The Thin Man by Dashiell Hammett

A new element of 17th Street that I’m going to be introducing over the coming months are “book blogs” containing short reviews or features about books that readers of Caleb Carr’s work might find interesting or enjoyable. However, rather than starting with my own recommendations or recommendations from site visitors, I thought it might be appropriate to spend the first few months overviewing some of the works Caleb Carr has said were major influences for his work, ranging from Wilkie Collins to Jacob Riis for The Alienist, Jules Verne to H. G. Wells for Killing Time, and Arthur Conan Doyle to H. Rider Haggard for The Legend of Broken.

As we’re currently in the middle of the holiday season, I thought that it might be appropriate to start with a Christmas-themed novel that Caleb Carr cited in the NYT web chat earlier this year as “a huge inspiration” for The Alienist, Dashiell Hammett’s The Thin Man. As always, the following is only one woman’s opinion of the book; if you’ve read the book, I’d love to know what you thought in the comments.

What’s it about?

It’s Christmas in Prohibition era New York City, and former detective Nick Charles, his smart and sassy wife Nora, and their feisty Schnauzer “Asta” have returned to the city in order to escape their San Francisco in-laws for the holiday season. The novel opens with Nick being found by the daughter of an old acquaintance in a speakeasy while he is waiting for Nora to finish her Christmas shopping. It quickly becomes apparent that the acquaintance — a “crazy” inventor — hasn’t been seen in the city for months, his ex-wife and grown-up children are trying to locate him, and his lawyer is suspicious that Nick has been hired by the ex-wife to search for him. But things really heat up when the inventor’s secretary and former lover is found dead in her rooms, her body riddled with bullets.

Under pressure from the inventor’s daughter, the inventor’s lawyer, and the police, Nick finally agrees to join the investigation into the mystery that threatens to disrupt he and Nora’s drinking holiday. For the remainder of the novel, we follow private investigator Nick, who always has a cocktail on hand, into the world of speakeasies, gangsters, petty criminals, and pistols that is 1930s New York City.

My thoughts

The Thin Man is classic hardboiled detective fiction written in 1932 by Dashiell Hammett, a former operative for Pinkerton’s Detective Agency, giving the novel an air of authenticity. Although I found the writing a bit thin in places (oh look, a pun!), that’s to be expected for a short work of this genre, and I’m used to it from other writers of the time period. I will admit that I found it a little irritating to realise at the conclusion of the novel that the reader hadn’t been privy to all the clues throughout the course of the story, but it was ultimately well-plotted enough that I’m willing to forgive it on that particular shortcoming. However, probably my favourite element of the novel — and the thing that kept me reading — was the continual bantering and witty repartee between Nick and Nora, something that reminded me strongly of the amusing exchanges between John and Sara in the Alienist books (it’s one of my favourite elements of those books, too). For example,

She gave me a newspaper and a cup of coffee and said: “Read that.”
I patiently read a paragraph or two, then put the paper down and took a sip of coffee. “Fun’s fun,” I said, “but right now I’d swap you all the interviews with Mayor-elect O’Brien ever printed — and throw in the Indian picture — for a slug of whis-“
“Not that, stupid.” She put a finger on the paper. “That.”

And,

Nick: “Don’t you think a drink would help you to sleep?”
Nora: “No thanks.”
Nick: “Maybe it would if I took one.”

Do those exchanges remind you of anybody? Of course, not being knowledgable about classic film, I was unaware until I looked it up (ah Wikipedia, what would we do without you?) that this kind of bantering between a leading man and his leading lady is a core element of screwball comedy, which we know from interviews Caleb Carr is a fan of, so perhaps The Alienist contains more tips-of-the-hat to that genre and/or works like The Thin Man than I had previously been aware (and perhaps I should make a point of actually watching some). In any case, it certainly made for an enjoyable read regarding the book at hand. And, on a more personal level, the novel had one extra element of enjoyment for me: I grew up with a Mini Schnauzer so I rather appreciated Asta’s regular appearances in every other chapter — and, that’s right, they are not a cross between a Scottie and an Irish Terrier!

