two writer friends sent me the link to another look at this great author in The New York publishing business to Review of Books http://www.nybooks.com/articles/22797?email. The obsession with her updates on genre fiction continues. fan communities, from fun lessons on grammar Polito's work summons up the dark, nervous, mysterious vibe of the noir authors he has to reflections on championed including wildcat author Jim Thompson, whom Polito wrote the ultimate biography of, literature in our personal Savage Art.
    [Show full text]
  • Invisible City: Philadelphia and the Vernacular Avant-Garde NOTES on the UNDERGROUND
    INVISIBLE CITY Philadelphia and the Vernacular Avant-garde Invisible City: Philadelphia and the Vernacular Avant-garde NOTES ON THE UNDERGROUND 252 Sid Sachs 253 Invisible City: Philadelphia and the Vernacular Avant-garde Notes on the Underground Sid Sachs In the mid-twentieth century, Philadelphia was a publishing center, its populism epito- mized by Curtis Publishing Company’s The Saturday Evening Post and Ladies Home Journal and Walter Annenberg’s TV Guide and Seventeen. The everyday American worldview—the Norman Rockwell and N.C. Wyeth versions of America—originated from these publishers. These were not aristocratic visions but, rather, the iconography of popular culture (as defined by sociologist Herbert Gans).1 In addition to Annenberg’s Triangle Publications and Curtis, Philadelphia was home to J.B. Lippincott, smaller specialty publishers such as Chilton and Cypher Press, and many others.2 Over these years, Philadelphia culture produced artifacts variously affiliated with the Beat writers, pulp fiction, experimental poetry, popular music, and a proto-punk ethos. Indeed, Philadelphia encompassed many worlds, from the Ivy League University of Pennsylvania and its elite Quaker satellite schools to Philip Barry’s patrician Tracey Lords; it brooked an even darker proletarian underworld. David Lynch noticed this chthonic condition during his Pennsylvania Academy of the Fine Arts (PAFA) years in the late 1960s and Sun Ra decried the city, saying, “To save the planet, I had to go to the worst spot on Earth, and that was Philadelphia, which is death’s headquarters.”3 That sinister underbelly was best illustrated by David Goodis, an important pulp-fiction writer.
    [Show full text]
  • E M I L Y S K I L L I N
    EM I L Y S K I L L I N GS E- MAIL EMILY.SKILLING [email protected] DU E D U C A T I O N MFA in Poetry from Columbia University School of the Arts, 2017. B.A. in Dance and Poetry from Eugene Lang College, The New School for Liberal Arts (GPA 3.9, Honors Graduate) May 2010. T E A C H I N G E X P E R I E N C E Eugene Lang College, The New School: Writing the Essay II, Spring 2019. The 92nd Street Y Unterberg Poetry Center: The Nature of Things, a four-week course on object-based writing, November 2018. Yale University: Introduction to Creative Writing, a survey course in poetry, fiction, and playwriting, Fall 2018. Reading Poetry for Craft, a combination workshop and seminar for beginning undergraduate poetry students, Fall 2017. Poets House: g/leaning: quotation, assemblage, intertextuality, a 6-week course, Spring 2018. Parsons School of Design, The New School: The Nay-Sayers, an interdisciplinary undergraduate studio course on the poetics of refusal. Co-taught with visual artist Simone Kearney, Spring 2018. Yale University: Assisted Claudia Rankine’s Advanced Poetry undergraduate workshop, Spring 2018. Brooklyn Poets Workshop: The Nay-Sayers, a 5-week course on the poetics of refusal. Co- taught with visual artist Simone Kearney, Summer 2017. Practicing the Poetics of Space. Co- taught a poetry workshop that engaged themes and concepts from Gaston Bachelard’s The Poetics of Space with visual artist and poet Simone Kearney, Fall 2016. Princeton University: Assisted Claudia Rankine’s Advanced Poetry undergraduate workshop, Spring 2017.
