Friday, November 01, 2024

The Quest for the Great Second World War Novel


Edward Dmytryk, dir.: The Caine Mutiny (1954)


The other night Bronwyn and I watched the latest version of Herman Wouk's play "The Caine Mutiny Court-Martial", which is streaming on Neon at present. The movie is poignant for a number of reasons. It's one of the great Lance Reddick's final screen performances. It's also director William Friedkin's last film, released two months before his death.

Friedkin is, of course, better known for directing The Exorcist (1973) - as well as The French Connection (1971), for which he won a best director Oscar; Reddick for his work in The Wire and the John Wick franchise. Both men's professionalism and versatility are strongly on display in this gripping courtroom drama.


The Caine Mutiny Court-Martial: Kiefer Sutherland as Capt. Queeg (2023)


But the focus wasn't really on them. It was on Kiefer Sutherland, as he did his best to emulate Humphrey Bogart's fabled performance as the paranoid Captain Queeg. Who can ever forget those little steel balls clicking in Bogie's hands as he recited the saga of the missing strawberries and the forged galley key?

Sutherland does a splendid job. He wisely eschews some of Bogart's more memorably mannerisms in favour of a more measured yet equally terrifying fugue on the witness stand. Where the new version couldn't bear comparison with the original film, however, was in the casting of the treacherous Lieutenant Keefer.

Fred MacMurray was so good in this role that he threatened to overshadow the other leads. Lewis Pullman is perfectly adequate in this 2023 remake - of the 1953 stage-play Herman Wouk made out of his Pulitzer-prize winning 1951 novel, rather than of the novel itself, it should be stressed - but he keeps to his place as part of the supporting cast.


Caine Mutiny Court Martial: Multitudes, Multitudes cake (1981)


What struck me most about the new film, though, was the fact that despite rather awkwardly updating the mutiny from the 1940s to the 2020s, the director chose to retain the details of the war novel Multitudes, Multitudes which Lt. Keefer is supposed to have been working on throughout the events of Wouk's story.

I couldn't find a picture of the book-cake created for Keefer's latest launch party online - it's far more spectacular than this one from a 1981 UK production of the play - but at least the image above gives you some idea of the scene where this measly, treacherous writer is put in his place by the heroic lawyer who's just, very reluctantly, got them all acquitted of mutiny.

So much for the Great War Novel! And the weaselly, sneaky types who write such things ... people like Herman Wouk himself, one is tempted to add. But then, perhaps that's the whole point of his book.



You see, one of the other things I've been doing lately is reading - for the very first time - Norman Mailer's own renowned war novel The Naked and the Dead. There's no denying that it's a gripping piece of work. It doesn't really sound much like the Mailer I know: either such fictions as An American Dream or Ancient Evenings, or 'documentary novels' like The Armies of the Night or The Executioner's Song.


Norman Mailer: The Naked and the Dead (1948 / 1998)


In fact, if I had to come up with an analogy, it would probably be with John Dos Passos. To me, at least, The Naked and the Dead seems distinctly in tune with the quasi-cinematic methods employed by the latter in his USA trilogy: The 42nd Parallel (1930), Nineteen Nineteen (1932) and The Big Money (1936). Better Dos Passos than Hemingway, one might say. Hemingway's clipped, laconic style was only too fatally attractive to other prose writers of the time.


John Dos Passos: The USA Trilogy (1930-36)


You do have to give Mailer credit for being one of the first out of the gate when it came to producing the great American WWII novel:
Mailer was inducted into the army in March 1944, less than a year after graduating with honors from Harvard with a B.S. in engineering. His experience in the army as a surveyor in the field artillery, an intelligence clerk in the cavalry and a rifleman with a reconnaissance platoon in the Philippine mountains, gave him the idea for a novel about World War II ...
As you can see from the following list of my own top ten picks for best English-language novels about the Second World War, it can take a while to absorb so devastating an experience, let alone transform it into fiction. Here are some of the most prominent examples:



  1. 1948 - Graham Greene: The Heart of the Matter (1948)
  2. Is this a "war novel" in the accepted sense? I would certainly say so. Greene wrote two other novels, The Ministry of Fear (1943) and The End of the Affair (1951), set during the London blitz. The unnamed East African setting for The Heart of the Matter was later confirmed by Greene himself to be Freetown, Sierra Leone, a location very familiar to him, as he'd been posted there by MI6 to take charge of local security in the mid-1940s. Greene's protagonist Scobie's crisis of faith, which eventually leads him to commit suicide, made perfect sense to contemporary audiences preoccupied with the moral issues raised by the German death-camps and the implications of the Atomic bomb.

    Graham Greene: The Heart of the Matter (1948)


  3. 1948 - Norman Mailer: The Naked and the Dead (1948)
  4. The novel takes a long while to take flight. It isn't, in fact, till the members of the platoon it centres on are sent out to do reconnaissance behind enemy lines that Mailer's more familiar existential issues begin to come into play. Paradoxically, the powerful plotting and stylistic polish of this, his first published novel, created problems for him later on. His next two novels were flops, and it wasn't until the early 1960s that he really began to come into his own as an essayist and chronicler of contemporary American culture.

    Norman Mailer: The Naked and the Dead (1948)


  5. 1951 - James Jones: From Here to Eternity (1951)
  6. This was James Jones's first novel, and its immense success both as a novel and as a film overshadowed much of his later work. His subsequent novel The Thin Red Line, based on his personal experience of the Guadalcanal campaign, is arguably his masterpiece. Collectively, they constitute the first two parts of a trilogy:
    1. From Here to Eternity (1951)
    2. The Thin Red Line (1962)
    3. [with Willie Morris] Whistle (1978)
    John Keegan nominated The Thin Red Line as, in his opinion, 'one of [the few] novels portraying Second World War combat that could be favorably compared to the best of the literature to arise from the First World War' ... Paul Fussell said that it was 'perhaps the best' American WWII novel.
    It was filmed by Terrence Malick in 1998. Nothing, of course, can touch the classic status of Fred Zinneman's 1953 movie of From Here to Eternity, but Malick's film is far more ambitious cinematically.

    James Jones: From Here to Eternity (1951)


  7. 1951 - Nicholas Monsarrat: The Cruel Sea (1951)
  8. This book had a huge effect on me when I first read it as a teenager. It seemed a more convincing portrayal of the (so-called) "Battle of the Atlantic" than anything else I'd ever come across: its miseries as well as its occasional triumphs. I still have a soft spot for it.

    Nicholas Monsarrat: The Cruel Sea (1951)


  9. 1952-61 - Evelyn Waugh: Sword of Honour (1952-1961)
  10. I suppose Brideshead Revisited would have to be seen as a kind of war novel, too - as was the more directly topical Put Out More Flags. The Sword of Honour trilogy:
    1. Men at Arms (1952)
    2. Officers and Gentlemen (1955)
    3. Unconditional Surrender [aka "The End of the Battle"] (1961)
    is probably less spectacularly brilliant than either of those two. Its strength lies rather in the coverage it provides of Waugh's whole war: from the absurdities of Guy Crouchback's Commando training, to the debacle of Crete, and subsequently the fleshpots of Egypt. Is it a great novel? Certainly it's the most ambitious fictional project Waugh ever attempted: a roman-fleuve based directly on his own experience. It is, in my view, indispensible for any real understanding of Britain at war.

    Evelyn Waugh: Sword of Honour (1952-1961)


  11. 1961 - Errol Brathwaite: An Affair of Men (1961)
  12. I remember that this famous New Zealand novel was greatly in demand by my fellow-students at Secondary School, who passed it from hand to hand like a kind of prose war-comic, full of action and slaughter. It's a much better book than that description would suggest, though, and should definitely be more widely read. Brathwaite's approach to the effects of war on the people of Bougainville is clearly strongly influenced by Graham Greene. Although, as the title suggests, this is an "affair of men" rather than one to do with God, the latter keeps on creeping in as sole arbiter of the action, even so.

