Your list of the status quo, cops, priest and/or rich, is
pretty much a
list of the culprits in John Evans/Howard Browne's Paul Pine
Halo
novels.
--WebTV-Mail-1552361461-97
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Date: Thu, 11 Jun 1998 22:57:11 -0400
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To: rara-avis@icomm.ca
From: James Rogers <jetan@ionet.net>
Subject: Re: RARA-AVIS: dickless realities?
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At 09:29 PM 6/11/98 +0000, somebody wrote:
><<Hardboiled was conceived as a class
critique,
>asserting the value of the everyday man as he exposes
the corruption of
>the more moneyed class (criminal and allegedly legit);
Hammett went to
>jail for his politics. Spillane's politics on the
other side of the
>spectrum are even more unavoidable.>>
>
>The beginnings (and the golden era) of the hardboiled
genre do not
>support such a thesis. Let's look at the Black Mask
boys:
>>
While it would be a mistake to read too much into it, I
think
that it *does* hold true across the genre. The wealthy have
privilege to
which others cannot lay claim. The police are corrupt or, at
best,
ineffectual. Religon tends to be portrayed as a con, politics
as a cruel
joke on the public. These elements are as true of Spillane,
Daly , Nebel,
etc., as they are of more explicitly leftist writers like
Chandler, Hammett,
and MacDonald. I doubt that the question would even arise
except that the
term "class critique" has a communist connotation. If one was
to describe
the politics of hardboiled as "anti-status quo", I think that
there would be
widespread agreement.
James
James Michael Rogers
jetan@ionet.net
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