Ultimately, I found The Thin Man to be atmospheric, fun, and worth reading if you enjoy classic detective fiction and/or witty barbs traded between a couple of clever characters over cocktails; and it’s certainly an appropriate read for the holiday season. If you haven’t already read it or seen the 1934 film of the same name, why not pick it up during your last minute Christmas shopping or download it on your eReader for a quick and easy read over the holidays?

Whatever you do decide to read this festive season, I hope you have a very Merry Christmas that is a little less eventful than Nick and Nora’s turned out to be.

NY Public Library Discussion of The Alienist, Part II

View Part One, Part Two, and Part Three of the NY Public Library Discussion of The Alienist.

Last week I provided my responses to the NY Public Library Reader’s Den discussion points for The Alienist’s Part I: Perception. This week’s Part II: Association discussion points required a bit more thinking! I’m looking forward to seeing what the discussion points are for Part III: Will.

Do you think [John is] naive or simply too emotionally involved in the case and with the team for his own good? Does he provide a sufficient counterpoint to the somewhat aloof Kreizler?

These discussion points follow from a brief character analysis in the Part II Reader’s Den blog which states, in part, that, “Moore is, in many ways, the opposite of his friend, Kreizler; passionate and headstrong where Laszlo is intellectual and clinical,” and, “At times [John] can seem naive but this is just a byproduct of how deeply he sees into others.” Unfortunately, I’m afraid that I’m going to have to start my response by saying that while I agree John and Kreizler are, to a degree, different sides of the same coin (more on that below), I disagree with the aforementioned interpretation of their characters, and therefore with the premise for these discussion points. Sorry, Reader’s Den!

As one might be able to gather from the character analyses I’ve included on this site, “passionate” and “headstrong” are adjectives I would be more inclined to use in describing Kreizler than John. This impression began, for me, as early as John’s first meeting with Kreizler at Bellevue Hospital in which he describes his friend as appearing reminiscent of a “hungry, restless hawk determined to wring satisfaction from the worrisome world around him,” and continues throughout the novel, with Kreizler exhausting himself by working tirelessly on the case, and, as we discover in Part II, falling victim to the “psychologist’s fallacy” (see Chapter 24). However, it was not John who first became aware that something deeper than professional interest was driving Kreizler’s tireless work during the investigation. It was the insightful Sara Howard who, despite having known Kreizler for only a fraction of the time his life-long friend John had known him, was able to see what John could not: that Kreizler’s motivation in the investigation was “more than just his reputation, and more than just scientific curiosity. It’s something old and deep.” As she patiently explains to the confused John, “He’s a very deep man, your friend Dr. Kreizler.”

John MooreThe fact that Sara saw in Kreizler what John could not that leads me to the second reason I disagree with the aforementioned Reader’s Den interpretation of the characters. Although I like John’s character a great deal — he is charming, fun, loyal, kind, and charismatic — I do not see him as “deep” per se. That is not to say that I believe he lacks depth of character; as mentioned in his character analysis, I believe he is just as complex as any of the other characters in the novel. Instead, I see John as being the type of character who is not prone to much self-analysis, nor to the analysis of others. Rather than trying to understand himself, his actions, or even those around him on a deeper level, John’s behaviour — heavy drinking, gambling, and spending meaningless nights with a string of women — hint at someone who would prefer not to confront his emotions and his past, rather than someone who is actively interested in engaging in self-examination.

As an aside, I actually find it somewhat ironic that it is John who first describes Kreizler as being emotionally distant, when I see John as being just as emotionally distant as Kreizler, albeit in a different way. It is in this respect that I see John and Kreizler as being two different sides of the same coin. Where John avoids his emotions, Kreizler suppresses his and engages in long periods of self-reflection in order to be sure that he is acting appropriately on any subject that requires emotional investment (as we’re about to discover regarding a certain woman he is interested in during Part III). Consequently, his falling victim to the “psychologist’s fallacy” may have been due to the spontaneous nature of the investigation not providing him with ample time to consider his motivations, rather than any lack of self-awareness.

