There are much better plots by these same writers and by others of their school. There may be one somewhere that would really stand up under close scrutiny. It would be fun to read it, even if I did have to go back to page 47 and refresh my memory about exactly what time the second gardener potted the prize-winning tea-rose begonia. There is nothing new about these stories and nothing old. The ones I mentioned are all English because the authorities, such as they are, seem to feel that the English writers had an edge in this dreary routine and that the Americans, even the creator of Philo Vance, only make the Junior Varsity.
This, the classic detective story, has learned nothing and forgotten nothing. It is the story you will find almost any week in the big shiny magazines, handsomely illustrated, and paying due deference to virginal love and the right kind of luxury goods. Perhaps the tempo has become a trifle faster and the dialogue a little more glib. There are more frozen daiquiris and stingers and fewer glasses of crusty old port, more clothes by Vogue and décors by House Beautiful, more chic, but not more truth. We spend more time in Miami hotels and Cape Cod summer colonies and go not so often down by the old gray sundial in the Elizabethan garden.
But fundamentally it is the same careful grouping of suspects, the same utterly incomprehensible trick of how somebody stabbed Mrs. Pottington Postlethwaite III with the solid platinum poniard just as she flatted on the top note of the “Bell Song” from Lakmé in the presence of fifteen ill-assorted guests; the same ingénue in fur-trimmed pajamas screaming in the night to make the company pop in and out of doors and ball up the timetable; the same moody silence next day as they sit around sipping Singapore slings and sneering at each other, while the flatfeet crawl to and fro under the Persian rugs, with their derby hats on.
Personally I like the English style better. It is not quite so brittle and the people as a rule just wear clothes and drink drinks. There is more sense of background, as if Cheesecake Manor really existed all around and not just in the part the camera sees; there are more long walks over the downs and the characters don’t all try to behave as if they had just been tested by MGM. The English may not always be the best writers in the world, but they are incomparably the best dull writers.
There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. They try to be honest, but honesty is an art. The poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn’t know what to be honest about. He thinks a complicated murder scheme which baffled the lazy reader, who won’t be bothered itemizing the details, will also baffle the police, whose business is with details.
The boys with their feet on the desks know that the easiest murder case in the world to break is the one somebody tried to get very cute with; the one that really bothers them is the murder somebody thought of only two minutes before he pulled it off. But if the writers of this fiction wrote about the kind of murders that happen, they would also have to write about the authentic flavor of life as it is lived. And since they cannot do that, they pretend that what they do is what should be done. Which is begging the question—and the best of them know it.
In her introduction to the first Omnibus of Crime, Dorothy Sayers wrote: “It [the detective story] does not, and by hypothesis never can, attain the loftiest level of literary achievement.” And she suggested somewhere else that this is because it is a “literature of escape” and not “a literature of expression.” I do not know what the loftiest level of literary achievement is: neither did Aeschylus or Shakespeare; neither does Miss Sayers. Other things being equal, which they never are, a more powerful theme will provoke a more powerful performance. Yet some very dull books have been written about God, and some very fine ones about how to make a living and stay fairly honest. It is always a matter of who writes the stuff, and what he has in him to write it with.
As for “literature of expression” and “literature of escape”—this is critics’ jargon, a use of abstract words as if they had absolute meanings. Everything written with vitality expresses that vitality: there are no dull subjects, only dull minds. All men who read escape from something else into what lies behind the printed page; the quality of the dream may be argued, but its release has become a functional necessity. All men must escape at times from the deadly rhythm of their private thoughts. It is part of the process of life among thinking beings. It is one of the things that distinguish them from the three-toed sloth; he apparently—one can never be quite sure—is perfectly content hanging upside down on a branch, not even reading Walter Lippmann. I hold no particular brief for the detective story as the ideal escape. I merely say that all reading for pleasure is escape, whether it be Greek, mathematics, astronomy, Benedetto Croce, or The Diary of the Forgotten Man. To say otherwise is to be an intellectual snob, and a juvenile at the art of living.
I do not think such considerations moved Miss Dorothy Sayers to her essay in critical futility.
I think what was really gnawing at Miss Sayers’ mind was the slow realization that her kind of detective story was an arid formula which could not even satisfy its own implications. It was second-grade literature because it was not about the things that could make first-grade literature. If it started out to be about real people (and she could write about them—her minor characters show that), they must very soon do unreal things in order to form the artificial pattern required by the plot. When they did unreal things, they ceased to be real themselves. They became puppets and cardboard lovers and papier-mâché villains and detectives of exquisite and impossible gentility.
