First a little something on Dashiell Hammett. He was an actual detective for the famous
Pinkerton National Detective Agency and he was known as “Sam” since his real
first name was Samuel. I didn’t know
that until now. What’s important about
that is that his famous detective from his great novel, The Maltese Falcon, was named Sam Spade, so there’s an element of autobiography
in his works. He only wrote five novels,
but they are among the best of the hardboiled detective genre. I’m not sure if he actually invented the
genre, but he was there at the beginning and he was
among its best expounders. According to
Wikipedia, the NY Times Obituary called Hammett "the dean of the... 'hard-boiled' school of
detective fiction.”
Four other things
stand out about him. He contacted
tuberculosis while serving in WWI, and it plagued him throughout his life. It may have been part of the reason he
stopped writing novels at the age of forty.
The second thing is that he was not just a left-wing activist, but an
ardent communist. I don’t think it
permeated his works, but it certainly affected his career. He was blacklisted in the 1950s, and that
also probably curtailed his output. Third,
he was a heavy drinker and smoker, and that only exacerbated his poor
health. Fourth, he had a long
relationship with the American playwright, Lillian Hellman, who took care of
him in his final years.
In my comment to Kelly I said that “Who Killed Bob
Teal?” is not a great work. It’s a fun
work. The work she should most
definitely read if she wants to read Hammett at his most creative is The Maltese Falcon. I consider The Maltese Falcon not just a
detective novel, but a great novel outside of genre constraints. You can find it at any public library. Hammett did not really have the space in this
short story to develop the characters to their fullest. Part of what makes The Maltese Falcon so great is the distinct characterizations. Another is the personal code that Sam Spade
develops in making it through a chaotic and unpredictable world. You’ve probably seen the movie based on thenovel, starring Humphrey Bogart. The movie pretty much tracks with the novel,
but what you miss with the movie is Hammett’s fine writing, of which I’ll give
you an example from the short story. See
the movie if you haven’t, but read the novel first. One other thing on The Maltese Falcon. I once
participated in a book discussion of it and a few of the women in the book group
felt it was extremely sexist. I think
they were anticipating Agatha Christie, and no there are very hard edges to
hardboiled detective stories. So be
forewarned on that, but I don’t personally consider it all that sexist for its
time.
Let’s get to the story. “Who killed Bob Teal?’ actually starts in a
similar fashion to The Maltese Falcon. A detective at the agency while shadowing a
person for a client is murdered. In this
case it’s Bob Teal. Here is the opening scene:
“Teal was killed last
night.”
The Old Man—the
Continental Detective Agency’s San Francisco manager — spoke without looking at
me. His voice was as mild as his smile, and gave no indication of the turmoil
that was seething in his mind.
If I kept quiet,
waiting for the Old Man to go on, it wasn’t because the news didn’t mean
anything to me. I had been fond of Bob Teal — we all had. He had come to the
Agency fresh from college two years before; and if ever a man had the makings
of a crack detective in him, this slender, broad-shouldered lad had. Two years
is little enough time in which to pick up the first principles of sleuthing,
but Bob Teal, with his quick eye, cool nerve, balanced head, and whole-hearted
interest in the work, was already well along the way to expertness. I had an
almost fatherly interest in him, since I had given him most of his early
training.
The Old Man didn’t look
at me as he went on. He was talking to the open window at his elbow.
“He was shot with a
thirty-two, twice, through the heart. He was shot behind a row of signboards on
the vacant lot on the northwest corner of Hyde and Eddy Streets, at about ten
last night. His body was found by a patrolman a little after eleven. The gun
was found about fifteen feet away. I have seen him and I have gone over the
ground myself. The rain last night wiped out any leads the ground may have
held, but from the condition of Teal’s clothing and the position in which he
was found, I would say that there was no struggle, and that he was shot where
he was found, and not carried there afterward. He was lying behind the
signboards, about thirty feet from the sidewalk, and his hands were empty. The
gun was held close enough to him to singe the breast of his coat. Apparently no
one either saw or heard the shooting. The rain and wind would have kept
pedestrians off the street, and would have deadened the reports of a
thirty-two, which are not especially loud, anyway.”
