Posts tagged Mickey Spillane

Tiger Mann on Women

“You seem to like long engagements, Tiger.” She wasn’t smiling now.

I said, “When it’s over. When we can walk and breathe without smelling death all the time or knowing the world is sitting on the lip of disaster. I don’t want you a widow before you’re married.”

“How do you know what I want, darling?”

“Oh, sure, you’ll take me now because you’re a broad and all broads want it now regardless of the consequences, but I’m not letting you stick your neck out in the middle of a mess like this. Crazy broad.”

“I despise that word.”

“You do? Well, you wear it well, baby. It’s a sign that you’re more than a woman. You’re a doll with everything going for her from a beautiful face to a wild body with a mind to match and I love you like hell. You have capabilities only I can appreciate and I want them all.”

[…]

“Do you always have to be like this?”

I paused in the middle of tucking my shirttail in. “You want me any other way?”

“Sometimes I think so.”

“Then screw you too, baby.”

Her face went flat, the pain of my words knocking the expression from it. “You didn’t have to say that.”

“No? Then keep out of my business. Otherwise you stop being a broad and become a dame. I’ll do what I want to do and sometimes what I have to do. One thing I won’t do is succumb to the sentimentality or the wishful thinking of a woman. When I’m working, stay off my back. You know my business so don’t try to steer me clear. The woman isn’t born and her mother’s already dead that can do that trick. I’ll run things my own way and if you don’t give me credit for being an old soldier type with twenty years over your fair head, then regroup your forces, kid, and find another guy who will bow and scrape and do it when you tell him to go potty. Clear?”

—Mickey Spillane in The By-Pass Control

I think the above illustrates the point in my reply to an ask from not long ago (also reproduced below by request). Granted, espionage master Tiger Mann is the protagonist of this Spillane volume, rather than PI Mike Hammer. But does anyone this Tiger says anything here that Hammer wouldn’t?

I can’t think of any corresponding passage in the works of Raymond Chandler, but please do let me know if there is one and I’ve missed it.

Anonymous asked: What do you think of the role of women in The Big Sleep? Do you think Marlowe’s Cynicism has anything to do with the way he views women?

This is an interesting question and once again confirms that I have (in the words of ordinarywonder“the most well read, intelligent anons.”  I’m a bit mystified why anyone would ask such literate question anonymously, but I’m happy to answer all the same.

I think the role of women in Chandler’s novel’s is a product of cynicism rather than any prejudicial view of women.  Arguably that is not the case with all hardboiled fiction.  Spillane’s Mike Hammer takes some glee in the objectification of women.  And Travis McGee is a white knight who helps damsels in distress.  He not only vanquishes their tormentors, he can also cure all their hang-ups if they sleep with him.  

But I don’t find that in Chandler.  The women are pretty much like the men.  They all have an angle, and Marlowe’s unique virtue is that he is too stubborn to be a cog in anyone’s wheel.  He’s suspicious of everyone and resolutely self-contained.  

The women Marlowe comes across are unsavory, no doubt.  But are they all that different from the men?  In much of hardboiled crime fiction, I think so.  In Chandler’s case, I don’t think so.

I could be overlooking something, however.  Feel free to let me know what I missed.  And you might be interested in this profile of Chandler I wrote for Crime Fiction Lover last summer.

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Anonymous asked: What do you think of the role of women in The Big Sleep? Do you think Marlowe's Cynicism has anything to do with the way he views women?

This is an interesting question and once again confirms that I have (in the words of ordinarywonder) “the most well read, intelligent anons.”  I’m a bit mystified why anyone would ask such literate question anonymously, but I’m happy to answer all the same.

I think the role of women in Chandler’s novel’s is a product of cynicism rather than any prejudicial view of women.  Arguably that is not the case with all hardboiled fiction.  Spillane’s Mike Hammer takes some glee in the objectification of women.  And Travis McGee is a white knight who helps damsels in distress.  He not only vanquishes their tormentors, he can also cure all their hang-ups if they sleep with him.  

But I don’t find that in Chandler.  The women are pretty much like the men.  They all have an angle, and Marlowe’s unique virtue is that he is too stubborn to be a cog in anyone’s wheel.  He’s suspicious of everyone and resolutely self-contained.  

