14 August 2019
First, some background. The story goes that Howard Hawks and Ernest Hemingway are on a hunting trip. Hemingway's bitching that Hollywood can't make a decent picture out of any of the books he's sold them. Hawks says, They don't get the books. And you do? Hemingway asks him. Hawks shrugs. Sure, he says. I could take your worst book and make a terrific picture out of it. We imagine a very long pause here, and then Hemingway goes, Oh, yeah? And just which one is my worst book? Hawks doesn't miss a beat: To Have and Have Not. Okay, asshole, Hemingway says. You got the rights. Put up or shut up.
Hawks goes back to L.A. He calls in William Faulkner. Faulkner probably isn't that big a Hemingway fan in the first place. He tells Hawks the novel's unfilmable. You'd never get it past the Hays Office, for openers. C'mon, we gotta do something, Hawks says. They sit down with Jules Furthman, another longtime screenwriter, and hash out the back story, what happened beforehand. They make up so much, Hawks later says, that there was enough left over for a whole other picture.
You guessed it, The Breaking Point. Which is actually credited to Ranald MacDougall, who just for goobers and grins, also worked on Mildred Pierce; The World, the Flesh, and the Devil; and Dark of the Sun. No slouch, he.
The degrees of separation - or cross-pollination - are I think significant. To Have and Have Not (1944), Bogart and Hawks. Treasure of the Sierra Madre (1948), Bogart and John Huston. We Were Strangers (1949), Garfield and Huston. The Breaking Point in 1950. Directed by Michael Curtiz, who made some zingers, but never breaks into the top lists of auteurs. Maybe that's an oversight. The Breaking Point is certainly atypical of Curtiz. It actually has a lot more in common with Sierra Madre and Strangers than it does with Casablanca. You wouldn't think of Curtiz as a noir guy, but here he delivers in spades.
Then look at Garfield, in context. The Breaking Point was his next-to-last picture; he died after the next one. He himself thought The Breaking Point was his best and most transparent performance. You have to give a passing glance at his politics, which were resolutely Leftie. He wasn't blacklisted, but he was skating on thin ice. Maybe he died before the bastards could get to him. They would have loved to nail him, just because he was Julie Garfinkle from the Lower East Side.
Garfield never did overtly political parts. Gentleman's Agreement, mmmh, maybe. Force of Evil? The movie itself is about moral choices, and Garfield's character makes the leap of faith in the end. But he isn't represented as Everyman. It's not a Marxist fable. The closest he comes is in We Were Strangers, and even there he keeps his distance. He seems mistrustful of absolutes. He's missing the zeal of the convert.
In this, The Breaking Point is completely consistent. In the most basic and classic sense, it's existential. The guy does what he does because of who he is; or put it the other way around, he demonstrates who he is because of what he does. Skip the philosophy.
Oh, and as if I had to tell you, you're never going to look at Patricia Neal the same way again.
The Breaking Point, moment to moment, is tighter than To Have and Have Not. It might even be a better picture. I think it is a better picture than We Were Strangers, and We Were Strangers, trust me, ain't no dog. I'd go so far as to say The Breaking Point rivals Treasure of the Sierra Madre. No, it doesn't have Bogart disintegrating like a sprung watch, but it's got a decent guy going over the edge, and you don't know if he's coming back. Neither does he.
17 September 2018
by Steve Liskow
Hand-writing analysis has been with us for even longer than the "forensic linguistics" that people are using to identify this writer. But there are stumbling blocks to the approach in this case. It's a small sample and we don't have anything else we can compare it to. We need another article on a similar subject of about the same length by each of the 100 (I love that!) suspects to make a meaningful decision.
The experts look at how certain words are used, how a writer punctuates and uses paragraphs, and many other clues. The good ones claim the science is almost as solid as DNA, but that may be pushing it. More than one expert has pointed out that we don't know how much the Times altered words, phrasing or punctuation to bring the piece in line with its own style guides.