The only kind of writer who could be happy with these properties was the one who did not know what reality was. Dorothy Sayers’ own stories show that she was annoyed by this triteness; the weakest element in them is the part that makes them detective stories, the strongest the part which could be removed without touching the “problem of logic and deduction.” Yet she could not or would not give her characters their heads and let them make their own mystery. It took a much simpler and more direct mind than hers to do that.
In The Long Week End, which is a drastically competent account of English life and manners in the decades following the First World War, Robert Graves and Alan Hodge gave some attention to the detective story. They were just as traditionally English as the ornaments of the Golden Age, and they wrote of the time in which these writers were almost as well known as any writers in the world. Their books in one form or another sold into the millions, and in a dozen languages. These were the people who fixed the form and established the rules and founded the famous Detection Club, which is a Parnassus of English writers of mystery. Its roster includes practically every important writer of detective fiction since Conan Doyle.
But Graves and Hodge decided that during this whole period only one first-class writer had written detective stories at all. An American, Dashiell Hammett. Traditional or not, Graves and Hodge were not fuddyduddy connoisseurs of the second-rate; they could see what went on in the world and that the detective story of their time didn’t; and they were aware that writers who have the vision and the ability to produce real fiction do not produce unreal fiction.
How original a writer Hammett really was it isn’t easy to decide now, even if it mattered. He was one of a group—the only one who achieved critical recognition—who wrote or tried to write realistic mystery fiction. All literary movements are like this; some one individual is picked out to represent the whole movement; he is usually the culmination of the movement. Hammett was the ace performer, but there is nothing in his work that is not implicit in the early novels and short stories of Hemingway.
Yet, for all I know, Hemingway, may have learned something from Hammett as well as from writers like Dreiser, Ring Lardner, Carl Sandburg, Sherwood Anderson, and himself. A rather revolutionary debunking of both the language and the material of
fiction had been going on for some time. It probably started in poetry; almost everything does. You can take it clear back to Walt Whitman, if you like. But Hammett applied it to the detective story, and this, because of its heavy crust of English gentility and American pseudogentility, was pretty hard to get moving.
I doubt that Hammett had any deliberate artistic aims whatever; he was trying to make a living by writing something he had firsthand information about. He made some of it up; all writers do; but it had a basis in fact; it was made up out of real things. The only reality the English detection writers knew was the conversational accent of Surbiton and Bognor Regis. If they wrote about dukes and Venetian vases, they knew no more about them out of their own experience than the well-heeled Hollywood character knows about the French Modernists that hang in his Bel-Air château or the semi-antique Chippendale-cum-cobbler’s bench that he uses for a coffee table. Hammett took murder out of the Venetian vase and dropped it into the alley; it doesn’t have to stay there forever, but it looked like a good idea to get as far as possible from Emily Post’s idea of how a well-bred debutante gnaws a chicken wing.
Hammett wrote at first (and almost to the end) for people with a sharp, aggressive attitude to life. They were not afraid of the seamy side of things; they lived there. Violence did not dismay them; it was right down their street. Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse; and with the means at hand, not hand-wrought dueling pistols, curare and tropical fish. He put these people down on paper as they were, and he made them talk and think in the language they customarily used for these purposes.
He had style, but his audience didn’t know it, because it was in a language not supposed to be capable of such refinements. They thought they were getting a good meaty melodrama written in the kind of lingo they imagined they spoke themselves. It was, in a sense, but it was much more. All language begins with speech, and the speech of common men at that, but when it develops to the point of becoming a literary medium it only looks like speech. Hammett’s style at its worst was as formalized as a page of Marius the Epicurean; at its best it could say almost anything. I believe this style, which does not belong to Hammett or to anybody, but is the American language (and not even exclusively that any more), can say things he did not know how to say, or feel the need of saying. In his hands it had no overtones, left no echo, evoked no image beyond a distant hill.
Hammett is said to have lacked heart; yet the story he himself thought the most of is the record of a man’s devotion to a friend. He was spare, frugal, hard-boiled, but he did over and over again what only the best writers can ever do at all. He wrote scenes that seemed never to have been written before.