    Errol Brathwaite: An Affair of Men (1961)


  13. 1961 - Joseph Heller: Catch-22 (1961)
  14. What can one say about Catch-22 after all these years? The recent attempt to straighten it out into chronological sequence for the 2019 TV miniseries underlines a point one scarcely thought needed stressing: that the jumbling up of the narrative is the only thing that makes it bearable. The 1970 film did much better in that respect. Its more repellent aspects, especially the crude sexual imperialism constantly on display among Yossarian and his comrades, was unfortunately the main thing I took from it in my own most recent rereading. I'm not sure I'll ever be able to navigate my way through it again - but surreptitiously sneaking a peek at my grandmother's copy made a strong impression on me in my teens.

    Joseph Heller: Catch-22 (1961)


  15. 1969 - Kurt Vonnegut: Slaughterhouse-Five (1969)
  16. This, too, seemed more mannered than I expected when I reread it recently. Is it really the masterpiece I once assumed it to be? It's a great and complex book, but there's an unpleasant irony in the reflection that the historical "facts" Vonnegut relies on in his eye-witness account of the bombing of Dresden are unfortunately mostly taken from the thoroughly unreliable account by David Irving, now completely discredited by Professor Richard Evans in his brilliant account (Lying about Hitler) of the 2000 Irving libel trial. There's something deeply compelling about Vonnegut's overall project, though, nevertheless.

    Kurt Vonnegut: Slaughterhouse-Five (1969)


  17. 1971-78 - Herman Wouk: The Winds of War / War and Remembrance (1971 / 1978)
  18. It does seem a little extraordinary that having so thoroughly satirised the notion of a huge, all-encompassing war novel - Lt. Keefer's Multitudes, Multitudes - in his own The Caine Mutiny (1951), Herman Wouk then sat down and tried to write it himself. Opinions differ on the merits of Wouk's immense, double-volume chronicle. I dutifully slogged through it at the time, but it's hard to see it now without the overlay of the dreadful multi-part TV miniseries it gave rise to. It's longer than anything else in this list - longer than War and Peace, for that matter - but longer and more all-encompassing doesn't always mean better. It does have real merits, though: Wouk is certainly a skilful writer.

    Herman Wouk: The Winds of War (1971)


  19. 1973 - Thomas Pynchon: Gravity's Rainbow (1973)
  20. Is this the war novel to end all war novels, or is the V1 and V2 bombing of London just a frame for a more complex agenda on Pynchon's part? Who can say? No-one else could have conceived such a book, let alone carried it out. It seems an appropriate place to end our investigations, before we plunge into the conceptual abyss of the Vietnam war. I recall my old PhD supervisor, Colin Manlove, solemnly informing me that he considered it the masterpiece of our age. It's important to remind yourself of that as you try to work your way through the novel's immensities - perhaps this is the one which should have been called Multitudes, Multitudes ...

    Thomas Pynchon: Gravity's Rainbow (1973)






Hugo Claus: The Sorrow of Belgium (1983)


Mind you, I could have greatly expanded this list if I'd permitted myself to include foreign-language novels about the war.


Günter Grass: The Tin Drum (1959)


Hugo Claus's controversial The Sorrow of Belgium, about the unpalatable truths of collaboration in wartime Europe; Günter Grass's ground-breaking The Tin Drum, the first volume in his classic Danzig Trilogy - The Tin Drum (1959), Cat and Mouse (1961) and Dog Years (1963); Vasily Grossman's Life and Fate (1959), a devastating analysis of Russian society at the time of the battle of Stalingrad; not to mention Väinö Linna's harrowing The Unknown Soldier (1954), about Russia's "Winter War" against Finland, are a few of the titles that immediately spring to mind.


Vasily Grossman: Life and Fate (1959)


The first three, in particular, are works on a scale and level of ambition that leave most of their English-language competitors in the dust.


Väinö Linna: The Unknown Soldier (1954)





Paul Fussell: The Great War and Modern Memory (1975)


Perhaps, in fact, as Paul Fussell argued in his influential book The Great War and Modern Memory, most of the writing on this theme is so influenced by the templates set up by certain classic World War I exemplars, that it's difficult really to see them independently of that overpowering literary tradition.

Let's see. Here are ten of the most famous English-language novels about - or closely concerning - the First World War which might well have had a strong effect on their successors in the field:




  1. 1918 - Rebecca West: The Return of the Soldier
  2. "The Return of the Soldier is the debut novel of English novelist Rebecca West, first published in 1918. The novel recounts the return of the shell shocked Captain Chris Baldry from the trenches of the First World War from the perspective of his cousin Jenny. The novel grapples with the soldier's return from World War I with mental trauma and its effects on the family, as well as the light it sheds on their fraught relationships."
    - Wikipedia: Rebecca West

    Rebecca West: The Return of the Soldier (1918)


  3. 1921 - John Dos Passos: Three Soldiers
  4. "Until Three Soldiers is forgotten and fancy achieves its inevitable victory over fact, no war story can be written in the United States without challenging comparison with it — and no story that is less meticulously true will stand up to it. At one blast it disposed of oceans of romance and blather. It changed the whole tone of American opinion about the war; it even changed the recollections of actual veterans of the war. They saw, no doubt, substantially what Dos Passos saw, but it took his bold realism to disentangle their recollections from the prevailing buncombe and sentimentality."

    John Dos Passos: Three Soldiers (1921)


  5. 1922 - E. E. Cummings: The Enormous Room
  6. "The Enormous Room (The Green-Eyed Stores) is a 1922 autobiographical novel by the poet and novelist E. E. Cummings about his temporary imprisonment in France during World War I ... The title of the book refers to the large room where Cummings slept beside thirty or so other prisoners. However, it also serves as an allegory for Cummings' mind and his memories of the prison – such that when he describes the many residents of his shared cell, they still live in the 'enormous room' of his mind."
    - Wikipedia: E. E. Cummings

    E. E. Cummings: The Enormous Room (1922)


  7. 1924-26 - R. H. Mottram: The Spanish Farm Trilogy (1924-26)
  8. The Spanish Farm Trilogy:
    1. The Spanish Farm (1924)
    2. Sixty-Four, Ninety-Four! (1925)
    3. The Crime at Vanderlynden's (1926)

    "The Spanish Farm ... won the 1924 Hawthornden Prize. In 1927 it was made into a silent film entitled Roses of Picardy ... William Faulkner greatly admired The Spanish Farm trilogy, comparing it with Stephen Crane's The Red Badge of Courage for its insights into the reality of war. The scholar Max Putzel summarised this by stating: "Mottram had given Faulkner an example for dealing with war by indirection, understating or disguising the powerful emotions Crane had boldly undertaken to summon up."
    - Wikipedia: Ralph Hale Mottram

    R. H. Mottram: The Spanish Farm (1924)


  9. 1924-28 - Ford Madox Ford: Parade's End
  10. The Tietjens novels:
    1. Some Do Not ... (1924)
    2. No More Parades (1925)
    3. A Man Could Stand Up — (1926)
    4. Last Post (1928)

    "Parade's End is a tetralogy of novels by the British novelist and poet Ford Madox Ford, first published from 1924 to 1928. The novels chronicle the life of a member of the English gentry before, during and after World War I. The setting is mainly England and the Western Front of the First World War, in which Ford had served as an officer in the Welch Regiment, a life he vividly depicts ... Robie Macauley, in his introduction to the Borzoi edition of 1950, described it as "by no means a simple warning as to what modern warfare is like... [but] something complex and baffling [to many contemporary readers]. There was a love story with no passionate scenes; there were trenches but no battles; there was a tragedy without a denouement" ... In his introduction to the third novel, A Man Could Stand Up--, Ford wrote, "This is what the late war was like: this is how modern fighting of the organized, scientific type affects the mind."
    - Wikipedia: Parade's End

