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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This archive was generated by hypermail 2b29 : 08 Feb 2006 EST