Books: James Crumley, 1939-2008

Word comes that James Crumley has died of congestive heart failure. At least one of his novels, The Last Good Kiss earned him a seat at the table with Dashiell Hammett and Raymond Chandler, and another, Dancing Bear, is for me one of the best American novels of the last fifty years.
A lot of us have the first line of The Last Good Kiss memorized, like the opening of Moby Dick or Pride and Prejudice: “When I finally caught up with Abraham Trahearne, he was drinking beer with an alcoholic bulldog named Fireball Roberts in a ramshackle joint just outside of Sonora, California, drinking the heart right out of a fine spring afternoon.” – But it’s Dancing Bear that haunts me as a picture of lonely America in the closing years of the last century. It is also very funny and sometimes poetic and very violent and very sad.
The critics’ darling, Cormac McCarthy, covers some of the same violent ground, but doesn’t tell you anything you don’t already suspect about debased human nature; despite the poetry, there isn’t anything in No Country for Old Men or Blood Meridian you couldn’t learn elsewhere, and the Oprah bestseller The Road was a rehash of every genre post apocalypse novel from Jack London’s “The Scarlet Plague” to Brian K. Vaughn’s Y: The Last Man, and you’ll have a much better time reading Y. McCarthy and James Elroy have become splatterporn for the literati, assigned by professors as exemplary instruction for the naïve. "America was never innocent,” Ellroy scowls in American Tabloid We popped our cherry on the boat over and looked back with no regrets."

Violence is as American as apple pie, but you need a great soul for it to become tragedy, and that’s what Crumley’s books provide with narrators like C. W. in Kiss and Milo in Dancing Bear. Without a soulful witness, as in the heartless landscapes of McCarthy, Ellroy, and your average slasher film, suffering has no meaning, the dead are left unburied and unmourned as Antigone’s brothers. Crumley looks back more often than Lot's wife, and is all about the regret.
The “dancing bear” of the title might refer to the Indian myth invented for the opening chapter, telling how the bears taught native tribes to gather sweetness from the bee, or it might be a section of forest near the Dancing Bear River stolen from the natives by Milo’s grandfather, and endangered by corporate polluters (“pollution” being our era’s euphemism for poisoning someone else’s earth and water), or it might be the hide of a grizzly killed by poachers, or it might be Milo himself, kept hopping like a circus bear trained to “dance” by making him walk on a hot metal plate.
The later adventures of Milo and C.W., in Bordersnakes and The Mexican Tree Duck sometimes teeter on self-parody— the New York Times in a snide review, called the setting “a Montana demimonde undreamed of in the philosophies of Dale Evans”-- but then, The Thin Man and The Little Sister aren’t as good as Red Harvest or The Long Goodbye. For a while there, in The Last Good Kiss, The Wrong Case and the war novel One to Count Cadence, James Crumley crafted very good books, and in Dancing Bear he made a great one.

My neighbor the detective, who knew Crumley out West and told me about his death, has Crumley stories to tell, but my favorite is from the Chicago Sun-Times. Crumley showed up late for a reading once and apologized, explaining, "I lost my watch."
"Any idea where?" he was asked.
"Yeah," Crumley said. "I threw it out a car window in El Paso in 1978."

Commonplace Book, June 2007

Re-reading:
A WALK ON THE WILD SIDE by Nelson Algren
THE BEST OF H.P. LOVECRAFT (Del Ray edition; introduction by Robert Bloch)

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"They (superheroes) are our post-industrial folklore, and, as such, they mean much more to people than a few minutes' idle amusement. They're part of the psychic family. The public and apparently callous slaying of one of their number was, to some, a vicious attack on the special part of their souls that needs awe, magic, and heroism."
(Dennis O'Neil, A Lonely Place of Dying)

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“Merit pay, or compensating teachers for classroom performance rather than their years on the job and coursework completed, found some support in the 1980s among policy makers and school administrators, who saw it as a way to encourage good teachers to work harder and to weed out the bad ones. But teachers saw it as a gimmick used by principals to reward cronies based on favoritism.”
(The New York Times)
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“How did more than half the people in the world come out incorrectly? I have spent a good part of my life trying to do that math, and I’m no closer to a viable equation. And I have yet to find a culture that doesn’t buy into it. Women’s inferiority – in fact, their malevolence -- is as ingrained in American popular culture as it is anywhere they’re sporting burkhas. ... How else to explain the fact that cultures who would die to eradicate each other have always agreed on one issue? That every popular religion puts restrictions on women’s behavior that are practically untenable? That the act of being a free, attractive, self-assertive woman is punishable by torture and death? .... It’s safe to say that I’ve snapped. That something broke, like one of those robots you can conquer with a logical conundrum. All my life I’ve looked at this faulty equation, trying to understand, and I’ve shorted out. I don’t pretend to be a great guy; I know really, really well about objectification, trust me. And I’m not for a second going down the “women are saints” route – that just leads to more stone-throwing (and occasional Joan-burning). I just think there is the staggering imbalance in the world that we all just take for granted.
(Joss Whedon , on his blog)