In any case, while there are writers who had a distinctive and usually recognizable style, such as Hemingway and Faulkner, both of whom had contests involving people writing a pastiche of their work, there are others who change style and voice often. Laura Lippman comes to mind. Some writers have been identified even when they use a pseudonym. Patrick Juola, presently at Duquesne University, used forensic linguistics to prove that J. K. Rowling wrote The Cuckoo's Calling, even though the name on the book cover was Robert Galbraith. Gary Taylor boosted his reputation as a Shakespearean by identifying an unattributed (and not very good) poem to the Bard.
When I was still directing plays, I had a reputation as a minor-league expert on Shakespeare. I have read most of the plays several times, acted in a dozen of them, and directed still others. While teaching, I assigned fourteen different plays at one time or another.
I read the play and disagreed. Thomas Middleton wrote a play called The Witch, which Shakespeare borrowed heavily from for the witch scenes in Macbeth. Shakespeare and Fletcher collaborated near the end of Shakespeare's career, and Cardenio--inspired by a section of Don Quixote, which was published in English in 1612--didn't fit what Shakespeare was producing at that point. I say this as someone who devoured John Barton's and Cicely Berry's books on how Shakespeare used language because they helped me direct. So does the First Folio.
Cardenio was supposedly written between The Tempest and All Is True (Henry VIII), just after The Winter's Tale and Cymbeline. I've acted in and directed separate productions of The Winter's Tale (about 20 years apart) and participated in two productions of The Tempest. Compared to them, the language in Cardenio is clumsy and immature. The cast is much smaller than in any of Shakespeare's other plays (remember, bit players often played several roles), and the structure is even more truncated than Macbeth, which is complete but always feels like something's been cut. Even on his own, John Fletcher was better than this. So was Kit Marlowe. So were the Earl of Oxford, the Earl of Derby and Francis Bacon.
Truthfully, the authorship is fine topic for yet another graduate thesis, but I don't care who wrote the plays as long as good directors and actors continue to perform them for the rest of us.
Same with the New York Times op ed.
I don't care as much about who wrote the piece as I do about the admission that the White House staff is undermining Trump's actions out of self-interest instead of taking the appropriate steps to invoke the 25th Amendment for the Greater Good.
29 June 2018
by Thomas Pluck
Or moose. A Møøse once bit my sister.
Remember Monty Python? Ah, those were the days, discovering off-kilter comedy on Public Broadcasting, brought from overseas. Now I scroll through cable and everything looks like a commercial. Maybe I'm just old and cranky, I just turned 47, which is the new 29, but still old. I am frightened for my country. We have a taste for war and little empathy, because we have never been invaded. Well, the South knows war better than we do. They're still bitter over it, even though they started it. War leaves scars. And the last person to get hit always thinks they're the victim.
In a few days I'll be visiting Canada, and after the President's foolish comments, I'm wary of meeting strangers. Usually when I travel, I like finding a pub to meet the locals. When I visited Ireland during the Bush II Presidency, I drank a lot of free pints from people who wanted to ask why we elected that buffoon. Now I'm more concerned that I'll have a beer splashed in my face, or worse.
Yuppie problems. Boo hoo, my country's harmful policies might ruin my vacation.
What does this have to do with writing? Nothing, and everything.
I haven't been writing. Not as much as I'd like, or at all, depending on the day. I have trouble seeing the point.
Then I find some motivation and chunk along a bit, editing the crap I wrote the days before, and adding some more to it.
The dance band kept playing on the Titanic. People need entertainment more than ever.
When I feel this way I am reminded of a wonderful poem by Maggie Smith, called "Good Bones."
Good BonesBY MAGGIE SMITH
Life is short, though I keep this from my children.
Life is short, and I’ve shortened mine
in a thousand delicious, ill-advised ways,
a thousand deliciously ill-advised ways
I’ll keep from my children. The world is at least
fifty percent terrible, and that’s a conservative
estimate, though I keep this from my children.
