Hardboiled

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Cover of seminal hardboiled magazine Black Mask, September 1929, featuring part 1 of its serialization of The Maltese Falcon, by Dashiell Hammett. Illustration of private eye Sam Spade by Henry C. Murphy, Jr.
Cover of seminal hardboiled magazine Black Mask, September 1929, featuring part 1 of its serialization of The Maltese Falcon, by Dashiell Hammett. Illustration of private eye Sam Spade by Henry C. Murphy, Jr.
For the Frank Miller and Geof Darrow comic book, see Hard Boiled (comic). For the film, see Hard Boiled. For the comestible, see boiled eggs.

Hardboiled crime fiction refers to a literary style pioneered by Dashiell Hammett in the late 1920s and refined by Raymond Chandler beginning in the late 1930s. Hardboiled fiction, most commonly associated with detective stories, is distinguished by an unsentimental portrayal of crime, violence, and sex. From its earliest days, hardboiled fiction was published in and closely associated with so-called pulp magazines, most famously Black Mask; later, many hardboiled novels were published by houses specializing in paperback originals, also colloquially known as "pulps." Consequently, "pulp fiction" is often used as a synonym for hardboiled crime fiction. In the United States, the original hardboiled style has been emulated by innumerable writers, notably including Chester Himes, Mickey Spillane, Ross Macdonald, John D. MacDonald, Robert B. Parker, Sara Paretsky, Sue Grafton, and Walter Mosley.

The name comes from a colloquial phrase of understatement. For an egg, to be hardboiled is to be comparatively tough. The hardboiled detective epitomized by Hammet's Sam Spade and Chandler's Philip Marlowe not only solves mysteries, like his "softer" counterparts, he (and often these days, she) confronts danger and engages in violence on a regular basis. The hardboiled detective also has a characteristically tough attitude—in fact, Spade and Marlowe are two of the primary fictional models for the attitude that has come to be known as "attitude": cool, cocky, flippant. For extensive detail on the identifying marks of the style, see the history of American hardboiled fiction.

Contents

[edit] Noir fiction

The Killer Inside Me (1952), one of the definitive noir novels, by Jim Thompson. The guilty party? "All of us."
The Killer Inside Me (1952), one of the definitive noir novels, by Jim Thompson. The guilty party? "All of us."

Noir fiction is the name sometimes given to a mode of crime fiction regarded as a subset of the hardboiled style. According to noir aficionado George Tuttle, "In this sub-genre, the protagonist is usually not a detective, but instead either a victim, a suspect, or a perpetrator. He is someone tied directly to the crime, not an outsider called to solve or fix the situation. Other common characteristics...are the emphasis on sexual relationships and the use of sex to advance the plot and the self-destructive qualities of the lead characters. This type of fiction also has the lean, direct writing style and the gritty realism commonly associated with hardboiled fiction."[1] The seminal American writer in the noir fiction mode was James M. Cain—regarded as the third major figure of the early hardboiled scene, he debuted as a crime novelist in 1934, right between Hammett and Chandler. Other important U.S. writers in the noir tradition are Cornell Woolrich, Dorothy B. Hughes, Jim Thompson, David Goodis, Charles Williams, and Elmore Leonard. The term "noir fiction" may evoke unrelenting gloom; in fact, while the work of all the major authors in the field might be characterized by a fatalistic attitude, it has been expressed in a variety of tones. Woolrich and Goodis indeed often portray what seems to be a sunless world, but Leonard is frequently bright, even when the color's blood red. Hughes and Williams are somewhere in the middle—her work is serious, yet with a lot of hardboiled "attitude," while his forte is the philosophical smile and shrug. As for Cain and Thompson, each wrote some of the blackest of American genre fiction, and some of the funniest.

The popular use of "noir" in the term "noir fiction" derives immediately from "film noir" as it has been used to characterize certain putatively "dark" Hollywood crime dramas and melodramas, many early examples of which were based on works by the original hardboiled writers. In turn, "noir" (French for "black"), first applied to American films in the mid-1940s by observers in France, was used there in similar senses. Most relevantly, the term roman noir (“black novel") was employed to describe a range of books, some that an English speaker might think of as mysteries, others as gothic melodramas. Note that while the meanings of "noir fiction" and roman noir are closely related, the derivation is not direct. Making the connection even tighter, in 1945 the French publisher Gallimard brought out a new series of paperback thrillers, many of them translations of hardboiled American fiction. The line was called Série noire.

[edit] Major variants of hardboiled and noir

W. R. Burnett's influential Little Caesar (1929) was turned into one of the first major Hollywood gangster films of the sound era in 1931.
W. R. Burnett's influential Little Caesar (1929) was turned into one of the first major Hollywood gangster films of the sound era in 1931.

W. R. Burnett, part of the first wave of hardboiled writers along with Hammett and Cain, wrote in a style that split the difference, often featuring heroic gangsters as his leads. The five novels featuring dipso detective Bill Crane written by Jonathan Latimer over the course of the 1930s constitute the first literary series of hardboiled screwball comedy. The work of Charles Willeford has sometimes been referred to as hardboiled or, particularly, noir fiction, though it is perhaps more helpfully characterized as "neo-noir," as Willeford's crime writing rarely employs the conventions of hardboiled literature without critiquing them. Of latter-day hardboiled novelists who regularly feature detective protagonists, the most prominent to write in an unmistakably noir mode is James Ellroy. In terms of character, plot, and worldview, Patricia Highsmith would seem to be a quintessential writer of noir fiction—indeed, her work has been the source for numerous movies, both American and European, regarded as film noirs—but her style sets her apart: far from "lean" and "direct," it is characteristically dense and subtle.

[edit] See also

[edit] External links

[edit] Hardboiled and noir fiction online

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