Notice the contrast between the internal, unspoken
reaction of the detective first person narrator—the story’s unnamed central
character—and the old manager’s external stoicism. The detective speaks of his emotional
connection to Teal, even stating that he felt “fatherly” to the young man. The detective writes in syntactically organized
sentences. The emotions are complex and
the language reflects it. The manager on
the other hand speaks in short declarative sentences by just laying out the
facts, one by one, unorganized and empirical.
Internally he might be “seething” with “turmoil” but he doesn’t show
it. Internally there are emotions. Externally there are only facts and you don’t
reveal your vulnerability to them.
Teal was shadowing a man named Whitacre, who was a business
partner to a man named Ogburn. Ogburn
suspected that Whitacre was stealing off him and so hired the Agency to
investigate Whitacre’s doings. Here is
the narrator detective going to Ogbrun’s office to tell him what happened to
Teal and scrutinize the partner’s reaction.
A stenographer ushered
me into a tastefully furnished office, where Ogburn sat at a desk signing mail.
He offered me a chair. I introduced myself to him, a medium-sized man of
perhaps thirty-five, with sleek brown hair and the cleft chin that is
associated in my mind with orators, lawyers, and salesmen.
“Oh, yes!” he said,
pushing aside the mail, his mobile, intelligent face lighting up. “Has Mr. Teal
found anything?”
“Mr. Teal was shot and
killed last night.”
He looked at me blankly
for a moment out of wide brown eyes, and then repeated: “Killed?”
“Yes,” I replied, and
told him what little I knew about it.
“You don’t think —” he
began when I had finished, and then stopped. “You don’t think Herb would have
done that?”
“What do you think?”
“I don’t think Herb
would commit murder! He’s been jumpy the last few days, and I was beginning to
think he suspected I had discovered his thefts, but I don’t believe he would
have gone that far, even if he knew Mr. Teal was following him. I honestly
don’t!”
“Suppose,” I suggested,
“that sometime yesterday Teal found where he had put the stolen money, and then
Whitacre learned that Teal knew it. Don’t you think that under those
circumstances Whitacre might have killed him?”
“Perhaps,” he said
slowly, “but I’d hate to think so. In a moment of panic Herb might — but I really
don’t think he would.”
“When did you see him
last?”
“Yesterday. We were
here in the office together most of the day. He left for home a few minutes
before six. But I talked to him over the phone later. He called me up at home
at a little after seven, and said he was coming down to see me, wanted to tell
me something. I thought he was going to confess his dishonesty, and that maybe
we would be able to straighten out this miserable affair. His wife called up at
about ten. She wanted him to bring something from downtown when he went home,
but of course he was not there. I stayed in all evening waiting for him, but he
didn’t —”
He stuttered, stopped
talking, and his face drained white.
“My God, I’m wiped
out!” he said faintly, as if the thought of his own position had just come to
him. “Herb gone, money gone, three years’ work gone for nothing! And I’m
legally responsible for every cent he stole. God!”
He looked at me with
eyes that pleaded for contradiction, but I couldn’t do anything except assure
him that everything possible would be done to find both Whitacre and the money.
I left him trying frantically to get his attorney on the telephone.
Then the detective decides to interrogate Whitacre’s
wife. Entering her house he meets a
police detective, George Dean, there for the same reason, and so they
interrogate her together.
I arrived in the
vestibule as Dean pressed Whitacre’s bell-button.
“Hello,” I said. “You
in on this?”
“Uh-huh. What d’you
know?”
“Nothing. I just got
it.”
The front door clicked
open, and we went together up to the Whitacres’ apartment on the third floor. A
plump, blond woman in a light blue house-dress opened the apartment door. She
was rather pretty in a thick-featured, stolid way.
“Mrs. Whitacre?” Dean
inquired.
“Yes.”
“Is Mr. Whitacre in?”