For every bird there is a stone thrown at a bird.
For every loved child, a child broken, bagged,
sunk in a lake. Life is short and the world
is at least half terrible, and for every kind
stranger, there is one who would break you,
though I keep this from my children. I am trying
to sell them the world. Any decent realtor,
walking you through a real shithole, chirps on
about good bones: This place could be beautiful,
right? You could make this place beautiful.
Or if you'd rather have it in a snappy hardboiled patter, the final lines from the movie Seven, written by Andrew Kevin Walker: "Ernest Hemingway once wrote, 'the world is a fine place, and worth fighting for.' I agree with the second part." Hemingway's full words are, "The world is a fine place and worth fighting for and I hate very much to leave it." But he did, when he felt useless. And he left so many cats behind. I can't imagine doing that. The cats survived, as they do. They even survived Hurricane Irma, when cat lovers fretted over the 54 six-toed felines. They weathered the storm in Hemingway's villa with its 18 inch thick limestone walls, as did the curators of the house. He built something with good bones, that outlived his own despair.
And we all do, when we write with our hearts in it.
I'll keep fighting.
24 January 2018
The story Hawks tells is that he was out on a hunting trip with Hemingway. Hemingway starts bitching about how Hollywood can't get his books right. Hawks says he's selling his books to the wrong people. "Hell," Hawks says to him, "I could take your worst book and make a terrific picture." We can imagine the long, stony pause. "Yeah?" Hemingway says. "What is my worst book?"
Going in, it's obvious they won't get past the censors, and Faulkner isn't even convinced there's a movie in it. What if, Hawks suggests, we wind the clock back and tell the story that led up to the book? They bring Jules Furthman on board. Furthman's got what, a hundred credits, give or take? According to Hawks, they come up with enough back story for a whole other picture (actually made in 1950, The Breaking Point, with Garfield).
Betty Bacall was eighteen when she made the cover of Harper's Bazaar, and her picture caught the attention of Hawks' wife Slim. It was Hawks who wanted her voice to be lower in register, and it became her trademark, a smoky, throaty purr. "You know how to whistle, don't you, Steve?" Bogart rolled over and paddled his paws in the air.
The echoes of Casablanca weren't accidental. It's wartime Martinique, but it's still Vichy. Bogart throws in reluctantly with the Resistance. His common sense isn't blunted by sentiment. When de Bursac's wife loses her temper and snaps at him, it's Frenchy who apologizes. "Forgive her," he says, "she's not herself." Bogart shoots him a look. "Oh?" he asks. "Who is she?"
Another common Hawks signature: the apparent throwaway scene, which is integral to character - character being everything, in Hawks. Here, the musical numbers, Bacall and Hoagy Carmichael, "How Little We Know" (which signals what we've already guessed from her body English) and "Am I Blue?" Seriously, you have to ask? It might put you in mind of Rio Bravo, Dean Martin and Ricky Nelson, Walter Brennan on harmonica. The drunk, the kid, the gimp, each of them missing a piece, you might say. And then John Wayne, self-sufficient and contained. Or you make a different calculation, that Chance is not only set apart, but isolated. The other three have a vulnerability, a soft spot he doesn't get to show. Or share.
I saw The Big Sleep first, before To Have and Have Not, and The Big Sleep has a lot of the sexual dynamic, not to mention a better score by Max Steiner, but it doesn't have quite the same energy. It doesn't have the invention, or the novelty. The way the two of them look at each other. There's nothing contrived about it. It ain't the lighting, or the soft focus. Bogart and Bacall are there.
Movies are an artifice, a construction. The camera catches reflections. The images have already been decided, and they're waiting to be arranged. But as with all things, we have to allow for happy accident. Accidentally, To Have and Have Not is a document. We watch two people get lucky. You learn how to whistle.
30 November 2015
After twenty-seven years in this business, I'm still not very good at it. So, of course, I never mentioned what I did for a living to anyone on the cruise. Some people talked about what they did – one owned a hair salon, one an event center – but I saw no reason to bring it up.