    Ford Madox Ford: Parade's End (1924-28)


  11. 1925 - Virginia Woolf: Mrs Dalloway
  12. "The novel has two main narrative lines involving two separate characters (Clarissa Dalloway and Septimus Smith); within each narrative there is a particular time and place in the past that the main characters keep returning to in their minds. For Clarissa, the 'continuous present' (Gertrude Stein's phrase) of her charmed youth at Bourton keeps intruding into her thoughts on this day in London. For Septimus, the 'continuous present' of his time as a soldier during the Great War keeps intruding, especially in the form of Evans, his fallen comrade."
    - Wikipedia: Mrs Dalloway

    Virginia Woolf: Mrs Dalloway (1925)


  13. 1926 - William Faulkner: Soldiers' Pay
  14. "The plot of Soldiers' Pay revolves around the return of a wounded aviator home to a small town in Georgia following the conclusion of the First World War. He is escorted by a veteran of the war, as well as a widow whose husband was killed during the conflict. The aviator himself suffered a horrendous head injury, and is left in a state of almost perpetual silence, as well as blindness. Several conflicts revolving around his return include the state of his engagement to his fiancée, the desire of the widow to break the engagement in order to marry the dying aviator herself, and the romantic intrigue surrounding the fiancée who had been less than faithful to the aviator in his absence."
    - Wikipedia: Soldiers' Pay

    William Faulkner: Soldiers' Pay (1926)


  15. 1928-36 - Siegfried Sassoon: The Complete Memoirs of George Sherston: Memoirs of a Fox-hunting Man / Memoirs of an Infantry Officer / Sherston’s Progress (1928, 1930, 1936)
  16. The Sherston Trilogy:
    1. Memoirs of a Fox-hunting Man (1928)
    2. Memoirs of an Infantry Officer (1930)
    3. Sherston’s Progress (1936)
    Autobiographical Trilogy:
    1. The Old Century and seven more years (1938)
    2. The Weald of Youth (1942)
    3. Siegfried's Journey, 1916–1920 (1945)
    Diaries (ed. Rupert Hart-Davis):
    1. Diaries 1915-1918 (1983)
    2. Diaries 1920-1922 (1981)
    3. Diaries 1923-1925 (1985)

    "The Sherston trilogy is a series of books by the English poet and novelist Siegfried Sassoon ... They are named after the protagonist, George Sherston - a young Englishman of the upper middle-class, living immediately before and during the First World War. The books are, in fact, 'fictionalised autobiography', wherein the only truly fictional things are the names of the characters. Sassoon himself is represented by Sherston. A comparison of the Sherston memoirs to Sassoon's later, undiluted autobiographical trilogy ... shows their strict similarity, and it is generally accepted that all six books constitute a composite portrait of the author, and of his life as a young man. (Sassoon remarked, however, that his alter-ego personified only one-fifth of his actual personality. Unlike his author, Sherston has no poetic inclinations; nor does he deal with homosexuality, which was illegal at the time Sassoon was writing.)"
    - Wikipedia: Sherston Trilogy

    Siegfried Sassoon: Memoirs of an Infantry Officer (1930)


  17. 1929 - Richard Aldington: Death of a Hero
  18. "Aldington, a veteran of World War I, claimed that his novel was accurate in terms of speech and style. It contained extensive colloquial speech, including profanity, discussion of sexuality and graphic descriptions of the war and of trench life. There was extensive censorship in England and many war novels had been banned or burned as a result. When Aldington first published his novel, he redacted a number of passages to ensure the publication of his book would not be challenged. He insisted that his publishers include a disclaimer in the original printing of the book with the following text:
    To my astonishment, my publisher informed me that certain words, phrases, sentences, and even passages, are at present taboo in England. I have recorded nothing which I have not observed in human life, said nothing I do not believe to be true. [...] At my request the publishers are removing what they believe would be considered objectionable, and are placing asterisks to show where omissions have been made. [...] In my opinion it is better for the book to appear mutilated than for me to say what I don't believe."
    "
    - Wikipedia: Death of a Hero

    Richard Aldington: Death of a Hero (1929)


  19. 1929 - Ernest Hemingway: A Farewell to Arms
  20. "A Farewell to Arms is ... set during the Italian campaign of World War I. First published in 1929, it is a first-person account of an American, Frederic Henry, serving as a lieutenant ... in the ambulance corps of the Italian Army. The novel describes a love affair between the American expatriate and an English nurse, Catherine Barkley. Its publication ensured Hemingway's place as a modern American writer of considerable stature. The book became his first best-seller and has been called "the premier American war novel from [...] World War I."
    - Wikipedia: A Farewell to Arms

    Ernest Hemingway: A Farewell to Arms (1929)





Ernst Jünger: Storm of Steel (1920)


The first thing that I'd note about most of the novels listed above is their tendency to concentrate on the long-term effects of the War rather than the actual details of conflict. That is a subject much more frequently dealt with in non-fiction memoirs of war experience, books such as Robert Graves's Good-Bye to All That (1929) or of Ernst Jünger's Storm of Steel (1920).

Interestingly enough, the Wikipedia entry on "War Novels", which can otherwise be recommended as a good overview of the subject, discusses Jünger's work as if it were an important example of the genre! Graves's book, too, began as a novel but was subsequently transformed by him into autobiography. It's as if the borders between memoir and fiction had been eroded by the sheer power of the experience.

After all, the two great showpieces of the genre, Tolstoy's War and Peace (1869) and Stephen Crane's The Red Badge of Courage (1895) were written long after the battles they recorded, by authors who'd hadn't experienced them first-hand. Tolstoy, it's true to say, had served at the Siege of Sebastopol during the Crimean War, which certainly gave him a certain edge in his descriptions of war. Crane had only read about it in books, however. He didn't even observe it from afar, as a war correspondent in the Spanish-American war in Cuba, until after the completion of his novel.

The real problem with the novels listed above, though, is how little collective influence they had. Once again, though to a much greater extent this time, all the action was elsewhere. All the really influential First World War novels were written in other languages and subsequently translated into English. Here's a very partial list:



    Henri Barbusse: Under Fire: The Story of a Squad (1916)


  1. Henri Barbusse: Under Fire: The Story of a Squad (1916)
  2. Barbusse's vital account was actually written and published at the height of the conflict. As a novel, it reads like a foretaste of Erich Maria Remarque's more famous chronicle of trench warfare, but it was able to exert a strong influence over war poets such as Sassoon and Owen at the apex of their creativity. For that reason alone it would demand our attention, but it's also a powerful novel in its own right.

    Jaroslav Hašek: The Good Soldier Švejk (1921-23)


  3. Jaroslav Hašek: The Good Soldier Švejk (1921-23)
  4. This may be the single greatest and most influential war novel of all time. It's the Don Quixote of the genre. Švejk has cast a long shadow over any subsequent attempts to glorify or idealise the details of warfare. Bert Brecht wrote a sequel, Schweik in the Second World War (1943), but he had little to add to Hašek's immortal original.

