Catcall Art Difference Between Street Smart and Book Smart Albert Einstein Art
The Unproblematic Art of Murder
Book Details
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Description:
| Title: | The Elementary Art of Murder | ||||||||||
| Author: |
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| Published: | 1950 | ||||||||||
| Publisher: | Houghton Mifflin Company | ||||||||||
| Tags: | fiction, mystery, brusque stories | ||||||||||
| Description: | This is a drove of early short stories and an essay which gave the book its name. The latter is fairly brusk and its chief idea is an argument for the virtues of a noir mystery as opposed to a traditional British 1. Considering the fact that this comes from a guy who became a archetype of the former fifty-fifty before his decease and that he picked up some below the boilerplate examples of the latter, I hold. The stories themselves left me out cold for the most part. I can actually describe the plot in practically all of them at one time. A trouble starts involving a damsel in distress. A tough guy emerges (usually a PI or a good cop) who gets involved, gets knocked out, and shot at. It turns out the damsel in distress is a small culprit which makes her a femme fatale. Everybody and their brother meet at the principal villain place, a big shootout is insured. Everybody dies except for the tough guy with a heard of gold and the femme fatale who emerge unscratched; the latter escapes. The end. [Suggest a different clarification.] | ||||||||||
| Downloads: | ten,501 | ||||||||||
| Pages: | 330 |
Author Bio for Chandler, Raymond
Due to his straitened financial circumstances during the Corking Depression, Chandler turned to his latent writing talent to earn a living, teaching himself to write pulp fiction past studying the Perry Stonemason story formula of Erle Stanley Gardner. Chandler's first professional person work, "Blackmailers Don't Shoot", was published in Blackness Mask magazine in 1933; his beginning novel, The Big Slumber, was published in 1939, featuring his famous Philip Marlowe detective character speaking in the first person.
In 1950, Chandler described in a letter to his English publisher, Hamish Hamilton, why he began reading pulp magazines and later wrote for them:
Wandering up and down the Pacific Coast in an auto I began to read pulp magazines, because they were cheap enough to throw away and because I never had at any time any taste for the kind of matter which is known equally women's magazines. This was in the dandy days of the Black Mask (if I may call them nifty days) and information technology struck me that some of the writing was pretty forceful and honest, even though it had its crude aspect. I decided that this might exist a good way to try to learn to write fiction and get paid a small amount of money at the same fourth dimension. I spent five months over an 18,000 word novelette and sold it for $180. After that I never looked dorsum, although I had a skillful many uneasy periods looking forward.
His 2d Marlowe novel, Bye, My Lovely (1940), became the basis for three flick versions adapted by other screenwriters, including 1944's Murder My Sweet (which marked the screen debut of the Marlowe character), starring Dick Powell (whose depiction of Marlowe Chandler reportedly applauded). Literary success and film adaptations led to a demand for Chandler himself every bit a screenwriter. He and Baton Wilder co-wrote Double Indemnity (1944), based on James Thousand. Cain'due south novel of the same proper noun. The noir screenplay was nominated for an University Laurels. Said Wilder, "I would just guide the structure and I would besides do a lot of the dialogue, and he (Chandler) would and then encompass and get-go constructing likewise." Wilder ever acknowledged that the ramped-upwardly dialogue which makes the film so memorable was largely Chandler'south.--Wikipedia.
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