But of course my friend, who has been a supporter for all these many years, decided it was her job to do so. The other six on our tour of Nassau were very excited about the entire thing, and basically wrote a book for me.
So if you ever see the title SCANDAL IN THE BAHAMAS, know that I was not alone in the writing of it. And when the movie version comes out, the premier will be in the Bahamas, of course, and we're all going to meet there for the reunion.
So there was some alcohol involved in all this. Come on, it was a vacation!
08 September 2015
If I don’t get my fix of noir “I feel all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me.”*
Fodder for another piece is why I’m so addicted to noir. For this piece I want to talk about a specific sub-genre of noir, the returning veteran. My latest book, Vortex (released 9/1), comes under this category.
The story originally went to a different publisher, a publisher of mystery-thriller novellas. Unfortunately they went belly up. But in talking with that first publisher, my pitch was to do a story—homage might be too strong a word, but yeah, let’s call it an homage—about a vet returning from the war in Afghanistan a la some of the classic film noir movies like Somewhere in the Night, The Blue Dahlia (written by Raymond Chandler), Ride the Pink Horse, and Act of Violence, etc., and books like David Goodis’ Down There, whose main character had been one of Merrill’s Marauders, or from later, Dog Soldiers by Robert Stone and James Crumley’s The Last Good Kiss, both inspired by the Viet Nam War.
Hey, even Walter Mosley’s Easy Rawlins is a returning World War II vet, who helped liberate the concentration camps.
My favorite short story of any genre is Hemingway’s Soldier’s Home, about a disaffected WWI vet returning home and how he can no longer relate to anyone or anything. Close to that is Mayday by Fitzgerald. Both were written in the aftermath of World War I. Neither could be classified as noir, but they have a sort of hopeless noir sensibility.
When the vets in all of these stories come home it’s usually not all mom and apple pie.
There are arguments in some circles as to whether film noir is a post war movement or whether it was a result of (mostly) homefront conditions during the war. I think both sides are right, but ultimately I don’t think it matters. For me, the quintessential film noir is Double Indemnity, which came out on September 6, 1944, almost exactly 71 years ago from today. As the war still had a good year and half to go, this would preclude it from being a post-war movie.
But, of course, the Neff character (Huff in the book) is not a returning vet. Still, this film is (for me) the pinnacle of all noir movies and the jumping off point for the true noir cycle. Then, with the war ending, came a string of movies about returning vets, including those mentioned above. But not all were noir. The Best Years of Our Lives, Till the End of Time and others dealt with the difficult adjustments many vets faced on returning home in a non-noir way.
The war changed American society in a variety of ways. We lost our innocence as a country. Soldiers had seen things no one should have to see. Many came back cynical. Black soldiers came back wanting full rights for the country they had fought for. Women, Rosie the Riveters, weren’t so sure they wanted to be only housewives anymore.
And the Hells Angels motorcycle club (gang) was formed in Fontana, California (not far from LA, the noir capital of the world), in 1948 (just three years after the war) by disaffected World War II vets.
Many soldiers came back from the war who, if not physically wounded, were psychically wounded. Shell shock, combat fatigue, PTSD, “invisible” diseases but diseases that, nonetheless, tear at a man’s soul. Soldiers coming back from Korea were “forgotten,” those returning home from Viet Nam were often called “baby killers”. Those coming back from Iraq and Afghanistan are often depressed and alienated. One recent study says that roughly 22 veterans commit suicide every day, more than any previous generation of war vets.
It’s from there that the creative process began and I started to create characters and situations in Vortex. Call it an updating of the returning war vet noir genre.
