Re: RARA-AVIS: Funny hardboiled (Was Latimer and Ted Lewis, Again)


pabergin (pabergin@gte.net)
Sat, 14 Aug 1999 10:39:41 -0400


Mbdevlin asks:
<<Is there anyone today who is using humor/screwballness like Latimer? I'm thinking of something that is quite violent, bleak, etc., but also damn funny. >>

Two that come immediately to mind are rara-avis' own Fred Willard's DOWN ON PONCE and Tim Dorsey's debut novel, just out from Morrow, FLORIDA ROADKILL. Tim is (predictably) being compared to Carl Hiaasen and Larry Shames, but readers who can get past that sort of tripe will discover a writer who is far angrier and nastier than either, and a hell of a lot funnier to boot. PB
-----Original Message----- From: Mbdlevin@aol.com <Mbdlevin@aol.com> To: rara-avis@icomm.ca <rara-avis@icomm.ca> Date: Friday, August 13, 1999 12:57 AM Subject: RARA-AVIS: Latimer and Ted Lewis, Again

>I couldn't find "The Dead Don't Care" (a line also incidentally used as a
>refrain in an essay by Thomas Lynch, the poet/undertaker who won the [U.S.]
>National Book Award a few years ago--he has to be hard-boiled--he's an
>undertaker, after all)--so I read "Headed for a Hearse" instead. It's not
as
>good as "Lady in the Morgue," but still is great fun. It also falls under
>that earlier discussed genre--the locked-room hard-boiled crime novel.
>There's also an unforgettable scene where Crane uses some gangland thugs to
>torture a guy for information--with a chrome lemon-squeezer on the hand.
Is
>there anyone today who is using humor/screwballness like Latimer? I'm
>thinking of something that is quite violent, bleak, etc., but also damn
>funny. I've heard that publishers are pretty wary of humor in hard crime
>novels.
>
>Could someone briefly fill in a few quick blanks on Ted Lewis again. I
just
>read a book called "GBH," which I take it is the same as "Grievous Bodily
>Harm." My copy has copyright 1980 by Lewis' estate. Was it published
>earlier (and before or after "Get Carter")? GBH is not as good as "Get
>Carter," but it's pretty strong. It's ending falls off, relying, as best
as
>I could surmise, on a little literary legerdemain (patterns and repetitions
>that only make sense within the context of the book) and madness. Did I
miss
>something? Also, could someone on the other side of the pond briefly
inform
>me/the list about pornography laws in the UK. Most of what the protagonist
>produces--not the snuff films of course--would be perfectly legal and big
>industry here in the U.S. (at least now and for about three+ decades?)?
>
>Doug
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