“No. He went to Los
Angeles this morning,” she said, and her face was truthful.
“Know where we can get
in touch with him there?”
“Perhaps at the
Ambassador, but I think he’ll be back by tomorrow or the next day.”
Dean showed her his
badge.
“We want to ask you a
few questions,” he told her, and with no appearance of astonishment she opened
the door wide for us to enter. She led us into a blue and cream living-room
where we found a chair apiece. She sat facing us on a big blue settle.
“Where was your husband
last night?” Dean asked.
“Home. Why?” Her round
blue eyes were faintly curious.
“Home all night?”
“Yes, it was a rotten
rainy night. Why?” She looked from Dean to me.
Dean’s glance met mine,
and I nodded an answer to the question that I read there.
“Mrs. Whitacre,” he
said bluntly, “I have a warrant for your husband’s arrest.”
“A warrant? For what?”
“Murder.”
“Murder?” It was a stifled
scream.
“Exactly, an’ last
night.”
“But —but I told you he
was —”
“And Ogburn told me,” I
interrupted, leaning forward, “that you called up his apartment last night,
asking if your husband was there.”
She looked at me
blankly for a dozen seconds, and then she laughed, the clear laugh of one who
has been the victim of some slight joke.
“You win,” she said,
and there was neither shame nor humiliation in either face or voice. “Now
listen” — the amusement had left her — “I don’t know what Herb has done, or how
I stand, and I oughtn’t to talk until I see a lawyer. But I like to dodge all
the trouble I can. If you folks will tell me what’s what, on your word of
honour, I’ll maybe tell you what I know, if anything. What I mean is, if
talking will make things any easier for me, if you can show me it will, maybe
I’ll talk — provided I know anything.”
That seemed fair
enough, if a little surprising. Apparently this plump woman who could lie with
every semblance of candour, and laugh when she was tripped up, wasn’t interested
in anything much beyond her own comfort.
“You tell it,” Dean
said to me.
I shot it out all in a
lump.
“Your husband had been
cooking the books for some time, and got into his partner for something like
two hundred thousand dollars before Ogburn got wise to it. Then he had your
husband shadowed, trying to find the money. Last night your husband took the
man who was shadowing him over on a lot and shot him.”
Her face puckered
thoughtfully. Mechanically she reached for a package of popular-brand cigarettes
that lay on a table behind the settle, and proffered them to Dean and me. We
shook our heads. She put a cigarette in her mouth, scratched a match on the
sole of her slipper, lit the cigarette, and stared at the burning end. Finally
she shrugged, her face cleared, and she looked up at us.
“I’m going to talk,”
she said. “Never got any of the money, and I’d be a chump to make a goat of
myself for Herb. He was all right, but if he’s run out and left me flat,
there’s no use of me making a lot of trouble for myself over it. Here goes: I’m
not Mrs. Whitacre, except on the register. My name is Mae Landis. Maybe there
is a real Mrs. Whitacre, and maybe not. I don’t know. Herb and I have been
living together here for over a year.
What a fine little scene and so typical of
Hammett. What you see is an unbalanced
world. First she says her husband was
with her that night, then she admits he was not; first you are under the
assumption they are husband and wife, then you find out they are just faking
marriage and living together, which would in itself be startling in the 1920s;
first you know her by one name, suddenly you find out she’s got another. Facts may be empirical but they are
unstable. The world is not a puzzle to piece
together as in an Agatha Christie mystery.
The world is in a state of flux where you just don’t know what reality
is. That little detail where she lights
her match under her foot is striking. Smoking,
even by the 1920s, was a rebellious act for women, and striking the match under
her foot emphasizes the grittiness of her character. She is not a genteel lady.
Later they find out that Mae Landis had been
spending time in another apartment. The detective
and George Dean decide to go over and invstigate. There they interrogate the landlady to find
out if Landis is actually living there and with whom.