Vortex is the story of Zach Tanner, a recently returned Afghan war vet, who finds more trouble here than there. In his words, he went to “hell and back and back to hell again,” upon returning home. But that latest hell is one of his own making. A quagmire of quicksand that he’s sinking deeply into and struggling hard to get out of. And that predicament is fueled by his own greed. He’s also bringing his girlfriend, Jess, down into the mire with him. They’re on the run, careening down Sunset Boulevard and Pacific Coast Highway, being chased by a flashy red Camaro, when Jess says to him:
“What’re you doing?” Jessie said, clutching the handhold.
“We have to get out of here.”
“Talk to them, Zach.”
“We can’t go back, Jess. Don’t you understand, they’ll kill us.”
“They’re your friends.”
“Yeah.” The first rule of war is know your enemy. And I knew mine, too well—or maybe not well enough.
They’re on the run—from Zach’s best friends, or should I say former best friends. And now it’s up to Zach to get himself and Jess out of trouble, while at the same time trying to make sense of a world that has changed radically for him. A world that he now perceives differently because of what he saw and did in the war.
Zach and Jess are part of a generation that’s grown up on unreal reality shows that give them a false expectation of what success is and how to achieve it. A generation that watched the Bling Ring climb to fame and success by breaking into celebrities’ homes and stealing from them. And though some got minor punishments they also got movies made about them and a couple starred in their own “reality” shows. That’s the quick and easy way to the top of the American Dream that many of Zach’s friends feel entitled to. They fall out when Zach realizes that getting something for nothing isn’t meaningful and when he wants more meaning and purpose in his life now.
Unfortunately, that’s what Zach’s friends still want when he returns home, that quick ride to the top at any cost. But after recuperating for some time in a hospital with plenty of time to think it’s no longer what he wants. Still, he’s part of their plan and even though he wants out, like quicksand they pull him in and under and won’t let him escape.
But what is escape? Zach and Jess hide out down at the Salton Sea, in the desert near Palm Springs. A once promising resort community that’s now dilapidated and going to hell, the underbelly of the American Dream. Built to be a waterfront paradise, it’s now a wasteland of dead fish and dead end streets.
As Zach, the narrator says, “The American Dream crashed and burned right here at the Salton Sea.”
And that’s where Zach finds himself. Now he must extricate himself from a mess largely of his own making and find some kind of equilibrium in a changed world. Will he?
I hope Vortex does a decent job of carrying on the returning war vet sub-genre. I think these two quotes from Robert Stone and Ernest Hemingway epitomize that genre, even if they’re not noir per se.
“At first Krebs...did not want to talk about the war at all. Later he felt the need to talk but no one wanted to hear about it.” ―Ernest Hemingway, Soldier’s Home
“If you haven't fought for your life for something you want, you don't know what's life all about.” ―Robert Stone, Dog Soldiers
*Quoted from “The Dark Corner,” written by Jay Dratler, Bernard C. Schoenfeld, Leo Rosten, directed by Henry Hathaway
24 November 2014
by Fran Rizer
What makes this special? The fact that the documents belonged to Leonard Elmore.
The following article appeared in Columbia, SC, weekly newspaper Free Times:
Elmore "Dutch" Leonard was a true son of Detroit, but this week Columbia became the eternal resting place for his literary legacy. At a Wednesday ceremony at Hollings Library, USC President Harris Pastides announced that the university had acquired the complete archive of Leonard, who died in August of last year at 87. The university would not disclose the cost of the acquisition.
Besides all of his published work, the collection includes over 450 drafts of Leonard's novels, short stories and screenplays. The collection also includes appointment books, research files, letters, photographs, director's chairs from movie sets, many awards, his desk, typewriters--and even some Hawaiian shirts and a pair of sneakers.
The collection covers a 60-year writing career that spans Westerns--including the screenplays for films like Hombre, 3:10 to Yuma and Joe Kidd--to crime fiction, where he made his name with novels such as Swag, LaBrava, Get Shorty, Rum Punch and Maximum Bob, among many others. Many of these drafts can be seen under glass at the Hollings Library, such as the handwritten draft on yellow legal paper of his oft-quoted "Ten Rules of Writing." (Rule One: Never open a book with weather.)