    Erich Maria Remarque: All Quiet on the Western Front (1929)


  5. Erich Maria Remarque: All Quiet on the Western Front (1929)
  6. The recent Oscar-winning German film adaptation of Im Westen nichts Neues (2022) - the latest in a long and distinguished line of such movies - made it obvious that its message has still not really got across. Remarque's harrowing anti-war novel was transformed in this new version into a bizarre and sadistic paean to German aggressiveness. The setting was shifted from the beginning to the end of the war, simply (it would seem) to allow for a scene where German soldiers take bloody revenge on the smug allied victors. It was clearly scripted by someone who still believed in the Nazi myth of the "stab in the back" by the (so-called) "November criminals" which cost Germany victory in the war. Hopefully this nonsense will soon sink into oblivion and allow Remarque's gentle, humane novel to be read again as it should be: as a denunciation of the absurdity of war.

    Jules Romains: Verdun (1938)


  7. Jules Romains: Verdun (1938)
  8. Jules Romains' immense roman-fleuve Les Hommes de bonne volonté [Men of Good Will] (1932-46) used to be listed in the Guinness Book of Records as the longest novel ever written. Maybe - maybe not. It all depends on what you call a novel. In any case, two of the volumes, Prélude à Verdun and Verdun, are often printed together as a single account of the battle, the longest and possibly the bloodiest single battle in the entire First World War, if not the whole of European history.

    Arnold Zweig: The Case of Sergeant Grischa (1927)


  9. Arnold Zweig: The Case of Sergeant Grischa (1927)
  10. Arnold Zweig (no relation to Stefan) was a German Jewish writer, a pacifist and a socialist. His major work, Der große Krieg der weißen Männer [The Great War of the White Men] (1927-57), a novel-cycle in six parts, includes the following titles:

    1. Der Streit um den Sergeanten Grischa [The case of Sergeant Grischa] (1927)
    2. Junge frau von 1914 [Young woman of 1914] (1931)
    3. Erziehung vor Verdun [Education before Verdun] (1935)
    4. Einsetzung eines königs [The crowning of a king] (1937)
    5. Die Feuerpause [The Ceasefire] (1954)
    6. Die Zeit ist reif [The time is ripe] (1957)

    The first in the series, The case of Sergeant Grischa, is by far the most famous. It's a satire on the bureaucracy which accompanies war, and which preoccupies higher command to the exclusion of mere victory in battle. Education before Verdun was also widely read at the time, as was Zweig's postwar novel The Axe of Wandsbeck (1947):
    based upon the Altona Bloody Sunday riot which resulted from the march by the Sturmabteilung, the original paramilitary wing of the Nazi Party, in Altona on 17 July 1932. The march turned violent and resulted in 18 people being shot dead, including four Communists ... who were beheaded for their alleged involvement in the riot.
    .



Pat Barker: The Regeneration Trilogy


I don't know if it's entirely fair of me to feel so suspicious of more contemporary attempts to revisit the landscapes of the two world wars in fiction. But it seems to me at times as if these scenes have become so familiar to us that most writers can whip up an ersatz trench scene or D-day scenario at the drop of a hat.

There are exceptions, however. I did find myself moved by Pat Barker's careful recreations of the world of the Great War poets and conscientious objectors in her Regeneration Trilogy: Regeneration (1991), The Eye in the Door (1993), and The Ghost Road (1995).

For the rest, though, these novels continue to pour out in all shapes and sizes, covering as many sides of the conflict as possible. It's becoming as clichéd a subject as the court intrigues of the Tudors, or the murderous ways of the early Roman Emperors ...






Norman Mailer (2013)

Norman Kingsley Mailer
(1923-2007)


    Novels:

  1. The Naked and the Dead (1948)
    • The Naked and the Dead. 1948. London: Allan Wingate (Publishers) Ltd., 1954.
  2. Barbary Shore (1951)
    • Barbary Shore. 1951. Ace Books. London: The New English Library Limited, 1961.
  3. The Deer Park (1955)
    • The Deer Park. 1957. A Corgi Book. London: Transworld Publishers, Ltd., 1967.
  4. An American Dream (1965)
    • An American Dream. 1965. Panther Books Limited. St Albans, Herts: Granada Publishing Limited, 1973.
  5. Why Are We in Vietnam? (1967)
    • Why Are We in Vietnam? 1967. London: Panther Books, 1970.
  6. A Transit to Narcissus (1978)
  7. Of Women and Their Elegance (1980)
  8. Ancient Evenings (1983)
    • Ancient Evenings. 1983. Picador. London: Pan Books Ltd., 1984.
  9. Tough Guys Don't Dance (1984)
    • Tough Guys Don’t Dance. 1984. Panther Books. London: Book Club Associates / Michael Joseph Ltd., 1985.
  10. Harlot's Ghost (1991)
    • Harlot's Ghost. 1991. Michael Joseph. Harmondsworth: The Penguin Group, 1991.
  11. The Gospel According to the Son (1997)
  12. The Castle in the Forest (2007)
    • The Castle in the Forest: A Novel. London: Little, Brown Book Group, 2007.

  13. Non-Fiction Novels:

  14. The Armies of the Night (1968)
    • The Armies of the Night: History as a Novel / The Novel as History. 1968. Harmondsworth: Penguin, 1971.
  15. Miami and the Siege of Chicago: An Informal History of the Republican and Democratic Conventions of 1968 (1968)
    • Miami and the Siege of Chicago: An Informal History of the Republican and Democratic Conventions of 1968. 1968. Harmondsworth: Penguin, 1969.
  16. Of a Fire on the Moon (1971)
    • A Fire on the Moon. 1970. London: Pan Books Ltd., 1971.
  17. St. George and The Godfather (1972)
  18. The Fight (1975)
    • The Fight. 1975. Penguin Twentieth-Century Classics. London: Penguin, 1991.
  19. The Executioner's Song (1979)
    • The Executioner's Song. 1979. London: Arrow Books Limited, 1980.

  20. Biographies:

  21. Marilyn: A Biography (1973)
    • Marilyn: A Biography. Pictures by the World's Foremost Photographers. London: Hodder & Stoughton Ltd., 1973.
  22. Portrait of Picasso as a Young Man: An Interpretive Biography (1995)
  23. Oswald's Tale: An American Mystery (1995)
    • Oswald’s Tale: An American Mystery. 1995. An Abacus Book. London: Little, Brown and Company (UK), 1996.

  24. Essays:

  25. The White Negro (1957)
  26. Advertisements for Myself (1959)
    • Advertisements for Myself. 1959. Panther Books Ltd. London: Granada Publishing Limited, 1972.
  27. The Presidential Papers (1963)
    • The Presidential Papers. 1963. Panther Books Ltd. Frogmore, St Albans, Herts: Granada Publishing Limited, 1976.
  28. Cannibals and Christians (1966)
    • Cannibals and Christians. 1966. London: Sphere Books Limited, 1969.
  29. The Bullfight: A Photographic Narrative with Text by Norman Mailer (1967)
  30. The Idol and the Octopus: Political Writings on the Kennedy and Johnson Administrations (1968)
  31. King of the Hill: Norman Mailer on the Fight of the Century (1971)
  32. The Long Patrol: 25 Years of Writing from the Work of Norman Mailer (1971)
  33. The Prisoner of Sex (1971)
    • The Prisoner of Sex. 1971. London: Sphere Books Limited, 1972.
  34. Existential Errands (1972)
  35. The Faith of Graffiti (1974)
  36. Genius and Lust: A Journey through the Major Writings of Henry Miller (1976)
  37. Some Honorable Men: Political Conventions, 1960-1972 (1976)
  38. Of a Small and Modest Malignancy, Wicked and Bristling with Dots (1980)
  39. Pieces and Pontifications (1982)
  40. Conversations with Norman Mailer (1988)
  41. The Time of Our Time (1998)
    • The Time of Our Time. 1998. An Abacus Book. London: Little, Brown and Company (UK), 1999.
  42. The Spooky Art: Some Thoughts on Writing (2003)
  43. Why Are We At War? (2003)
  44. The Big Empty (2006)
  45. On God: An Uncommon Conversation. With J. Michael Lennon (2007)

