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Download American Crime Fiction: Studies in the Genre by Brian Docherty PDF

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By Brian Docherty

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His skin was childishly soft and pink. 30 The Op functions like a voice-over, invisible but insistent; Sam Spade is fully described but never explained. The longer the description, the more incongruous it seems, with the lupine head upon the pink bear shoulders. The camera eye of the Op, like the camera eye turned on Sam Spade, reveals that careful objective description is not enough: an alert consciousness must be balanced Camera Eye/Private Eye 33 by a sympathetic imagination. Even then, when the case is over, the mystery of individual motivation remains.

H. Zohn (London: New Left Books, 1973) pp. 11-106 (seep. 43). 5. T. S. Eliot, 'From Poe to Valery', Hudson Review, Autumn 1949; repr. in Carlson, Recognition, pp. 205-19 (seep. 208). 6. Jorge Luis Borges, 'El poeta del regreso', Cambia 16 (Madrid), 440 (11 May 1980) 131. (NB. All quotations from texts written in languages other than English are in my own translation, unless otherwise specified; but page references are to the original). Howard Haycraft, Murder for Pleasure: The Life and Times of the 7.

There was a run down the front of her right stocking. 28 The Op is so distanced from the scene he outlines that he treats not only Dinah Brand's body but also his own as an object in a diagram. The Op' s recourse to the automatic language of the forensic witness marks Hammett's own distance from the professional detachment he once shared. Hammett's reasons for leaving the Pinkerton Detective Agency are still not clear, but his criticism of the deadening impersonality it forced upon its operatives is as important as his respect for their hard independence.

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