"Certainly, he's one of the most significant and influential writers of the second half of the twentieth century," said longtime crime and mystery editor Otto Penzler, who was at Wednesday's ceremony. "The number of very accomplished mystery writers who have tried, to some degree, to emulate Duch's style--in terms of quick, punchy dialogue, leaving out the parts people tend to skip, and that sort of thing, is enormous," Penzler said. "Almost everybody now, to some degree, has been influenced by Elmore Leonard and his style of writing."
One such devotee is writer-director Daniel Schechter, who found Leonard a deeply cinematic writer, which proved beneficial when Schechter made the recent Life of Crime, starring Jennifer Aniston, based on Leonard's novel The Switch. "It felt like I was given not just a good book, but a great script by Elmore Leonard.:
So just how did the university snag the collection? Because USC Dean of Libraries Tom McNally went after it, and Leonard liked what the university had to offer. When McNally first made inquiries, he half-expected that the well-heeled Ransom Center at the University of Texas at Austin--which has the manuscripts of everyone from James Joyce to David Foster Wallace--had already snapped up the rights.
|Called "Dutch," Leonard|
had his own
director's chair at filmings
"Elmore's big statement was 'I don't care about posterity, I care about now," said his longtime researcher Greg Sutter. Sutter, who has been putting the archive into shape for some time, said there were extensive talks with Michigan State Univesity in Lansing. But while Sutter was thinking Michigan, Leonard started getting calls from McNally.
"I called him every other week," McNally said. "I got to know him, started talking to him about his collection coming, asked him to come down as a speaker. I told him we wanted to give him the Thomas Cooper Society Medal."
Sutter was already familiar with USC. He had visited in 2006 for the university's exhibit in honor of crime writer George V. Higgins, and thought of it as a model for a future Leonard retrospective. While the Higgings collection would turn out to have a major impact on Leonard's decision to leave his papers with USC, Leonard's son Peter said Wednesday that his father was a little leery of the award.
"I said 'Do you know who has received this award?" Peter recalls asking. "John Updike, Norman Mailer, William Styron." Elmore said 'I don't write like them.' I said, 'It doesn't matter. This is a prestigious thing.' " Elmore and Peter Leonard and Sutter arrived for the ceremony in May of last year, and the writer liked both USC and Columbia--especially the restaurant Saluda's.
"He loved the fact that they had grits and pork belly on the menu," Peter Leonard said. His father, who was born in New Orleans, grew up on Southern cooking What really sealed the deal, though, was Leonard's tour of the Irvin Rare Book Library, when Leonard saw that the university housed the works of the two writers who influenced him more than anyone else: Ernest Hemingway and Higgins.
Hemingway collector Edgar Grissom, who donated his archive to the university in 2012, showed Leonard the first editions of Hemingway. "Then Edgar pulled out a manuscript of For Whom the Bell Tolls," Peter Leonard said, "and I could see my dad's eyes light up."
|Yes, I know smoking is harmful,|
but I had to share this author
photo of Elmore Leonard.
The destination of his archive was now clear. "There was Hemingway, there was Higgins, and I think all of these things just had an impact," Peter Leonard said.
"He was swept away," McNally said, "by the collections, and what we're trying to do here in this library. We don't have all the money that the Ransom Center has, but we take a real personal approach with our writers. We make a real commitment to them, that we're not just going to take the collections and put them on a dusty shelf and forget about them."
On the plane back home, Peter Leonard asked his father what he thought of South Carolina. "That's where I want my papers to go," he said.
|Some of Elmore Leonard's works|
Peter Leonard, who is also a novelist, admits South Carolina is not the first place you think of a writer whose novels are neck-deep in the crime and corruption of inner-city Detroit. "Friends of mine have said, 'Why South Carolina?' Because it doesn't really make a lot of sense until you know everything."