    [Show full text]
  • Ange Mlinko Associate Professor Department of English University of Florida [email protected]
    Ange Mlinko Associate Professor Department of English University of Florida [email protected] Education M.F.A. (Creative Writing, Poetry) Brown University, Providence RI, 1998 B.A. (Philosophy and Mathematics) St. John’s College, Annapolis MD, 1991 Teaching Experience Term Professor (2018-2023), University of Florida Associate Professor (2014-present), Creative Writing Program, Department of English, University of Flor- ida Bread Loaf Writers’ Conference (2018), Poetry Faculty Assistant Professor (2010-14), Creative Writing Program, Department of English, University of Houston Courses Developed and Taught Rhetorical Tropes (graduate seminar) The Long Poem (graduate seminar) Modernism and Ancient Greek Poetry (graduate seminar) Poetry Workshop (graduate workshop) Master Workshop (graduate workshop) Advanced Poetry Workshop (undergraduate workshop) Poetic Forms (undergraduate workshop) Poetry Projects (undergraduate workshop) Awards Guggenheim Fellowship, 2014-15 Frederick Bock Prize, Poetry magazine, 2012 Randall Jarrell Award for Criticism, Poetry Foundation, 2009 Editor’s Prize for Reviewing, Poetry magazine, 2008 National Poetry Series, 2004 Publishers Weekly Best Books of 1999 The Fund for Poetry, 1996 and 2006 Starred Wire was one of two finalists for the James Laughlin Award in 2005. Shoulder Season was a finalist for the William Carlos Williams Award from the Poetry Society of America in 2010, and a finalist for a PEN Center USA award. Marvelous Things Overheard was named a “best book of poetry” on year-end lists in the New Yorker
    [Show full text]
  • Cambridge Companion Crime Fiction
    This page intentionally left blank The Cambridge Companion to Crime Fiction The Cambridge Companion to Crime Fiction covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the ‘detective’ fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in eighteenth-century literature, French and Victorian fiction, women and black detectives, crime in film and on TV, police fiction and postmodernist uses of the detective form. The collection, by an international team of established specialists, offers students invaluable reference material including a chronology and guides to further reading. The volume aims to ensure that its readers will be grounded in the history of crime fiction and its critical reception. THE CAMBRIDGE COMPANION TO CRIME FICTION MARTIN PRIESTMAN cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Informationonthistitle:www.cambridge.org/9780521803991 © Cambridge University Press 2003 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the
    [Show full text]
  • Alvar Aalto's Woodberry Poetry Room Shannon
    Poetic Form and Forum: Alvar Aalto’s Woodberry Poetry Room Shannon Mattern, Ph.D. Assistant Professor and Director of Graduate Studies Department of Media Studies and Film The New School 66 5th Avenue, 12th Floor New York, NY 10011 [email protected] Thank you to my colleagues Jessica Blaustein, Robert Polito and Barry Salmon, and to several anonymous reviewers, for reviewing drafts of this article. I am also indebted to my former research assistant, Andrew Ashey, and to Don Share, Christina Davis, the Harvard University Archives, Katariina Pakoma of the Alvar Aalto Museum, and Ville Kokkonen at Artek for their time and assistance. 1 Poetic Form and Forum: Alvar Aalto’s Woodberry Poetry Room ABSTRACT The 2006 renovation of Harvard University’s Woodberry Poetry Room, one of the few American designs by noted Finnish architect Alvar Aalto, sparked an international controversy over the means and ends of architectural preservation. Arching over these debates about architectural heritage, the responsibility of the Harvard administration, the quality of Fixler’s renovation, etc., were larger, often unarticulated, questions about what constitutes a poetic text or an architectural work, whether they have definitive forms, what their responsibilities are to the people who use them. I explain how the different constituents invested in this specific project bring to the table different understandings of the purpose of the room and its preservation, and the distinction between the physical design and the “institution” and collection it houses. I argue that the controversy over the recent renovation reflects disagreement regarding the fluidity or fixity of the architectural “object” and the poetic text -- disagreements informed by theoretical and pragmatic debates in librarianship, pedagogy, media and literary studies, and architectural preservation.
    [Show full text]
  • Cold Blood: on Jim Thompson and Stanley Kubrick by Michael A
    Cold Blood: On Jim Thompson and Stanley Kubrick by Michael A. Gonzales Jan 13, 2012 in Film, Guest Posts, Writing This article was originally published in One More Robot #8 In the mind of crime fiction aficionados, the brooding image of pulp writers from the 40s and 50s usually resembles a haunting Edward Hooper painting of doomed loners sloughed at a rickety desk inside a dimly lit hotel room. Knocking out stories for a penny a word to keep the bookies at bay, bourbon in their system and the landlord off their backs, rarely were these bleak fellows thought of as family men. While that pathetic portrayal fits authors David Goodis and Cornell Woolrich, paperback writer Jim Thompson was a different kind of literary animal. Although Thompson suffered from legendary bouts with the bottle (when he was a boy, his grandfather gave him whiskey with breakfast), he was also a married man with three children and a house in the suburbs. He wore suits and ties and rarely rolled around in the gutter with his contemporaries. “He’d take any job, you know, to earn a living and feed his family,” Thompson’s long-suffering wife Alberta, whom he married in 1931, once told an interviewer. Until Thompson’s death in 1977 at 70 years old, his wife stood by her man through drunkenness, money woes and sickness. As his friend and former editor Arnold Hano pointed out in 1991, “unhappy endings were his style.” Although Jim Thompson’s twenty-nine novels were out of print when he died, in 1984 writer and David Lynch collaborator Barry Gifford (Wild at Heart, Lost Highway) teamed-up with the Berkeley based publishers Creative Arts Book Company to create Black Lizard Press.
    [Show full text]