So, all of that said, do I believe that John is too emotionally involved in the case for his own good? John unquestionably becomes emotionally involved in the case, as do most of the investigators, but I would argue this is primarily a result of his interactions with Joseph, the young boy he befriends while making enquiries in the case. When asked by Marcus Isaacson about the ease with which he engaged in conversation with Joseph, he avoids answering the question but privately comments in his narrative, “I had no desire to reveal how much young Joseph’s eyes and smile had reminded me of my own dead brother’s at the same age.” Thus, there is certainly more to John than meets the eye, but it appears to me that it is John’s lack of emotional self-awareness rather than an ability to “see [deeply] into others” that makes the most critical impact upon his actions during the investigation. And, yes, I think the particular combination on the team of emotional perceptiveness (on Kreizler and Sara’s part) and emotional naiveté (on John’s part) do provide good counterweights during the investigation.

What do you think motivates this relatively well-off New York Times reporter? And what motivates Kreizler?

In answering the previous discussion points, I believe I’ve already provided my response regarding Kreizler’s motivation. Regarding John’s motivation, I’ll answer with a direct quote from the novel.

The Alienist, Chapter 6:

If it seems odd that I offered no further protest, I can only say this: Kreizler’s explanation that his present course of action had been inspired by a document I had sent him years ago, coming as it did on the heels of our shared reminiscences about Harvard and Theodore’s mounting enthusiasm for this plan, had suddenly made it plain to me that what was happening in that office was only partly a result of Giorgio Santorelli’s death. Its full range of causes seemed to stretch much farther back, to our childhoods and subsequent lives, both individual and shared. Rarely have I felt so strongly the truth of Kreizler’s belief that the answers one gives to life’s crucial questions are never truly spontaneous; they are the embodiment of years of contextual experience, of the building of patterns in each of our lives that eventually grow to dominate our behaviour. Was Theodore — whose credo of active response to all challenges had guided him through physical sickness in youth and political and personal trials in adulthood — truly free to refuse Kreizler’s offer? And if he accepted it, was I then free to say no to these two friends, with whom I had lived through many escapades and who were now telling me that my extracurricular activities and knowledge — so often dismissed as useless by almost everyone I knew — would prove vital in catching a brutal killer?

As for John’s motivation in continuing with the case when things get tough, I think we can put it down to two elements. First, he mentions early in the novel that the “voice whispering in the back of [his] head: ‘Hurry up or a child will die!'” was one strongly motivating factor. Second, I feel that the passion of the other team members — particularly Kreizler and Sara — pulled John through some of the more difficult phases of the investigation.

But, as always, this is only my interpretation! If you would like to present an alternative viewpoint, you’re more than welcome to do so in the comments below.

Easton Press Edition of The Alienist

franklin-libraryWith the holiday shopping season upon us, I thought it might be worth drawing attention to the signed leather bound edition of The Alienist currently available through Easton Press for the book collectors amongst us. This edition forms part of the Easton Press “Signed Modern Classics” collection. Unfortunately, I have only been able to find one image of the binding for this edition online, and I’m not sure what year it was released. While most catalogues indicate that it was released in 2007 or 2008, an Easton Press collector stated on a forum post dated early 2011 that it had not, in fact, been released in either of those years. Combined with Easton Press’ usage of the most recent publicity photo of Caleb Carr from 2012, this seems to hint that the release date may have been considerably later than those indicated on catalogues — perhaps even 2012 or 2013? Mysterious release date aside, this edition is advertised as being personally signed by Caleb Carr and can be purchased directly from Easton Press. Reasonably priced at $89, what better surprise could you get for a fan of The Alienist this Christmas?