"It's kind of hard, when you're a favorite son of Michigan, to leave it," Sutter said. "It's not that they didn't have the facilities or the energy to do it. This university is dedicated to creating multiple collections in crime fiction and this acquisition is only going to help them get more."
"I didn't know he had any particular connection to the University of South Carolina," said Penzler. "But I couldn't think of a greater library for those papers to go to. The fact he's associated with Hemingway and Fitzgerald and other significant American writers, I think really does show the level of respect and admiration that Elmore Leonard is getting and richly deserves."
The above is printed in full with permission.
For more, go to:
I wanted to share this with SS readers, but please don't think I "copped out" by simply copying and pasting Mr. Welch's feature story. Since that frequently distorts format on SleuthSayers, I typed it out word-by-word. I tried to remain true to the article, but if there are any typos, please be assured they are mine, not Mr. Welch's. Since I live very near Columbia, SC, if any of you come to SC to see the collection, let me know and I'll take you out to eat some grits and pork belly.
Until we meet again, take care of . . . you.
29 April 2012
|Types of Literature|
|I'm So Confused|
26 January 2012
As a person who believes we start to die the moment we stop learning, I decided to take a class on literature. I am reading selections by Hemingway, Fitzgerald and Faulkner. It's not that I have ever read these authors; it's just that my personal tastes run toward Christie, Spillane and Chandler. Still, to learn is to grow and I am certainly not ready to die.
In deciphering the meanings behind the sybolism within these author's works, I am not what the teacher expects of her students. The second day of class she asked if we were alone in a room with Hitler and knew for a fact all that he would do to the world and we had a gun, would we kill him. She knew my name and I sat on the front row, so she directed the question to me first. I said I would have no problem killing Hitler. She was a bit taken aback and after several other students agreed with me, she said, "My other classes always say they couldn't shoot an unarmed man."
I silently wondered if my fellow students were mystery buffs like me. Of course, since I am not alone and armed in a room with Hitler and completely sure he would try to take over the world, we'll never know if I could actually commit murder and pull that trigger. But, that wasn't her question. If I find a way to time travel and have that opportunity, I'll let you know the outcome. (That is, if the world hasn't changed so drastically that neither of us are here to discuss those actions at this particluar time and place on the Internet.)
My opinions on symbolism are not necessarily that of the instructor and obviously not shared by most literary authors according to the grades on my last quiz. I don't necessarily believe that is a bad thing. I am merely tracking clues to find another answer, one that may not be ones looking for the obvious. I feel a bit like bumbling Columbo who seems to be asking questions that don't make any sense, but do lead to another corridor, albeit not the one expected.
That's one of the thing I like about mysteries: there is an obvious point made by the story's end. It isn't shrouded in symbolism; it simply is a bad guy caught or at least recognized as the bad guy. In most cases we know should he show up in another book, he will be chased down by our hero for his criminal activity.
Crime doesn't pay in most mysteries. That sets mystery stories apart from literary works, too. In literature like life, anything can happen. A mystery novel's probability is it will end with someone being tagged as guilty and going to jail or paying his debt to society with his life. Real life and literature isn't as neat and tidy. I like tidy.
In mysteries, you never turn a page expecting to see more and find the story has ended abruptly and without tying up all the details into a nice, satisfying package. If the detective hasn't bound the criminal to face his judgment by the end of the book, it better be that he managed to escape from the authorities grasp ala Hannibal Lector in Silence of the Lambs or Moriarty in a Sherlock Holmes story and not that they simply didn't deduce who the culprit could be.
So, why am I taking a series of workshops on literature? Because I love to discover more about good storytelling from every angle. I want to learn from masters whose works lived long beyond them. I want to see if I can learn to do a better job figuring out their intent through the mysterious methods of symbolism.
If I had my druthers, I'd want to be Agatha Christie instead of Ernest Hemingway any day. Maybe it's because I'd enjoy y work being discussed for its clever clues more than what think I meant in a storyline.
Maybe it's just because I wouldn't look so great in a mustache and beard.