With all this he did not wreck the formal detective story. Nobody can; production demands a form that can be produced. Realism takes too much talent, too much knowledge, too much awareness. Hammett may have loosened it up a little here, and sharpened it a little there. Certainly all but the stupidest and most meretricious writers are more conscious of their artificiality than they used to be. And he demonstrated that the detective story can be important writing. The Maltese Falcon may or may not be a work of genius, but an art which is capable of it is not “by hypothesis” incapable of anything. Once a detective story can be as good as this, only the pedants will deny that it could be even better.
Hammett did something else; he made the detective story fun to write, not an exhausting concatenation of insignificant clues. Without him there might not have been a regional mystery as clever as Percival Wilde’s Inquest, or an ironic study as able as Raymond Postgate’s Verdict of Twelve, or a savage piece of intellectual double-talk like Kenneth Fearing’s The Dagger of the Mind, or a tragi-comic idealization of the murderer as in Donald Henderson’s Mr. Bowling Buys a Newspaper, or even a gay Hollywoodian gambol like Richard Sale’s Lazarus No. 7.
The realistic style is easy to abuse: from haste, from lack of awareness, from inability to bridge the chasm that lies between what a writer would like to be able to say and what he actually knows how to say. It is easy to fake; brutality is not strength, flipness is not wit, edge-of-the-chair writing can be as boring as flat writing; dalliance with promiscuous blondes can be very dull stuff when described by goaty young men with no other purpose in mind than to describe dalliance with promiscuous blondes. There has been so much of this sort of thing that if a character in a detective story says “Yeah,” the author is automatically a Hammett imitator.
And there are still a number of people around who say that Hammett did not write detective stories at all—merely hard-boiled chronicles of mean streets with a perfunctory mystery element dropped in like the olive in a martini. These are the flustered old ladies—of both sexes (or no sex) and almost all ages—who like their murders scented with magnolia blossoms and do not care to be reminded that murder is an act of infinite cruelty, even if the perpetrators sometimes look like playboys or college professors or nice motherly women with softly graying hair.
There are also a few badly scared champions of the formal or classic mystery who think that no story is a detective story which does not pose a formal and exact problem and arrange the clues around it with neat labels on them. Such would point out, for example, that in reading The Maltese Falcon no one concerns himself with who killed Spade’s partner, Archer (which is the only formal problem of the story), because the reader is kept thinking about something else. Yet in The Glass Key the reader is constantly reminded that the question is who killed Taylor Henry, and exactly the same effect is obtained—an effect of movement, intrigue, cross-purposes, and the gradual elucidation of character, which is all the detective story has any right to be about anyway. The rest is spillikins in the parlor.
But all this (and Hammett too) is for me not quite enough. The realist in murder writes of a world in which gangsters can rule nations and almost rule cities, in which hotels and apartment houses and celebrated restaurants are owned by men who made their money out of brothels, in which a screen star can be the finger man for a mob. and the nice man down the hall is a boss of the numbers racket; a world where a judge with a cellar full of bootleg liquor can send a man to jail for having a pint in his pocket, where the mayor of your town may have condoned murder as an instrument of money-making, where no man can walk down a dark street in safety because law and order are things we talk about but refrain from practicing; a world where you may witness a holdup in broad daylight and see who did it, but you will fade quickly back into the crowd rather than tell anyone, because the holdup men may have friends with long guns, or the police may not like your testimony, and in any case the shyster for the defense will be allowed to abuse and vilify you in open court, before a jury of selected morons, without any but the most perfunctory interference from a political judge.
It is not a fragrant world, but it is the world you live in, and certain writers with tough minds and a cool spirit of detachment can make very interesting and even amusing patterns out of it. It is not funny that a man should be killed, but it is sometimes funny that he should be killed for so little, and that his death should be the coin of what we call civilization. All this still is not quite enough.
In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he
is that in all things.
He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks—that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness.
The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.
* * *
SPANISH BLOOD
* * *
ONE
Big John Masters was large, fat, oily. He had sleek blue jowls and very thick fingers on which the knuckles were dimples. His brown hair was combed straight back from his forehead and he wore a wine-colored suit with patch pockets, a wine-colored tie, a tan silk shirt. There was a lot of red and gold band around the thick brown cigar between his lips.
He wrinkled his nose, peeped at his hole card again, tried not to grin. He said: “Hit me again, Dave—and don’t hit me with the City Hall.”
A four and a deuce showed. Dave Aage looked at them solemnly across the table, looked down at his own hand. He was very tall and thin, with a long bony face and hair the color of wet sand. He held the deck flat on the palm of his hand, turned the top card slowly, and flicked it across the table. It was the queen of spades.
The Simple Art of Murder Page 2