In the 1920s a distinctively American detective fiction emerged from the pages of pulp magazines. The “hard-boiled” stories published in Black Mask, Dime Detective, Detective Fiction Weekly, and Clues featured a new kind of hero and soon challenged the popularity of the British mysteries that held readers in thrall on both sides of the Atlantic. In Hard-Boiled Erin A. Smith examines the culture that produced and supported this form of detective story through the 1940s.
Relying on pulp magazine advertising, the memoirs of writers and publishers, Depression-era studies of adult reading habits, social and labor history, Smith offers an innovative account of how these popular stories were generated and read. She shows that although the work of pulp fiction authors like Dashiell Hammett, Raymond Chandler, and Erle Stanley Gardner have become “classics” of popular culture, the hard-boiled genre was dominated by hack writers paid by the word, not self-styled artists. Pulp magazine editors and writers emphasized a gritty realism in the new genre. Unlike the highly rational and respectable British protagonists (Miss Marple and Hercule Poirot, for instance), tough-talking American private eyes relied as much on their fists as their brains as they made their way through tangled plotlines.
Casting working-class readers of pulp fiction as “poachers,” Smith argues that they understood these stories as parables about Taylorism, work, and manhood; as guides to navigating consumer culture; as sites for managing anxieties about working women. Engaged in re-creating white, male privilege for the modern, heterosocial world, pulp detective fiction shaped readers into consumers by selling them what they wanted to hear – stories about manly artisan-heroes who resisted encroaching commodity culture and the female consumers who came with it. Commenting on the genre’s staying power, Smith considers contemporary detective fiction by women, minority, and gay and lesbian writers.
What people are saying - Write a review
We haven't found any reviews in the usual places.
admen aesthetic appeared argues artisanal audience autonomy Black Mask bourgeois century Chap Chicago clothes commodity consumer culture Continental Op crime Dain Curse Dashiell Hammett detective fiction Dinah dress Erie Stanley Gardner ethnic female feminine gender Gray hard-boiled detective hard-boiled detective fiction hard-boiled detective stories hard-boiled fiction hard-boiled hero hard-boiled writers Hersey History identity increasingly Joseph Thompson Shaw Karelsen kind labor labor aristocracy language letter to Joseph Linscott literary literature male Maltese Falcon manly Marlowe masculine Mask's Moreover Murder mystery narrative novels O'Rourke offered one's paperbacks Phil Cody plots popular private eye production proletarian pulp ads pulp fiction pulp magazines pulp writers Raymond Chandler reading Red Goose Red Harvest rhetoric sexual Shaley skilled Sleepers East slick-paper magazines slicks social Spade speech Stanley Gardner Papers Street & Smith texts tion train University Press wages woman women workers working-class readers worldview York
Page 207 - The New Woman as Androgyne: Social Disorder and Gender Crisis, 1870-1936," in Disorderly Conduct: Visions of Gender in Victorian America (New York, 1985), 245-%; and Chauncey, "From Sexual Inversion to Homosexuality.
Page 15 - Far from being writers — founders of their own place, heirs of the peasants of earlier ages now working on the soil of language, diggers of wells and builders of houses — readers are travellers; they move across lands belonging to someone else, like nomads poaching their way across fields they did not write, despoiling the wealth of Egypt to enjoy it themselves.