The women Marlowe comes across are unsavory, no doubt.  But are they all that different from the men?  In much of hardboiled crime fiction, I think so.  In Chandler’s case, I don’t think so.

I could be overlooking something, however.  Feel free to let me know what I missed.  And you might be interested in this profile of Chandler I wrote for Crime Fiction Lover last summer.

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The Fraternity

She was standing at the bus stop. Sounds like a Hollies song. But she had a wedding ring on, and I already had a moll. No romance here.  But she was still standing at the bus stop. Reading a book. I was curious. I glanced over to see what it was. It was a Robert B. Parker.

She saw me looking. Glanced up. I nodded. Pulled the Mike Hammer I had in my messenger bag and held it up. She smiled and nodded back.  She turned back to her book. I put mine away. Checked my watch and wondered when the goddamn bus would get there.

Nothing more was said.  Nothing more to say.  We were both members of the same fraternity.  It has no name.  Doesn’t need a name.  All it needs is a dirty world—and an avenging angel.  Or several: Spade, Hammer, McGee, Spenser, whoever.  Someone to tame the monsters in a dirty world.  

James Ellroy said the message of film noir is “You’re fucked.”  It isn’t just in the movies. It was in the books before that, and it’s still there.  That’s why we read.  And that’s why we have our heroes: they make sure the bad guys get fucked just a bit faster.  

That’s what this fraternity is about.  There may not be much justice around.  But there’s some “get fucked” vengeance stored away in books.  So we keep that alive—we’ll take what we can get.  We may not have anything else in common.  We don’t need anything else in common.  We just share little nods of recognition and respect.  Because we know who we are. 

We keep the avenging angels alive.  Every time we turn a page.

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Mickey Spillane might not be your usual holiday fare, but that didn’t stop me from enjoying this little paperback over Christmas.

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Relaxing and ending my week with some vintage Mike Hammer

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Mickey Spillane doesn’t quite get the respect he deserves.  Some of this is understandable.  Mike Hammer is a two-fisted anti-communist with little regard for modern sensibilities—then or now.  But that doesn’t diminish Spillane’s stature as a writer.  I can’t think of any other hardboiled writer who could write with such violence.  I don’t just mean beating up punks.  God knows, Hammer did plenty of that—and did it with gusto. 

More than that, however, Spillane made better use of the first-person narrator than anyone since Raymond Chandler.  And Hammer’s narration is a great propulsive violence.  And this is what makes Spillane so different from Hammett, Chandler, Macdonald or any of the other great hardboiled scribes—and what secures his spot among them.  Spillane is great because no one else could write the tough guy as he did.  

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thelamplightersserenade asked: What, in your opinion, elevates a great hardboiled film/novel from just a common thriller?

I’m not sure I agree with the implicit assumption that hardboiled is necessarily great, while thrillers are common.  I think there are great and common works in both categories. Pulp, noir, hardboiled, thriller—these are categories which are not synonymous, but do overlap. The Silence of the Lambs is a thriller, but hardly common.  Ditto for The Manchurian Candidate.  The film V.I. Warshawski is based on Sara Paretsky’s hardboiled P.I., but is dreadfully common.  

Ultimately, thriller refers to works that focus on suspense while hardboiled refers to the nature of the protagonist and/or the prose used.  These elements may or may not intersect.  Kiss Me Deadly is one case of intersection. 

