Hi Megan, I will search for an old syllabus--haven't taught
that class in a while. I don't care for "My Dark Places,"
personally, but I seem to be alone. As far as WJ goes, I seem
to remember doing a bit with the "atomic vampirism" thematic
(if you remember, there's the movie that Sid Frizell [Ed Wood
avatar] is filming in GP). Best, Rob
--- meganabbott2000 <
meganabbott@hotmail.com> wrote:
> Rob:
> Great! I'd love to hear more about how you
used
> White Jazz in
> class--truth told, I think it would be
ideal
> thematically for my
> class's focus and you're inspiring me to give it
a
> go next time. What
> other books did you use with it? I'd also like
to
> try to use My Dark
> Places at some point--have you ever used
that?
>
> Best,
> Megan
>
> --- In
rara-avis-l@yahoogroups.com, Robert Elkin
> <rictusaporia@...> wrote:
> >
> > Megan,
> > It was just a thought, perhaps too
self-reflexive.
>
> > I've used WJ successfully myself in a
class
> (though
> > the most productive Ellroy I've used is
TABLOID),
> if
> > not recently.
> > Best,
> > Rob
> >
> > --- meganabbott2000 <meganabbott@...>
wrote:
> >
> > > Rob:
> > > I thought about doing White Jazz, which I
adore,
> > > but, in my
> > > experience, it's a little tough for
undergrads
> (you
> > > gotta kinda work
> > > your way up to that one, in the
Ellroy
> continuum).
> > > Plus, Dahlia riffs
> > > a lot on the cop-fixated-on-dead-woman
strand in
> > > hardboiled fiction
> > > that's a big topic in the class. If it
goes
> over,
> > > next time: White Jazz!
> > >
> > > Best,
> > > Megan
> > >
> > > -- In
rara-avis-l@yahoogroups.com, Robert Elkin
> > > <rictusaporia@> wrote:
> > > >
> > > > Prof. Abbott--
> > > > If you're going to do an Ellroy cop
novel,
> White
> > > Jazz
> > > > is the over-the-top example; Black
Dahlia,
> while a
> > > > good read, uncovers no significant
new ground,
> in
> > > > terms of form or subject.
> > > > Just a note.
> > > > Rob Elkin
> > > >
> > > > --- meganabbott2000
<meganabbott@> wrote:
> > > >
> > > > > Hi, again:
> > > > > I use the films primarily for
students to
> > > consider
> > > > > the different
> > > > > adapative choices that were made
and
> possible
> > > > > reasons why--e.g.,
the
> > > > > romance btw. Marlowe and Vivian
in Hawks's
> The
> > > Big
> > > > > Sleep vs. what we
> > > > > find in Chandler. Or, as another
example,
> the
> > > shift
> > > > > from the
> > > > > mob-as-enemy in Kiss Me Deadly
to the atomic
> > > threat.
> > > > >
> > > > > Thanks for the
fantastic
> suggestions---believe
> > > me,
> > > > > as this hits Mach
> > > > > II, I will give Rara-Avis full
credit!
> > > > >
> > > > > --- In
rara-avis-l@yahoogroups.com, "George
> > > Tuttle"
> > > > > <noirfiction@>
> > > > > wrote:
> > > > > >
> > > > > > She does a great job in
trying to make the
> > > word
> > > > > "genealogy" work. It
> > > > > > could never be as easy as
"Abraham begat
> > > Isaac;
> > > > > and Isaac begat
> > > > > > Jacob." As a sidenote, it
seems to me that
> > > there
> > > > > should be some
> > > > > > mention of Edgar Wallace,
somewhere, as a
> > > > > pre-hardboiled
influence,
> > > > > > since he plays such a part
in the concept
> of
> > > the
> > > > > thriller prior to the
> > > > > > hardboiled era. Also, I
would prefer to
> say,
> > > "Rise
> > > > > of the Paperback
> > > > > > Original." Paperbacks from
1939-1949 were
> just
> > > a
> > > > > repackaging of other
> > > > > > existing media (mostly
hardcover, with
> some
> > > pulp
> > > > > and a little slick
> > > > > > fiction tossed in). Of
course, there is
> > > Spillane
> > > > > whose paperback
> > > > > > reprints did do much to
change the status
> quo,
> > > but
> > > > > that would put the
> > > > > > year as 1948, not 1939.
Also, are Goodis
> and
> > > > > Williford's heroes
really
> > > > > > psychotic? I am very
curious about her
> > > definition
> > > > > of hardboiled and
> > > > > > noir (but aren't we all,
always,
> endlessly).
> > > That
> > > > > said, her genealogy
> > > > > > is better than anything I
could create. I
> > > liked it
> > > > > and applaud her for
> > > > > > attempting it.
> > > > > >
> > > > > > As for the syllabus, is
anyone else
> > > uncomfortable
> > > > > with the use of
> > > > > > films in a literature
course or at lease
> in
> > > the
> > > > > choice of these
> > > > > > particular films in a
discussion of the
> > > shaping of
> > > > > the hardboiled genre?
> > > > > >
> > > > > > George the
Librarian
> > > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > >
> > > >
> > > >
>
__________________________________________________
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> > > >
> > >
> > >
> > >
> > >
> >
> >
> >
__________________________________________________
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> > Tired of spam? Yahoo! Mail has the best
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> protection around
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> >
>
>
>
>
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