However, today's blog is about pulp fiction. So place your seats in a reclined position as we journey from music, through a metaphorical slipstream, and ultimately land in the works of John D. MacDonald.
The Ramones, Richard Hell, Dead Boys and others emerged, in great contrast to the highly-produced sounds of Yes and ELP. Gone was the boredom of album-oriented-rock. A new frenzy of emotion leapt from these bands' ineptitudes, and it became apparent that a satisfying thrill could be obtained listening to music filled with uncertainty; uncertainty if the band would land together on beat one, if the bass player would actually make it through a run, if the blazing guitarist would manage to finish his solo before the vocalist came back in. This was excitement! Disaster might rear its head at any moment, and this created a riveting listening experience.
Exit music, enter literature. There was a time when pulp authors would pump out prose at an alarming rate. The result was similar to my beloved rock and roll: a disaster lay lurking behind every corner. Due to the speed with which they worked, quality within a single book could vary significantly. When prose was bad it was quite bad, but when it was good it was amazing.
And this takes us to John D. MacDonald. He wrote thrillers, what one might loosely think of as private detective stories, often set in Florida, often featuring Travis McGee, a salvage consultant who finds missing things for money. McGee's character is quite different from the typical private eye, although the morose life-view which permeates the PI genre is an integral part of his persona. What sets MacDonald's stories apart are, mixed among the mundane and sometimes poorly-written prose, stunning observations presented in vivid wordsmithery.
So rather than reviewing titles or describing plots, I leave you with excerpts that reveal the essence of MacDonald's writing style.
- "We were about to give up and call it a night when somebody threw the girl off the bridge." – from Darker Than Amber
- "Good old Meyer. He can put a fly into any kind of ointment, a mouse in every birthday cake, a cloud over every picnic. Not out of spite. Not out of contrition or messianic zeal. But out of a happy, single-minded pursuit of truth. He is not to blame that the truth seems to have the smell of decay and an acrid taste these days. He points out that forty thousand particles per cubic centimeter of air over Miami is now called a clear day. He is not complaining about particulate matter. He is merely bemused by the change in standards." – from The Scarlet Ruse
- "It is strange how a man, totally naked, feels a little more vulnerable. It seems to be a distraction, an extra area to guard. Cloth is not armor, yet that symbolic protection makes one feel at once a little more logical and competent. Doubtless the hermit crab is filled the strange anxieties during those few moments when, having outgrown one borrowed shell, he locates another and, having sized it carefully with his claws, extracts himself from the old home and inserts himself into the new. The very first evidence of clothing in prehistory is the breechcloth for the male." – from The Scarlet Ruse
- "The only thing that prisons demonstrably cure is heterosexuality." – from The Long Lavender Look
- "He had detected a certain sensitivity, a capacity for imagination, in the girl in New York. But the years and the roads, the bars and the cars and the beds and the bottles—they all have flinty edges, and they are the cruel upholstery in the dark tunnel down which the soul rolls and tumbles until no more abrasion is possible, until the ultimate hardness is achieved. So here she sat, having achieved the bland defensive heartiness of a ten–dollar whore." – from Slam the Big Door
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