Ed Lynskey wrote: There's a fine ezine called Crime Factory
from Australia (google can fetch the url). You may've well
already consulted it. I was looking at it not long ago and
there are some good interviews with authors. There's some
fiction, too, but they've stopped publishing that part. The
ezine might help in your research.
BTW, I saw your posting (on DorothyL?) for a Southern
Gothic+HB article (in progress?). Sounds like an interesting
topic.
********** Thanks, Ed. I checked out the Crime Factory and it
looks like this edition they've gone American. I need to go
back and see if they have back issues of the paper edition
for sale.
I decided I wanted to put my thoughts together on a slightly
bigger picture than just a single book at a time so I broke
away from writing single book reviews for the moment. I'm
trying hard now to collect my thoughts on what kind of things
happened to hardboiled/noir in the Thirties. Hence all the
questions on gangster, Hollywood, noir, Proletariat, and
Southern Gothic. What I found is that I'm not very
comfortable with my level of experience with all those
subgenres. Best way to fix that is by reading more.
Anyway, I developed this broad sweeping generality about two
main themes that run through all Southern Gothic and I got
nervous about making those kind of generalizations about
some- thing I barely know jack about, so I started reading
it, and I really like it. There is so much room for play. I
think I already mentioned that I recently read Cormac
McCarthy's CHILD OF GOD and O'Connor's WISE BLOOD. I just
finished Woodrell's GIVE US A KISS. I know somebody here
recommended it but I can't remember who and I apologize and
thank them. The book was funny and I couldn't hardly drag
myself away from it. Reading it dredged up that mysterious
comment about irony of style that Mario made some time ago
into the new noir that began with Willeford's WOMAN CHASER. I
believe I'm closer to understanding the concept but not the
specifics. I think that Mario, when he made his "irony of
style" comment, meant that the basic framework of noir was in
place but there is a twist to it. I tried to find the twist
in GIVE US A KISS, and I need to read WOMAN CHASER and see if
I can identify it there.
Bottom line is that after I get this hardboiled 1930s thing
done, I'd like to dig into Southern Gothic some more, read
some more of those titles that were suggested, and then write
something on Southern Gothic.
miker
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