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These are exciting days here at Dispatches from Noir.  I am proud to say that I am now the resident American correspondent at Crime Fiction Lover.  CFL is an terrific site where mysteries of all kinds are reviewed, and it also has other excellent features.  Today at Crime Fiction Lover, an interview with Max Allan Collins is hot off the press.  If you’re a fan of Collins, hardboiled crime fiction or Mickey Spillane, you’ll definitely want to check it out.  
I began my tenure with Crime Fiction Lover by reviewing Jens Lapidus’ debut novel Easy Money.  I’ve previously talked about the movie Snabba Cash here at Dispatches from Noir.  The movie was very good (and beat the hell out of The Girl with the Dragon Tattoo), but the book was even better.  Easy Money left me really looking forward to the rest of the Stockholm Noir trilogy.  So go check out my review at CFL.  
About a month ago, I was fortunate to see Jens Lapidus during his small American book tour (only 7 US cities) to promote his novel.  I was very impressed as he gave a short lecture about his legal experiences (Lapidus is still a practicing defense attorney) and writing process, then answered questions from the audience.  Lapidus acknowledged that what is termed Scandinavian noir is more or less synonymous with Scandinavian crime fiction.  In contrast to most Scandinavian crime fiction, however, Lapidus can claim definite noir influence.  
Among those Jens Lapidus listed as noir influences were James Ellroy, Dennis Lehane and Elmore Leonard.  He also mentioned other hardboiled or noirish authors he enjoyed, such as Raymond Chandler, Walter Mosley and George Pelecanos.  Lapidus’ staccato prose was especially influenced by Ellroy and Chandler, and he freely acknowledged his debt.
In short, Lapidus a new author squarely in the noir/hardboiled tradition both thematically and stylistically.  I highly recommend Easy Money.  But I recommend Crime Fiction Lover (including my review of Easy Money) even more highly.  Check out CFL for reviews on all sorts of mysteries, and you can always find my reviews by clicking the CFL Reviews link at the top of every Dispatches from Noir page.
You needn’t worry this will take me away from Dispatches from Noir (if any of you find that a worrying thought, which is unlikely). I will still be here and still be talking about noir and answering your questions about it.  I’ve got some good stuff in the works for this week.  Stay tuned!

These are exciting days here at Dispatches from Noir.  I am proud to say that I am now the resident American correspondent at Crime Fiction Lover.  CFL is an terrific site where mysteries of all kinds are reviewed, and it also has other excellent features.  Today at Crime Fiction Lover, an interview with Max Allan Collins is hot off the press.  If you’re a fan of Collins, hardboiled crime fiction or Mickey Spillane, you’ll definitely want to check it out.  

I began my tenure with Crime Fiction Lover by reviewing Jens Lapidus’ debut novel Easy Money.  I’ve previously talked about the movie Snabba Cash here at Dispatches from Noir.  The movie was very good (and beat the hell out of The Girl with the Dragon Tattoo), but the book was even better.  Easy Money left me really looking forward to the rest of the Stockholm Noir trilogy.  So go check out my review at CFL.  

About a month ago, I was fortunate to see Jens Lapidus during his small American book tour (only 7 US cities) to promote his novel.  I was very impressed as he gave a short lecture about his legal experiences (Lapidus is still a practicing defense attorney) and writing process, then answered questions from the audience.  Lapidus acknowledged that what is termed Scandinavian noir is more or less synonymous with Scandinavian crime fiction.  In contrast to most Scandinavian crime fiction, however, Lapidus can claim definite noir influence.  

Among those Jens Lapidus listed as noir influences were James Ellroy, Dennis Lehane and Elmore Leonard.  He also mentioned other hardboiled or noirish authors he enjoyed, such as Raymond Chandler, Walter Mosley and George Pelecanos.  Lapidus’ staccato prose was especially influenced by Ellroy and Chandler, and he freely acknowledged his debt.

In short, Lapidus a new author squarely in the noir/hardboiled tradition both thematically and stylistically.  I highly recommend Easy Money.  But I recommend Crime Fiction Lover (including my review of Easy Money) even more highly.  Check out CFL for reviews on all sorts of mysteries, and you can always find my reviews by clicking the CFL Reviews link at the top of every Dispatches from Noir page.

You needn’t worry this will take me away from Dispatches from Noir (if any of you find that a worrying thought, which is unlikely). I will still be here and still be talking about noir and answering your questions about it.  I’ve got some good stuff in the works for this week.  Stay tuned!

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I shared this on Twitter, but I thought I would also mention it here.  Max Allan Collins recommends ten works of crime fiction.  It is, of course, always easy to quibble with the choices on such lists.  But it’s a damn good list, even if one that I drew up would likely be a little different.  Collins’ list is definitely heavy on the hardboiled and noir, and heavy on the classics.  

Perhaps I will draw up a list of my own.  What about you, tumblchums?  What books would be on your Beginner’s Guide/Essential Works list?

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