Alternatively, you can still find copies of the signed leather bound first edition of The Alienist that was produced by The Franklin Library in 1994 on eBay and through specialist book dealers. These typically sell for between $150 and $350 at the present time, depending on the condition of the individual copy. A signed leather bound first edition of The Angel of Darkness was also produced by The Franklin Library in 1997, and typically sells for a slightly lower price than its more sought-after predecessor. Both contain special introductions written by Caleb Carr that are exclusive to the these editions, and both have beautifully illustrated frontispieces. These editions can be seen in the image to the left (The Alienist is on top and The Angel of Darkness is underneath), and more images of these beautiful editions can be found on the 17th Street community forums.

NY Public Library Discussion of The Alienist, Part I

View Part One, Part Two, and Part Three of the NY Public Library Discussion of The Alienist.

Earlier this week, the NY Public Library Reader’s Den posted their discussion points of The Alienist’s Part I: Perception. As we follow along over the next two and a half weeks, I thought it I’d put up my responses to the discussion points here on the 17th Street blog. What do you think of my answers? Do you agree or disagree? Next week’s discussion points will relate to Part II: Association.

Do you believe the author succeeded in his aim of historical authenticity?

flatiron-buildingNo surprises here: absolutely. For several years now I have made a point of reading any and all historical crime fiction set in nineteenth century New York to find another book or author that I can unreservedly recommend to Alienist fans, but nine times out of ten I feel that they disappoint for precisely this reason. Personally, I think the key to historical authenticity lies in subtlety. Would a nineteenth century narrator really have explained or put emphasis on something that was simply part of daily life for them?

Some critics have pointed out that Caleb Carr “tells” more than he “shows” at times during the Alienist books, but I would argue that he gets away with this by having his narrators ‘write’ their stories in retrospective for an intended audience in the early twentieth century. For example, buildings that had already been demolished or were simply part of the landscape by the late-1910s rather than being the new and exciting developments they had been in the 1890s could still be described in detail for such an audience. Importantly, Mr. Carr doesn’t “tell” for details that would still have been well-known for an early twentieth century audience, and this — to me — makes all the difference for creating a historically authentic piece.

As far as the books being historically accurate are concerned, there can be no question that this is the case. The books are impeccably researched. Little details that other authors occasionally get wrong can ruin the reading experience for someone as picky as me, but no matter how deep I go in checking the historical detail in these books, they’re always accurate. It’s always a relief when I re-read one of the books to know that I won’t be irritated by a reference to a piece of clothing or a building or even a psychological theory that is out of place for the time period the books are set in. The only other literature I can always be sure of finding that level of accuracy in are classics written during the nineteenth century, or in equally impeccably researched non-fiction works. Mr. Carr is a historian first and foremost, and it shows.

Do you think Kreizler’s “collecting” of people for his household is motivated by compassion? Or something more unsavory, like a P.T. Barnum of the psychological world?

The idea of Dr. Kreizler being “a P.T. Barnum of the psychological world” gave me a chuckle. No, I don’t see anything unsavory in how Cyrus, Stevie, and Mary came to be part of his household. Throughout both Alienist books, we are provided with perfectly reasonable explanations for how these characters ended up under the Doctor’s protection. In fact, during The Angel of Darkness we see that Dr. Kreizler has hired a Russian housekeeper who has no connection to his professional work, making it fairly clear that he doesn’t aim to compose his household of former patients.

Do the characters seem, as one reviewer put it, anachronistic?

I don’t see the characters as anachronistic either. Certainly, it’s clear that Mr. Carr took the opportunity to fill the investigative team with an unusually eclectic group to show as many different aspects of the New York experience during the late nineteenth century as possible, but it wasn’t an impossible collection of characters for the time period: Theodore Roosevelt did hire the first female police secretary, there were Jewish police officers at the time, and Dr. Kreizler would have had close contact with youths like Stevie and individuals like Cyrus and Mary through his work.