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“The disappointment of “Nancy Drew,” which was directed by Andrew Fleming and written by Mr. Fleming and Tiffany Paulsen, is that it trusts neither its heroine nor its audience enough to approach its material with the confidence and conviction that Carolyn Keene, the pseudonymous author of the Nancy Drew books, brought to the franchise...“Nancy Drew” corrupts the clean, functional, grown-up style of the books with the kind of cute, pseudo-smart self-consciousness that has sadly become the default setting for contemporary juvenile popular culture produced by insecure, immature adults.
(review by in The New York Times)

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“The war in Iraq would be over in a week if the insurgents wore uniforms. Instead, they hide in plain sight, and Iraqi and American soldiers have no means of checking the true identity and history of anyone they stop....
Any time a car is stopped in the United States, the police run an immediate check. The New York Police Department tracks criminal trends by neighborhood and block in a real time database called Compstat. The Chicago police have handheld devices that send fingerprints over the airwaves and get a response in minutes. So do our border police. But in Iraq, for four years our units have been forced to concoct their own identification databases using laptops, spreadsheets and poster boards. At any one time, the military is conducting dozens of separate census operations. Houses are labeled by one unit and relabeled by the next.
Meanwhile, it is common for an Iraqi civilian to carry two or three IDs with different names. The result: Last year 400,000 coalition and Iraqi troops made fewer than 40,000 arrests; in contrast, 22,000 New York City patrolmen made more than 500,000 spot checks and 313,000 arrests.”
(Op-Ed in the New York Times, 6/15/07)

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“Be ashamed to die until you have won some victory for humanity.”
(Horace Mann, motto of Antioch College, closing after 150 years, which before the Civil War adopted race-neutral admissions)

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“Antioch became like one of those Essene communities in the Judean desert in the first century after Christ that, convinced of their own purity, died out while waiting for a golden age that never came.... I grieve for Antioch the way I grieve for the hope of 1968 washed away in a tide of self-inflated rhetoric, self-righteousness and self-indulgence....The ideals of social justice and economic fairness we embraced then are still right and deeply American. The discipline to turn those ideals into realities was what Antioch, its community and the generation it led was lacking.”
(Michael Goldfarb)
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Reading this week:
WINNER OF THE NATIONAL BOOK AWARD by Jincy Willett

THE RIGHT MADNESS by James Crumley

Current Reading, May, 2007

“If the Holy Bible was printed as an Ace Double, it would be cut down to two 20,000-word halves with the Old Testament retitled as ‘Master of Chaos’ and the New Testament as ‘The Thing With Three Souls.’ ”
(an unknown editor)

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“You have to give Bill Clinton his due: When he bombed Kosovo in 1999, he became the first president since World War II to bomb white people.”
(Seymour Hersch in an interview with Rolling Stone)

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“I’m beginning to understand just what a dreadful curse it can be, the novelistic ego. And I think whatever complications being the son of Kingsley involved me in, that’s been a help [perceiving writing as a trade]. This curse, the way it works is that any praise you get is instantly assimilated, and it just brings you up to where you should have been already. But any criticism just jangles around in your head and makes you stay up at night. Kingsley says somewhere in his letters that nothing quite lays you open so much as a novel, and so for a lot of my friends, a lot of the time, their thoughts are almost poisoned by criticism.”
(Martin Amis)

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“Yeah, I’m mildly ticked off. I’ve had three decades of being told that forms I work in can’t possibly do anything that isn’t cliched and juvenile by their nature, and it got old three decades less five minutes ago. Judging an art by its bad examples isn’t criticism; it’s tossing a grenade into the barrel and then complaining that the fish are dead.”
(John M. Ford)

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“I hate that expression, 'fusion.' What it means to me is this movement where nothing ever really fused. It ended up being the curse of Miles Davis. Where Miles discovered that playing for the rock audiences, he could reach more people with the Grateful Dead than he could playing four sets a night at the Village Vanguard for three years. What happened was that he influenced a new generation of musicians and the way he influenced them was cool but what you ended up with was Kenny G and jazz-lite.” (Wayne Kramer of the MC5)

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In what cultural anthropologists are calling a "colossal achievement" in the study of white-collar professionals, the popular radio show “This American Life” has successfully isolated all 7,442 known characteristics of college graduates who earn between $62,500 and $125,000 per year and feel strongly that something should be done about global warming.
"We've done it," said senior producer Julie Snyder..."There is not a single existential crisis or self-congratulatory epiphany that has been or could be experienced by a left-leaning agnostic that we have not exhaustively documented and grouped by theme.".... This American Life host and producer Ira Glass began work on the project in 1995 in Chicago, where he found himself inspired by and catering to an audience of professionals who dine out frequently and have a hard time getting angry. Glass and his team of producers, writers, and interns set about the exhausting task of gathering all available information on a range of subjects from minor skirmishes with the law to the rewards of occasionally talking to poor people.
(The Onion)

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“To our joy or to our misery, the contingencies of reality have a great influence on what we write,” says Natalia Ginzburg in her book “It’s Hard to Talk About Yourself,” in the chapter in which she discusses her life and her writing in the wake of personal disaster.
It is hard to talk about yourself, and so before I describe my current writing experience, at this time in my life, I wish to make a few observations about the impact that a disaster, a traumatic situation, has on an entire society, an entire people. I immediately recall the words of the mouse in Kafka’s short story “A Little Fable.” The mouse who, as the trap closes on him, and the cat looms behind, says, “Alas . . . the world is growing narrower every day.”

(David Grossman, in The New York Times Magazine)