It was a ramshackle
building, divided into apartments or flats of a dismal and dingy sort. We found
the landlady in the basement: a gaunt woman in soiled gray, with a hard,
thin-lipped mouth and pale, suspicious eyes. She was rocking vigorously in a
creaking chair and sewing on a pair of overalls, while three dirty kids tussled
with a mongrel puppy up and down the room.
Dean showed his badge,
and told her that we wanted to speak to her in privacy. She got up to chase the
kids and their dog out, and then stood with hands on hips facing us.
“Well, what do you
want?” she demanded sourly.
Isn’t that marvelous. The landlady’s character is the story’s
finest creation. It’s these subtle bits
of writing that make stories special for me.
“Want to get a line on
your tenants,” Dean said. “Tell us about them.”
“Tell you about them?”
She had a voice that would have been harsh enough even if she hadn’t been in
such a peevish mood. “What do you think I got to say about ‘em? What do you
think I am? I’m a woman that minds her own business! Nobody can’t say that I
don’t run a respectable —”
This was getting us
nowhere.
“Who lives in number
one?” I asked.
“The Auds — two old
folks and their grandchildren. If you know anything against them, it’s more’n
them that has lived with ‘em for ten years does!”
“Who lives in number
two?”
“Mrs. Codman and her
boys, Frank and Fred. They been here three years, and —”
I carried her from
apartment to apartment, until finally we reached a second-floor one that didn’t
bring quite so harsh an indictment of my stupidity for suspecting its occupants
of whatever it was that I suspected them of.
“The Quirks live
there.” She merely glowered now, whereas she had had a snippy manner before.
“And they’re decent people, if you ask me!”
“How long have they
been here?”
“Six months or more.”
“What does he do for a
living?”
“I don’t know.”
Sullenly: “Travels, maybe.”
“How many in the
family?”
“Just him and her, and
they’re nice quiet people, too.”
“What does he look
like?”
“Like an ordinary man.
I ain’t a detective, I don’t go ’round snoopin’ into folks’ faces to see what
they look like, and prying into their business. I ain’t —”
“How old a man is he?”
“Maybe between
thirty-five and forty, if he ain’t younger or older.”
“Large or small?”
“He ain’t as short as
you and he ain’t as tall as this feller with you,” glaring scornfully from my
short stoutness to Dean’s big hulk, “and he ain’t as fat as neither of you.”
“Moustache?”
“No.”
“Light hair?”
“No.” Triumphantly:
“Dark.”
“Dark eyes, too?”
“I guess so.”
Dean, standing off to
one side, looked over the woman’s shoulder at me. His lips framed the name
“Whitacre.”
“Now how about Mrs.
Quirk — what does she look like?” I went on.
“She’s got light hair,
is short and chunky, and maybe under thirty.”
Dean and I nodded our
satisfaction at each other; that sounded like Mae Landis, right enough.
“Are they home much?” I
continued.
“I don’t know,” the
gaunt woman snarled sullenly, and I knew she did know, so I waited, looking at
her, and presently she added grudgingly: “I think they’re away a lot, but I
ain’t sure.”
“I know,” I ventured,
“they are home very seldom, and then only in the daytime — and you know it.”
She didn’t deny it, so
I asked: “Are they in now?”
“I don’t think so, but
they might be.”
“Let’s take a look at
the joint,” I suggested to Dean.
He nodded and told the
woman: “Take us up to their apartment an’ Janlock the door for us.”
“I won’t!” she said
with sharp emphasis. “You got no right goin’ into folks’ homes unless you got a
search warrant. You got one?”
Oh that just makes me smile. Hammett is so good at characterization. I’m
going to leave it there. You can read
the rest. I’ll leave you with a scene
from the movie rendition of The Maltese Falcon.
Thank you for visiting my post "Why bother with Mary". Have replied there. I'm verry ill right now. Sorry for delay in replying. God bless you.
ReplyDeleteOh goodness don't worry Victor M. I saw on your blog it's a medical emergency. I will be praying for your full recovery. Perhaps the good readers of my blog can also say a small prayer for you.
DeleteSurely will!
DeleteThanx everyone. God bless.
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