  46. Stories:

    1. The Collision (1933)
    2. It (1939) [SF]
    3. The Greatest Thing in the World (1940) [SF]
    4. Right Shoe on Left Foot (1941)
    5. Maybe Next Year (1941[) [SF]
    6. A Calculus at Heaven (1942) [SF]
    7. Love Buds (1942–43)
    8. Great in the Hay (1950) [SF]
    9. The Blood of the Blunt (1951)
    10. Dr. Bulganoff and the Solitary Teste (1951)
    11. La Petite Bourgeoise (1951)
    12. Pierrot [aka "The Patron Saint of MacDougal Alley"] (1951) [SF]
    13. The Thalian Adventure (1951)
    14. The Paper House (1951–1952) [SF]
    15. The Dead Gook (1951–1952) [SF]
    16. The Language of Men (1951–1952) [SF]
    17. The Notebook (1951–1952) [SF]
    18. The Man Who Studied Yoga (1951–1952) [SF]
    19. Advertisements for Myself on the Way Out (1958) [SF]
    20. The Time of Her Time (1958) [SF]
    21. The Killer: a Story (1960) [SF]
    22. Truth and Being: Nothing and Time (1960) [SF]
    23. The Last Night: a Story (1962) [SF]
    24. The Locust Cry (1963) [SF]
    25. The Shortest Novel of Them All (1963) [SF]
    26. Ministers of Taste: A Story (1965) [SF]

    Short Story Collections:

  47. The Short Fiction of Norman Mailer (1967) [SF]

  48. Plays and screenplays:

  49. The Deer Park: A Play (1967)
  50. Maidstone: A Mystery (1971)

  51. Poetry:

  52. Deaths for the Ladies (And Other Disasters) (1962)
    • Deaths for the Ladies (and other disasters). New York: G. P. Putnam's Sons, 1962.
  53. Modest Gifts: Poems and Drawings (2003)

  54. Letters:

  55. Norman Mailer's Letters on An American Dream, 1963-1969 (2004)
  56. The Selected Letters of Norman Mailer (2014)

  57. Secondary:

  58. Hilary Mills. Mailer: A Biography. 1982. London: New English Library, 1983.
  59. Peter Manso. Mailer: His Life and Times (1985)
  60. J. Michael Lennon. Norman Mailer: A Double Life (2013)
  61. Richard Bradford. Tough Guy: The Life of Norman Mailer (2023)




Herman Wouk (1972)

Herman Wouk
(1915-2019)


    Novels:

  1. Aurora Dawn (1947)
  2. City Boy: The Adventures of Herbie Bookbinder (1948)
  3. The Caine Mutiny (1951)
  4. Marjorie Morningstar (1955)
  5. Slattery's Hurricane (1956)
  6. The "Lomokome" Papers (1956)
  7. Youngblood Hawke (1962)
  8. Don't Stop the Carnival (1965)
  9. The Winds of War (1971)
  10. War and Remembrance (1978)
  11. Inside, Outside (1985)
  12. The Hope (1993)
  13. The Glory (1994)
  14. A Hole in Texas (2004)
  15. The Lawgiver (2012)

  16. Plays:

  17. The Man in the Trench Coat (1941)
  18. The Traitor (1949)
  19. The Caine Mutiny Court-Martial (1953)
  20. Nature's Way (1957)

  21. Non-fiction:

  22. This is My God: The Jewish Way of Life (1959)
  23. The Will to Live On: This is Our Heritage (2000)
  24. The Language God Talks: On Science and Religion (2010)
  25. Sailor and Fiddler: Reflections of a 100-Year Old Author (2015)


Herman Wouk: The Caine Mutiny (1951)





Friday, October 18, 2024

Hammett & Hellman


Kathy Bates, dir.: Dash and Lilly (2000)


The reality may not have been quite so glamorous as the picture above, but it's fair to say that they were, in their way, a handsome pair:



Here are the two of them again, from Fred Zinneman's 1977 movie Julia, based on a chapter from Lillian Hellman's memoir Pentimento: A Book of Portraits (1973):



They've become one of those legendary couples, like Humphrey Bogart and Lauren Bacall, Clark Gable and Carole Lombard - or Laurence Olivier and Vivien Leigh. Lillian Hellman and Dashiell Hammett, too, were in show business, but on the typewriter side of the ledger rather than in front of the camera.

Except once.



They were also pretty dedicated Communists. Hammett was sent to prison in 1951 when the Civil Rights Congress, of which he was president, was designated a Communist front group by the US Attorney General. He spent over a year in jail for refusing to name any of the people who had contributed to the CRC bail fund, and who might therefore have been liable to being accused of being Reds or Fellow Travellers:
Instead, on every question regarding the CRC or the bail fund, Hammett declined to answer, citing the Fifth Amendment, refusing to even identify his signature or initials on CRC documents the government had subpoenaed.
On his release, he was definitively blacklisted, after refusing to cooperate or name names during a further appearance before HUAC, Senator Joseph McCarthy's House Un-American Activities Committee. This had the effect of depriving him of any income from his books or films for virtually the rest of his life.

Perhaps it's sentimental of me, but I find it difficult to argue with Hellman's verdict that he submitted to prison rather than reveal the names of the contributors to the fund because "he had come to the conclusion that a man should keep his word."

The fact that he subsequently revealed that he didn't actually know any of their names - he'd had nothing to do with that particular piece of fund-raising - adds the essential touch of deadpan Hammettian irony to the whole sorry affair.


Lewis Milestone, dir.: The North Star (1943)


Hellman herself is a more complex case. She was definitely sympathetic to the Communist line, and her wartime propaganda film North Star shows the most naive attitudes towards Stalinist Russia. However, one should add in her defence that every attempt she made to introduce a tincture of realism into the script was immediately vetoed by the studio.

Despite its absurdities, the film was unexpectedly popular in Russia, as she found when she was despatched on a semi-official visit to America's wartime ally a few months later.


Lillian Hellman: Watch on the Rhine (1941)


More significantly, at the height of the Nazi-Soviet pact, when anyone toeing the the Communist party line was strictly forbidden from criticising Hitler, her popular stage play "The Watch on the Rhine" argued a fiercely anti-Nazi position. She can hardly therefore be accused of being a simple tool of the party, given the amount of criticism she received from her more radical colleagues for this act of deviationism at the time.

A few months later, after Hitler's invasion of Russia, the same people were queueing up to praise Hellman's "prescient" play to the skies.


Lillian Hellman: Scoundrel Time (1941)


Hellman's own testimony before HUAC remains a controversial matter to this day. Like Hammett, she refused to name names. However, having seen the effect it had on him, she was also anxious to avoid going to prison, which would have been the inevitable result of her willingness to testify on some matters - such as her own activities in the 1930s and 1940s - but not others, i.e. the names of the people who had participated in the committees and congresses she attended at the time.

Her lawyer, Joseph Rauh, experienced in these matters, advised her to record her views in a letter to the Chairman of the Committee, and then ask to be allowed to read it out at the hearing. While the Committee rejected her request to be permitted to testify only about herself but not others, they did agree to enter her letter into the record.

