The Simple Art of Murder

In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor -- by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things. He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man's money dishonestly and no man's insolence without due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks -- that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness. The story is the man's adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse; and with the means at hand, not hand-wrought dueling pistols, curare and tropical fish.

Everything written with vitality expresses that vitality; there are no dull subjects, only dull minds.

There are no vital and significant forms of art; there is only art, and precious little of that.

All language begins with speech, and the speech of common men at that, but when it develops to the point of becoming a literary medium it only looks like speech.

But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things. He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks—that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness. The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

Personally I like the English style better. It is not quite so brittle, and the people as a rule, just wear clothes and drink drinks. There is more sense of background, as if Cheesecake Manor really existed all around and not just the part the camera sees; there are more long walks over the Downs and the characters don’t all try to behave as if they had just been tested by MGM. The English may not always be the best writers in the world, but they are incomparably the best dull writers.

A hard-boiled redhead sang a hard-boiled song in a voice that could have been used to split firewood (Guns at Cyrano's)

Her voice was as dead as the summer before last. (Nevada Gas)

Her voice was a throaty screech, without melody, as false as her eyebrows and as sharp as her nails. (The King in Yellow)

And there are still a number of people around who say that Hammett didn't write detective stories at all-merely hard-boiled chronicles of mean streets with a perfunctory mystery element dropped in like the olive in a martini. (The Simple Art of Murder)

The car slid along Los Angeles to Fifth, east to San Pedro, south again for block after block, quiet blocks and loud blocks, blocks where silent men sat on shaky front porches and blocks where noisy young toughs of both colors snarled and wise-cracked at one another in front of cheap restaurants and drug-stores and beer parlors full of slot machines. (Pickup on Noon Street)

The thin man had a tight voice that expected to be lied to. (The King in Yellow)

You know who they are?” Tony said softly. “I could maybe give nine guesses. And twelve of them would be right.” (I'll be waiting)

There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. They try to be honest, but honesty is an art. The poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn’t know what to be honest about. He thinks a complicated murder scheme which baffled the lazy reader, who won’t be bothered itemizing the details, will also baffle the police, whose business is with details.

Hemingway says somewhere that the good writer competes only with the dead.

If the mystery novel is at all realistic (which it very seldom is) it is written in a certain spirit of detachment; otherwise nobody but a psychopath would want to write it or read it.

Maybe you don't like tall girls with honey-colored hair and skin like the first strawberry peach the grocer sneaks out of the box for himself.If you don't, I'm sorry for you. (Pearls Are A Nuisance)

His clothes looked as if they had cost a great deal of money and had been slept in. (Guns at Cyrano's)

Racket beer, sonny,” he said sadly. “Tasteless as a roadhouse blonde.” (Spanish Blood)

All men who read escape from something else into what lies behind the printed page; the quality of the dream may be argued, but its release has become a functional necessity. All men must escape at times from the deadly rhythm of their private thoughts. It is part of the process of life among thinking beings.

They went along a balcony that looked down over the dining room and the dance floor. The lisp of hot jazz came up to them from the lithe, swaying bodies of a high-yaller band. With the lisp of jazz came the smell of food and cigarette smoke and perspiration. The balcony was high and the scene down below had a patterned look, like an overhead camera shot. (Nevada Gas)

It was twenty-five minutes past nine when he got to the corner of Seventh and Spring, where the Metropole was. It was an old hotel that had once been exclusive and was now steering a shaky course between a receivership and a bad name at Headquarters. It had too much oily dark wood paneling, too many chipped gilt mirrors. Too much smoke hung below its low beamed lobby ceiling and too many grifters bummed around in its worn leather rockers. The blonde who looked after the big horseshoe cigar counter wasn’t young any more and her eyes were cynical from standing off cheap dates. (Nevada Gas)

A dark woman with a sharp nose opened her mouth to yell and no sound came from her. There was the instant when nobody makes a sound, when it almost seems as if there will never again be any sound—after the sound of a gun. (Guns at Cyrano's)

Carli’s was a small club at the end of a passage between a sporting-goods store and a circulating library. There was a grilled door and a man behind it who had given up trying to look as if it mattered who came in. (Smart-Aleck Kill)

The music gushed from the loudspeaker in a swirl of shadowed melody. Since Vienna died, all waltzes are shadowed. (I'll be waiting)

Hammett wrote at first (and almost to the end) for people with a sharp, aggressive attitude to life. They were not afraid of the seamy side of things; they lived there. Violence did not dismay them; it was right down their street. Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse; and with the means at hand, not hand-wrought dueling pistols, curare and tropical fish. He put these people down on paper as they were, and he made them talk and think in the language they customarily used for these purposes

Writers who have the vision and the ability to produce real fiction do not produce unreal fiction.

I merely say that all reading for pleasure is escape, whether it be Greek, mathematics, astronomy, Benedetto Croce, or The Diary of the Forgotten Man. To say otherwise is to be an intellectual snob, and a juvenile at the art of living.