My Apologies on the Wednesday Paperback Cover

I've been having technical difficulties. As soon as I get it sorted out, I'll get something up.

The Killer Inside Me: Pushing Buttons

First off, I'm reposting the trailer for The Killer Inside Me, since YouTube seems to have taken it down. Secondly, prompted by this blog post, and it's concern about the film's depiction of violence against women,I went back and reread Thompson's book, which I had not looked at in many years. My first observation was that the trailer seems to show a film that shows remarkable fidelity to its source material. The story, as far as I can tell, is the same as the book's, and even has a lot of dialogue lifted verbatim from the book. That makes me optimistic about the film, even though Casey Affleck, Jessica Alba and Kate Hudson aren't exactly the greatest actors in the world.


Now,I'll make a frank assessment: The violence depicted in the trailer isn't the result of some Hollywood desire to tart up Thompson's book with titillating and shocking detail. It comes straight from the novel. The filmmakers seem to have actually toned down the initial meeting between Lou Ford and Joyce (Jessica Alba's character). In the book, Ford beats Joyce until she's unconscious and then revives her. When she comes to, she comes onto him. It's an uncomfortable scene, but not nearly as uncomfortable as the scene where Lou kills her. The trailer is graphic, but so is the book. Lou describes killing Joyce as, "like pounding a pumpkin. Hard, then everything giving away at once." If that imagery weren't disturbing enough, Joyce, who is clearly almost as screwed up in the head as Lou, asks for a goodbye kiss while she is being beaten.

The murder of Amy Stanton (played by Kate Hudson in the upcoming film) in the book is even worse. Lou hits her in the stomach, and "[his] fist went back against her spine, and the flesh closed around it to the wrist. " After that vicious blow, Amy falls and the floor, and Lou sits there and watches her die. Then he kicks her in the head for good measure. I've got to say, this scene, particularly the description of the punch, stayed with me for years. I remembered it long after I had forgotten most of the book's story.

Now, Lou Ford is a complex character. His violence is not just reserved for women. He kills men. He puts cigars out on vagrants for fun. He corners people and repeats corny cliches just to watch them squirm, but the worst violence of the book is reserved for women because Lou Ford has a complex relationship with the opposite sex. Without giving too much away, let's say that what torments Lou, aside from an inherited tendency toward sadism, is his relationship with women. To say more than that would be telling, but Thompson isn't going for misogynistic thrills. He's doing a character study of a man who has an inner life he hides from the world, and a public face at odds with his true self.

The Killer Inside Me was published in 1952, seven years before Robert Bloch's Psycho (another novel that hinges on a killer's complicated relationship with women). You can probably lay a lot of blame at Thompson's feet for the boring and repetitive serial killer fiction that clogs up the crime fiction section of your local bookstore, but it would be a mistake to accuse him of misogyny. It's not a theme that runs throughout his work. Thompson, like Bloch, wrote a lot of novels, and they're quite different, with different types of characters.

Similarly, it would be a mistake to accuse the filmmakers of misogyny for bringing Thompson's disturbing story to the screen. Artists have no obligation to preach, or try to instruct, or to worry about whether their work depicts something that's "dangerous." If you can't depict "dangerous" behaviors or ideas in fiction, then where exactly can you depcit them? I can see how The Killer Inside Me trailer might make the author of that blog post uncomfortable. It's not based on a Little Golden Book. The book is disturbing. It's meant to be. Dismissing The Killer Inside Me, as "no better than a snuff film," however, based on five minutes of footage, an obvious ignorance about the source material and a misplaced sense of self righteousness seems silly, although such controversy will undoubtedly end up helping at the box office.




Bonus video: MC 900 Foot Jesus raps from the POV of Lou Ford in his 1991 song "The Killer Inside Me."

The Killer Inside Me Trailer

Self explanatory and NSFW.

Wednesday Paperback Cover

Is Tonking a place or the sound one makes when being choked?