The moment that decision was handed down, Rauh's assistant promptly started to distribute printed copies of the letter to as many as possible of the journalists present, despite strenuous attempts to stop him by the Committee's security guards. Hellman's (and Rauh's) letter was a rhetorical masterpiece, with one phrase in particular which has gone down in history:
I do not like subversion or disloyalty in any form and if I had ever seen any I would have considered it my duty to have reported it to the proper authorities. But to hurt innocent people whom I knew many years ago in order to save myself is, to me, inhuman and indecent and dishonorable. I cannot and will not cut my conscience to fit this year's fashions [my emphasis], even though I long ago came to the conclusion that I was not a political person and could have no comfortable place in any political group. I was raised in an old-fashioned American tradition and there were certain homely things that were taught to me: to try to tell the truth, not to bear false witness, not to harm my neighbour, to be loyal to my country, and so on. In general, I respected these ideals of Christian honor and did as well as I knew how. It is my belief that you will agree with these simple rules of human decency and will not expect me to violate the good American tradition from which they spring. I would therefore like to come before you and speak of myself.
You can't send the grand old lady of American Theatre to jail after she's trumpeted "I cannot and will not cut my conscience to fit this year's fashions" right in your face. The committee saw that they'd been out-grandstanded, and were forced to content themselves with the inevitable blacklisting and loss of all income which followed her appearance before them.

Somewhat of a Pyrrhic victory, one might say, but a victory nevertheless.


Jay Roach, dir.: Trumbo (2015)


So were Hammett and Hellman heroes or villains? Neither, really. They were certainly criminally naive in their judgement of Stalin and Stalinism, but it's hard to see laissez-faire Capitalism as all that much better in the various ways it's raped and pillaged the world we've inherited from these warring ideologies.

Certainly portraying McCarthyism as an evil commensurate with the Soviet gulag, as politically simplistic films such as Trumbo implicitly do, is not really a viable position - but I suppose it's the ease with which all democratic safeguards were set aside in the late 1940s and 1950s which explains why we keep on returning to this period again and again: whether the stricken hero in question be Oppenheimer, Trumbo, or Dashiell Hammett.


Richard Davenport-Hines: Enemies Within (2019)


The situation in Britain at this time was complicated by the undeniable presence of actual Communist agents at the highest levels of the government and, in particular, the secret services. Richard Davenport-Hines' recent, rather hysterical, book on the subject attempts to argue that the real damage done by Burgess, Philby, Maclean and co. was to the public's faith in Establishment values.

He attributes BREXIT and various other contemporary follies to the fact that people no longer trust any information that reaches them from "official" channels. Oddly, he fails to see any problem with the actual falsehoods peddled by successive British governments beyond the fact that no-one seems inclined to believe them on their mere say-so anymore.



After Hammett's death - and without his restraining critical influence - Hellman decided to set the record straight in a set of very selective and, it would now appear, heavily fictionalised memoirs.

In Pentimento, in particular, she wrote a long section about an old friend of hers, disguised under the pseudonym "Julia", who'd been a political activist in Spain, then Austria, in the late 1930s, and who once asked Hellmann to smuggle some funds to her through Nazi Germany to support the anti-Fascist cause.

The actual existence of this Julia - played by Vanessa Redgrave alongside Jane Fonda's Lillian Hellman in the 1977 film of the same name - has been called into question. It's also been suggested that Julia may have been based on the Freudian psychiatrist Muriel Gardiner, who was indeed active in anti-Fascist politics in Austria at the time.

Hellman, however, denied it, and continued to claim that her story was true, despite the fact that she'd had to change her friend's name. Nor had she ever met Muriel Gardiner. As she wrote to the film's producer at the time:
I do not deny the danger I was in when I took the money into Germany ... And nobody and nothing can change that unless you write a fictional and different story ... Isn't it necessary to know that I am a Jew? That, of course, is what mainly made the danger.
Entertaining though they are, and successful though they were at the time, these books gave her enemies all the ammunition they needed to cut her down to size once and for all. Mary McCarthy, in particular, an ex-Trotskyite who'd maintained her hatred of Stalinists since the late 1930s, took the opportunity to denounce Hellman in no uncertain terms on an episode of the Dick Cavett Show:

Mary McCarthy (1912-1989)
McCarthy ... called Hellman “a bad writer, overrated, a dishonest writer” during an interview with TV host Dick Cavett on his national talk show in late January of 1980. When Cavett asked what exactly was dishonest about Hellmann, McCarthy replied, "Everything. I once said in an interview that everything she writes is a lie, including 'and' and 'the.'"
Hellman promptly sued McCarthy for libel, and the case limped along without coming to trial - despite McCarthy's unavailing attempts to have it dismissed on the grounds that "her comments were simply her opinions about a public figure" - until it was abandoned by Hellman's executors after her death in mid-1984.

Admirers of McCarthy's waspish wit continue to quote that "everything she writes is a lie, including 'and' and 'the'" bon mot with glee. Long ago bitchiness from famous figures - even that of long-faded littérateurs such as Mary McCarthy - tends to have that effect.

For myself, despite all the personal and political stumbles she undoubtedly made in her long life, despite all her grande dame affectations and her admitted elisions of history, I find that Hellman appeals to me in a way her two principal detractors - both of them surnamed McCarthy, oddly enough - do not.



For all its ups-and-downs and complexities, the Hellman-Hammett alliance still has a certain lustre to it. They may have been complex, flawed people, but they were willing to put everything on the line when it counted. Hellman's famous letter to the committee was certainly a very calculated act of defiance, but defiant it undoubtedly was:
... to hurt innocent people whom I knew many years ago in order to save myself is, to me, inhuman and indecent and dishonorable. I cannot and will not cut my conscience to fit this year's fashions ... I was raised in an old-fashioned American tradition and there were certain homely things that were taught to me: to try to tell the truth, not to bear false witness, not to harm my neighbour, to be loyal to my country, and so on. In general, I respected these ideals of Christian honor and did as well as I knew how.
That phrase about "Christian honor" may sound a little discordant to us now, but when you consider it comes from a Jewish woman writer, one who fought Hitler and Fascism long before it became fashionable, it takes on a more complex meaning.

This was a woman who dispassionately analysed the wrongs of her own family and caste in such plays as The Little Foxes (1939), wrote presciently about witch-hunts in her first play The Children's Hour (1934), and who thought nothing of defying every convention of "womanly" behaviour in her own private life.

She was, in short, every male chauvinist's worst nightmare. The laconic Dashiell Hammett needs no defence from me or anyone else, given his almost mythic status in American letters. I do, however, think it's high time for a bit more celebration of his partner in life and literature, Lillian Hellman.


Carl Rollyson: Lillian Hellman: Her Life and Legend (1912-1989)





Lillian Hellman (1935)

Lillian Florence Hellman
(1905–1984)


Books I own are marked in bold:
    Plays:

  1. The Children's Hour (1934)
  2. Days to Come (1936)
  3. The Little Foxes (1939)
    • The Little Foxes: A Play in Three Acts. New York: Random House, 1939.
  4. Watch on the Rhine (1941)
  5. Four Plays: The Children's Hour / Days to Come / The Little Foxes / Watch on the Rhine (1942)
  6. The Searching Wind (1944)
  7. Another Part of the Forest (1946)
  8. Montserrat [Adapted from Emmanuel Robles' play] (1949)
  9. The Autumn Garden (1951)
  10. The Lark [Adapted from Jean Anouilh's play L'Alouette] (1955)
  11. Toys in the Attic (1960)
  12. Six Plays: The Children's Hour / Days to Come / The Little Foxes / Watch on the Rhine / Another Part of the Forest / The Autumn Garden (1960)
  13. My Mother, My Father and Me [Adapted from Burt Blechman's novel How Much?] (1963)
  14. The Collected Plays: The Children's Hour / Days to Come / The Little Foxes / Watch on the Rhine / The Searching Wind / Another Part of the Forest / Montserrat / The Autumn Garden / The Lark / Candide / Toys in the Attic / My Mother, My Father and Me (1972)

