For the time being, the detective story ‘The Case Of The Five Ties’ will be discontinued. Writing crime fiction isn’t at my core, it seems.
As large organizations must ‘strategically realign and re-position‘ themselves due to ‘changing market conditions’, I, too, must ‘implement departmental changes‘ within Navincorp. Wiley, Harry and Oliveira are now free to find meaningful work in different stories, with different character arcs. Many plots are doing quite well right now. Handsomely, in fact.
To those saying my brisk and sudden beeline towards the tall grasses, where a man may find quiet repose, lacks certain qualities of leadership. Cowards, all of you.
Thanks for the email suggestions. A few of you should CLEARLY be writing your own stories. Keep at it.
The black and white was made in 1924, and is probably most evocative of noir.
I think Raymond Chandler’s High Window is the best of the detective novel.
Here are some quotations of his, if you’re interested.
“Los Angeles was just a big dry sunny place with ugly homes and no style, but good-hearted and peaceful. It had the climate they yap about now. People used to sleep out on porches. Little groups who thought they were intellectual used to call it the Athens of America.”
Here is the link. It’s been a long time since they just reviewed the book and not the author.
The poem that most came to mind:
Acquainted with the Night
I have been one acquainted with the night. I have walked out in rain—and back in rain. I have outwalked the furthest city light.
I have looked down the saddest city lane. I have passed by the watchman on his beat And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet When far away an interrupted cry Came over houses from another street,
But not to call me back or say good-bye; And further still at an unearthly height, One luminary clock against the sky
Proclaimed the time was neither wrong nor right. I have been one acquainted with the night.
If you were a kid at the right time, you caught snatches of detective shows on T.V; maybe without having ever watched a full episode.
Columbo seemed rumpled but classy, deceptively ensnaring his prey. Magnum P.I. drove a Ferrari and had a friend with a helicopter. Matlock was clearly for the Olds.
One night, we caught an episode of Stacy Keach as Mike Hammer. The intro screen advertised ‘Mickey Spillane’s’ Mike Hammer.‘
Intrigued by a rumor filtered down from the adults, my brother grabbed a phone book. Mickey Spillane’s listed. He lives nearby.
‘It’s ringing.‘ He says.
‘Mr Spillane? I just wanted to say we’re here watching Mike Hammer and we’re nearby and we really like it.’
‘Yes.‘ my brother says. ‘Sure.’
‘Thank you Mr. Spillane.‘
—
The photo below reminds me of a poster for a knock-off T.V. detective.
I’m strolling by and see a single shaft of weak light falling though a Pioneer square bar. It’s falling right on this gentleman on the corner seat. He sees me seeing him.
Should I take the shot?
I raise my camera and start snapping away as I walk towards the entrance (me and God/the Gods are working this behavior out).
—
There’s absolutely nothing funny about Telly Savalas playing Kojak as reported by Norm MacDonald to Jerry Seinfeld, shattering naive fictions in solving a T.V. crime-drama:
Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway‘.
Many of the images in Subway are sensual, dangerous and raw, but then again, so was the NYC subway in about 1979 or 1980. Davidson plays with different exposures, techniques and settings, eventually deciding on using color to depict what he saw. He also reportedly toned-up physically, geared-up, and mentally prepared himself to get off and on those subway cars during the project. He had some undercover city cops with him a few times.
Imagine how conspicuous a new Nikon/Canon DSLR and a flash would make you in one of those cars at night (he, in fact, had one camera stolen).
Come for the raw, dangerous subject matter and the vicarious risk (oh yeah, it can happen again…just stay tuned). Stay for Davidson’s compositions, subtle use of light and color, and the genuine humanity he found within his larger vision.
Is a certain dangerous, glamorous adventure beneath you?
What about in your prime?
What can the ‘rebellious’ artists overlook in their search for ‘humanity’? What can they see pretty clearly through the lens?
—
—
It’s not like these problems haven’t been with us for a while. Without police protection, you’ll probably get worse outcomes and more retributive violence. A reader sends a link to The Confessions Of Bernhard Goetz, subway vigilante:
There’s a lot here: Genuine threat (thugs), fear, real victimization (previous muggings and a likely soon-to-be mugging), but also serious ignorance and over-reaction.
I imagine Goetz was a bit like a feral animal fleeing out of that subway car, up the station stairs and into the night.
From min 33:40:
The question to be litigated was whether the community would make a judgment about his (Goetz) own good faith belief….are we in a position to condemn him for over-reacting?
—
Great interview on matters of NYC crime from a reporter and a cop active at the time. From Jeffrey Epstein to the Bernie Goetz backstory (starts at min 26:00):
NYC couldn’t protect Goetz from a robbery 6 months before (permanent trauma and kneecap damage), and wouldn’t let him get a gun. He likely saw his assailant likely get out of the precinct before he did that time around.
So, a law-abiding equipment-tester gets and muggable-looking guy gets a gun, ready for the eventual ‘give me five-dollars’ subway fun.
And…he overreacts…but…can you blame him?
—
From The Warriors to Dirty Harry to Death Wish, a certain gritty, pulpy style was born. One of the main desires of men, especially, is to quash injustice and heroically protect that which falls under their honor. When the authorities can’t combat crime in public transport, or choose to enforce the law selectively, then the desire for vengeance, punishment and order finds outlets.
Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway‘.
Many of the images in Subway are sensual, dangerous and raw, but then again, so was the NYC subway in about 1979 or 1980. Davidson plays with different exposures, techniques and settings, eventually deciding on using color to depict what he saw. He also reportedly toned-up physically, geared-up, and mentally prepared himself to get off and on those subway cars during the project. He had some undercover city cops with him a few times.
Imagine how conspicuous a new Nikon/Canon DSLR and a flash would make you in one of those cars at night (he, in fact, had one camera stolen).
Come for the raw, dangerous subject matter and the vicarious risk (oh yeah, it can happen again…just stay tuned). Stay for Davidson’s compositions, subtle use of light and color, and the genuine humanity he found within his larger vision.
Is a certain dangerous, glamorous adventure beneath you?
What about in your prime?
—
—
It’s not like these problems haven’t been with us for a while. Without police protection, you’ll probably get worse outcomes and more retributive violence. A reader sends a link to The Confessions Of Bernhard Goetz, subway vigilante:
There’s a lot here: Genuine threat (thugs), fear, real victimization (previous muggings and a likely soon-to-be mugging), but also serious ignorance and over-reaction.
I imagine Goetz was a bit like a feral animal fleeing out of that subway car, up the station stairs and into the night.
From min 33:40:
The question to be litigated was whether the community would make a judgment about his (Goetz) own good faith belief….are we in a position to condemn him for over-reacting?
—
From The Warriors to Dirty Harry to Death Wish, a certain gritty, pulpy style was born. One of the main desires of men, especially, is to quash injustice and heroically protect that which falls under their honor. When the authorities can’t combat crime in public transport, or choose to enforce the law selectively, then the desire for vengeance, punishment and order finds outlets.