Wednesday Paperback Cover

Mercury Mysteries specialized in abridged digests of novels. I have a rare short story collection by Woolrich that was reprinted that way, and a Nicholas Blake (father of Daniel Day Lewis) but I had no idea Brewer was one of their reprints. It's hard to abridge a Brewer.

The History Behind The Big Wake Up

Over at The Rap Sheet Mark Coggins has an interesting post about the history behind his latest novel, The Big Wake Up. I, for one, had no idea how much of the book's story had a historical basis. I assumed he was taking liberties with some of the more outlandish aspects, but no.

Blogging the Black Lizard Anthology of Crime Fiction: Soft Monkey

It has been quiet around here for a while, mainly because I have been busy reading James Ellroy and Flannery O'Connor. They're two very demanding, but very different, writers who've taken up a lot of my time and energy. (Especially Ellroy. I've been plugging away at Blood's a Rover for a while now, and I'm not sure I'm getting anywhere.)

Nevertheless, I found time to read the next story in The Black Lizard Anthology of Crime Fiction. I've read Harlan Ellison's "Soft Monkey" before, but I'm not sure where. I vividly remember it, and I remember it's preface about scientists who found that orangutans who are greiving the loss of a child will cling to a soft doll, and treat it as if it were alive.

The preface wouldn't be all that problematic if the main character of "Soft Monkey" weren't a mentally ill, homeless black woman. I don't attribute any racist intent to Ellison, but there's a rather long, disturbing history of comparing black people to apes that he should have been aware of or acknowledged. The only racist thoughts are in the characters who are trying to kill Annie, the protagonist, a woman who has had a psychotic break after losing an infant child. Annie is targeted for death after witnessing a mob hit, but there's something about this story that still kind of rubs me the wrong way. I'm not sure what it's getting at. I suspect Ellison was trying to get at the bond between mother and child and animal and beast, but I think he might have found a better way to get at it.

Wednesday Paperback Cover

This cover is godawful, but I had never even heard of this Faulkner novel before running across it.

Wednesday Paperback Cover

Apparently, living it up involves molesting the maid while your spouse watches. Kinky.

Review of The Big Wake Up

Private-eye novels usually either go one of two ways; gritty, dirt-under-the-nails realism, or more comic, pulpy fare. One can make that Mickey Spillane mixed the two types of stories, but, it’s not at all clear Spillane knew when he was being comical, and either way, the results of his efforts may be the best argument one can think of for not trying to mix the two types of stories. However, Mark Coggins’ latest August Riordan novel, The Big Wake Up (Bleak House, 2009) successfully mixes plot elements that would fit more comfortably between the battered pages of a comic or pulp magazine with the modern hard boiled PI story. The result is a fast paced, entertaining read.

The plot of The Big Wake Up is ridiculous. It involves rival factions from Argentina searching for the embalmed corpse of Evita Peron, which was, through a series of rather unbelievable occurrences, supposedly spirited away to the San Francisco Bay area and interred under a false name. Apparently, whoever possesses Evita’s corpse will wield unlimited power over the easily impressed proles of Argentina or something. Needless to say, August Riordan is brought in by one of the factions to find the corpse, under false pretenses, of course. He quickly realizes something is up when he is trying to get his client’s daughter in bed, and a gang of thugs burst into his apartment, led by a woman named Isis, who commands an army of identical looking black men and has a fetish for embalming people alive.

So, yes, The Big Wake Up, is ridiculous, but it’s a well done sort of ridiculous. Coggins is pretty skilled at taking the reader for a ride, and the book zips along like a Maserati down the Pacific Coast Highway. Despite the over-the-top nature of the tale, Coggins still keeps it grounded. Actions have consequences. People die, and Riordan doesn’t make it out emotionally unscathed. No doubt because the book is part of a series, Coggins makes an effort at verisimilitude and blends it well with the overall story. The result is a book that is satisfying on more than one level.