  15. Novel:

  16. Maybe: A Story (1980)

  17. Operetta:

  18. Candide (1956)

  19. Screenplays:

  20. [with Mordaunt Shairp] The Dark Angel [based on the play by Guy Bolton] (1935)
  21. These Three [based on her play The Children's Hour] (1936)
  22. Dead End [based on the play by Sidney Kingsley] (1937)
  23. The Little Foxes [based on her play] (1941)
  24. The North Star (1943)
  25. The Searching Wind [based on her play] (1946)
  26. The Chase [based on the play by Horton Foote] (1966)

  27. Memoirs:

  28. An Unfinished Woman: A Memoir (1969)
  29. Pentimento: A Book of Portraits (1973)
  30. Scoundrel Time (1976)
  31. Three (1979)
    • Three: An Unfinished Woman: A Memoir / Pentimento / Scoundrel Time: With New Commentaries by the Author. 1969, 1973 & 1976. Introduction by Richard Poirier. London: Macmillan London Limited, 1979.
  32. [with Peter Feibleman] Eating Together: Recipes and Recollections, with Peter Feibleman (1984)

  33. Edited:

  34. The Selected Letters Of Anton Chekhov (1955)
  35. Dashiell Hammett: The Big Knockover (1966)
    • The Dashiell Hammett Story Omnibus. Ed. Lillian Hellman. London: Cassell & Co. Ltd., 1966.

  36. Secondary:

  37. Rollyson, Carl. Lillian Hellman: Her Legend and Her Legacy. New York: St. Martin's Press, 1988.




Dashiell Hammett (1935)

Samuel Dashiell Hammett
(1894–1961)


    Novels:

  1. Red Harvest (1929)
  2. The Dain Curse (1929)
  3. The Maltese Falcon (1930)
  4. The Glass Key (1931)
  5. The Thin Man (1934)
  6. The Dashiell Hammett Omnibus (1950) [DHO]
    1. Red Harvest
    2. Dead Yellow Women
    3. The Dain Curse
    4. The Golden Horseshoe
    5. The Maltese Falcon
    6. House Dick
    7. The Glass Key
    8. Who Killed Bob Teal?
    9. The Thin Man
    • The Dashiell Hammett Omnibus: Red Harvest / The Dain Curse / The Maltese Falcon / TheGlass Key / The Thin Man & Four Short Stories. A Crime Connnoisseur Book. London: Cassell & Co. Ltd., 1950.
  7. Complete Novels. Ed. Steven Marcus (Library of America, 1999)
    • Complete Novels: Red Harvest; The Dain Curse; The Maltese Falcon; The Glass Key; The Thin Man. Ed. Steven Marcus. The Library of America, 110. New York: Literary Classics of the United States, Inc., 1999.

  8. Short Stories:

  9. The Big Knockover. Ed. Lillian Hellman (1966) [BK]
    1. The Gutting of Couffignal
    2. Fly Paper
    3. The Scorched Face
    4. This King Business
    5. The Gatewood Caper
    6. Dead Yellow Women
    7. Corkscrew
    8. Tulip
    9. The Big Knock-Over
    10. $106,000 Blood Money
    • The Dashiell Hammett Story Omnibus [aka "The Big Knockover"]. Ed. Lillian Hellman. London: Cassell & Co. Ltd., 1966.
  10. The Continental Op. Ed. Steven Marcus (1974) [CO]
    1. The Tenth Clew
    2. The Golden Horseshoe
    3. The House in Turk Street
    4. The Girl with the Silver Eyes
    5. The Whosis Kid
    6. The Main Death
    7. The Farewell Murder
    • The Continental Op. Ed. Steven Marcus. 1974. Picador. London: Pan Books Ltd., 1977.
  11. Nightmare Town (1999) [NT]
  12. Crime Stories and Other Writings. Ed. Steven Marcus. (Library of America, 2001) [CS]
      Crime Stories:
    1. Arson Plus
    2. Slippery Fingers
    3. Crooked Souls
    4. The Tenth Clew
    5. Zigzags of Treachery
    6. The House in Turk Street
    7. The Girl with the Silver Eyes
    8. Women, Politics and Murder
    9. The Golden Horseshoe
    10. Nightmare Town
    11. The Whosis Kid
    12. The Scorched Face
    13. Dead Yellow Women
    14. The Gutting of Couffignal
    15. The Assistant Murderer
    16. Creeping Siamese
    17. The Big Knock-Over
    18. $106,000 Blood Money
    19. The Main Death
    20. This King Business
    21. Fly Paper
    22. The Farewell Murder
    23. Woman in the Dark
    24. Two Sharp Knives
    25. Other Writings:
    26. The Thin Man: An Early Typescript
    27. From the Memoirs of a Private Detective
    28. Suggestions to Detective Story Writers
    • Crime Stories and Other Writings. Ed. Steven Marcus. The Library of America, 125. New York: Literary Classics of the United States, Inc., 2001.
  13. Lost Stories. Introduction by Joe Gores (2005) [LS]
  14. The Hunter and Other Stories. Ed. Richard Layman & Julie M. Rivett (2013) [Hunter]
  15. The Big Book of the Continental Op (2017) [BCO]

  16. Stories:

    1. The Parthian Shot (1922) [LS]
    2. [as Daghull Hammett] Immortality (1922) [LS]
    3. [as Peter Collinson] The Barber and His Wife (1922) [LS]
    4. [as Peter Collinson] The Road Home (1922) [LS]
    5. The Master Mind (1923) [LS]
    6. [as Peter Collinson] The Sardonic Star of Tom Doody [aka "Wages of Crime"] (1923) [LS]
    7. [as Peter Collinson] The Vicious Circle [aka “The Man Who Stood in the Way”] (1923) [Woman in the Dark (1951)]
    8. The Joke on Eloise Morey (1923) [LS]
    9. Holiday (1923) [LS]
    10. [as Mary Jane Hammett] The Crusader (1923) [LS]
    11. [as Peter Collinson] Arson Plus (1923) [CS] [BCO]
    12. The Dimple [aka "In the Morgue"] (1923) [LS]
    13. Crooked Souls [aka "The Gatewood Caper"] (1923) [BK] [CS] [BCO]
    14. [as Peter Collinson] Slippery Fingers (1923) [CS] [BCO]
    15. The Green Elephant (1923) [LS]
    16. It [aka "The Black Hat That Wasn't There"] (1923) [BCO]
    17. The Second-Story Angel (1923) [NT]
    18. [as Peter Collinson] Laughing Masks [aka "When Luck's Running Good"] (1923) [LS]
    19. Bodies Piled Up [aka "House Dick"] (1923) [DHO] [BCO]
    20. [as Peter Collinson] Itchy [aka "Itchy the Debonair"] (1924) [LS]
    21. The Tenth Clew [aka "The Tenth Clue"] (1924) [CO] [CS] [BCO]
    22. The Man Who Killed Dan Odams (1924) [NT]
    23. Night Shots (1924) [BCO]
    24. The New Racket [aka "The Judge Laughed Last"] (1924) [The Adventures of Sam Spade (1944)]
    25. Esther Entertains (1924) [LS]
    26. Afraid of a Gun (1924) [NT]
    27. Zigzags of Treachery (1924) [CS] [BCO]
    28. One Hour (1924) [BCO]
    29. The House in Turk Street (1924) [CO] [CS] [BCO]
    30. The Girl with the Silver Eyes (1924) [CO] [CS] [BCO]
    31. Women, Politics and Murder [aka "Death on Pine Street" / "A Tale of Two Women"] (1924) [CS] [BCO]
    32. The Golden Horseshoe (1924) [CO] [CS] [DHO] [BCO]
    33. Who Killed Bob Teal? (1924) [DHO] [BCO]
    34. Nightmare Town (1924) [CS]
    35. Mike, Alec or Rufus? [aka "Tom, Dick or Harry?"] (1925) [BCO]
    36. Another Perfect Crime (1925) [LS]
    37. The Whosis Kid (1925) [CO] [CS] [BCO]
    38. Ber-Bulu [aka "The Hairy One"] (1925) [LS]
    39. The Scorched Face (1925) [BK] [CS] [BCO]
    40. Corkscrew (1925) [BK] [BCO]
    41. Ruffian's Wife (1925) [NT]
    42. Dead Yellow Women (1925) [DHO] [BK] [CS] [BCO]
    43. The Glass That Laughed (1925) [Electric Literature (2017)]
    44. The Gutting of Couffignal (1925) [BK] [CS] [BCO]
    45. The Nails in Mr. Cayterer (1926) [The Creeping Siamese (1950)]
    46. The Assistant Murderer [aka "First Aide to Murder"] (1926) [CS]
    47. Creeping Siamese (1926) [CS] [BCO]
    48. The Advertising Man Writes a Love Letter (1927) [LS]
    49. The Big Knock-Over (1927) [BK] [CS] [BCO]
    50. $106,000 Blood Money (1927) [BK] [CS] [BCO]
    51. The Main Death (1927) [CO] [CS] [BCO]
    52. The Cleansing of Poisonville [reworked into Red Harvest] (1927) [BCO]
    53. Crime Wanted—Male or Female [reworked into Red Harvest] (1927) [BCO]
    54. This King Business (1928) [BK] [CS] [BCO]
    55. Dynamite [reworked into Red Harvest] (1928) [BCO]
    56. The 19th Murder [reworked into Red Harvest] (1928) [BCO]
    57. Black Lives [reworked into The Dain Curse] (1928) [BCO]
    58. The Hollow Temple [reworked into The Dain Curse] (1928) [BCO]
    59. Black Honeymoon [reworked into The Dain Curse] (1929) [BCO]
    60. Black Riddle [reworked into The Dain Curse] (1929) [BCO]
    61. Fly Paper (1929) [BK] [CS] [BCO]
    62. [as Samuel Dashiell] The Diamond Wager (1929) [Hunter]
    63. The Farewell Murder (1930) [CO] [CS] [BCO]
    64. The Glass Key [reworked into The Glass Key] (1930)
    65. The Cyclone Shot [reworked into The Glass Key] (1930)
    66. Dagger Point [reworked into The Glass Key] (1930)
    67. The Shattered Key [reworked into The Glass Key] (1930)
    68. Death and Company (1930) [BCO]
    69. On the Way (1932) [Hunter]
    70. A Man Called Spade (1932) [NT]
    71. Too Many Have Lived (1932) [NT]
    72. They Can Only Hang You Once [aka ] (1932) [NT]
    73. Woman in the Dark [3 parts] (1933) [CS]
    74. Night Shade (1933) [LS]
    75. Albert Pastor at Home (1933) [Nightmare Town (1948)]
    76. Two Sharp Knives [aka "To a Sharp Knife"] (1934) [CS]
    77. His Brother's Keeper (1934) [NT]
    78. This Little Pig (1934) [LS]
    79. The Thin Man and the Flack (1941) [LS]
    80. Tulip [unfinished novel] [BK]
    81. A Man Named Thin [aka "The Figure of Incongruity"] (1961) [NT]
    82. Seven Pages (2005) [Hunter]
    83. Faith (2007) [Hunter]
    84. So I Shot Him [aka "The Cure"] (2011 [Hunter]
    85. The Hunter (2013) [Hunter]
    86. The Sign of the Potent Pills (2013) [Hunter]
    87. Action and the Quiz Kid (2013) [Hunter]
    88. Fragments of Justice (2013) [Hunter]
    89. A Throne for the Worm (2013) [Hunter]
    90. Magic (2013) [Hunter]
    91. An Inch and a Half of Glory (2013) [Hunter]
    92. Nelson Redline (2013) [Hunter]
    93. Monk and Johnny Fox (2013) [Hunter]
    94. The Breech-Born (2013) [Hunter]
    95. The Lovely Strangers (2013) [Hunter]
    96. Week-End (2013) [Hunter]
    97. A Knife Will Cut for Anybody [Unfinished] (2013)[Hunter]
    98. The Secret Emperor [Unfinished] (2013)[Hunter]
    99. Time to Die [Unfinished] (2013) [Hunter]
    100. September 20, 1938 [Unfinished] (2013)[Hunter]
    101. Three Dimes [Unfinished] (2017) [BCO]
    102. The Man Who Loved Ugly Women (n.d.) [LS]

    Screenplays:

  17. Watch on the Rhine [based on Lillian Hellman's play] (1943)

  18. Screen Stories:

  19. The Kiss-Off [City Streets] (1931) [Hunter]
  20. Devil's Playground [unproduced] [Hunter]
  21. On the Make [Mister Dynamite] (1935) [Hunter]
  22. After the Thin Man (1936) [Hunter]
  23. Another Thin Man (1939) [Hunter]
  24. Sequel to the Thin Man [unproduced] [Hunter]

  25. Non-fiction:

  26. The Great Lovers (The Smart Set, 1922)
  27. From the Memoirs of a Private Detective (The Smart Set, 1923)
  28. In Defence of the Sex Story (The Writer's Digest, 1924)
  29. Three Favorites (Black Mask, 1924, Short autobiographies of Francis James, Dashiell Hammett and C. J. Daly.)
  30. Vamping Sampson (The Editor, 1925)
  31. The Advertisement IS Literature (Western Advertising, 1926)
  32. Advertising Art Isn't Art —- It's Advertising (Western Advertising, 1927)
  33. Have You Tried Meiosis? (Western Advertising, 1928)
  34. The Literature of Advertising in 1927 (Western Advertising, 1928)
  35. The Editor Knows His Audience (Western Advertising, 1928)
  36. [with Robert Colodny] The Battle of the Aleutians. [pamphlet]. Illustrated by Harry Fletcher. Adak, Alaska: Field Force Headquarters, 1944.

  37. Edited:

  38. Creeps by Night: Chills and Thrills (1931)

  39. Comics:

  40. Secret Agent X-9, Book 1. [Daily comic strip]. Illustrated by Alex Raymond (David McKay Publications, 1934)
  41. Secret Agent X-9, Book 2. Illustrated by Alex Raymond (David McKay Publications, 1934)
  42. Secret Agent X-9. Illustrated by Alex Raymond (Nostalgia Press, NY, 1976)
  43. Dashiell Hammett's Secret Agent X-9. Illustrated by Alex Raymond (International Polygonics Ltd, 1983)
  44. Secret Agent X-9. Illustrated by Alex Raymond (Kitchen Sink Press, 1990)
  45. [with Leslie Charteris] Secret Agent X-9. Illustrated by Alex Raymond (IDW Publishing, 2015)

  46. Film Adaptations:

  47. Roadhouse Nights [adaptation of Red Harvest] (1930)
  48. The Maltese Falcon (1931)
  49. Woman in the Dark (1934)
  50. The Thin Man (1934)
  51. The Glass Key (1935)
  52. Satan Met a Lady [adaptation of The Maltese Falcon] (1936)
  53. After the Thin Man (1936)
  54. Another Thin Man (1939)
  55. The Maltese Falcon (1941)
  56. The Glass Key (1942)
  57. No Good Deed [adaptation of "The House in Turk Street"] (2002)

  58. Letters:

  59. The Selected Letters of Dashiell Hammett, 1921-1960. Ed. Richard Layman & Julie M. Rivett. Introduction by Josephine Hammett Marshall. Washington, DC: Counterpoint, 2001.

  60. Secondary:

  61. Johnson, Diane. Dashiell Hammett: A Life. New York: Random House, 1983.


Joan Mellen: Hellman and Hammett (1996)