Nightmare Town: Stories Read Free Page B

“Hammett hero.”
    Critic John Paterson claims that he “is, in the final analysis, the apotheosis of every man of good will who, alienated by the values of his time, seeks desperately and mournfully to live without shame, to live without compromise lo his integrity.”
    Philip Durham, who wrote the first biography of Raymond Chandler, (races Hammett’s hero back to
    a tradition that began on the frontier in the early part of the nineteenth century. This American literary hero appeared constantly in the dime novels of the period, and was ready-made for such Western writers of the twentieth century as Owen Wister and Zane Grey. By the time Hammett picked him up in the pages of Black Mask, his heroic characteristics were clearly established: courage, physical strength, indestructibility, indifference to danger and death, a knightly attitude, celibacy, a measure of violence, and a sense of justice.
    Hammett’s most sustained character, the Continental Op (who is featured here in seven stories), reflects the author’s dark world view, but he’s not overtly political, nor is he knightly. He’s a hard-working detective trying to get a job done. The Op describes himself as having a face that is “truthful witness to a life that hasn’t been overwhelmed with refinement and gentility,” adding that lie is “short, middle-aged, and thick-waisted,” and stubborn enough to be called “pig-headed.”
    Hammett claimed to have based the Op on the man who had trained him to be a detective, the Pinkerton Agency’s Jimmy Wright of Baltimore. Wright taught young Hammett a basic code: Don’t cheat your client. Stay anonymous. Avoid undue physical risks. Be objective. Don’t become emotionally involved with a client. And never violate your integrity. This code stayed with Hammett; it not only served him while he was a working detective, but it also gave him a set of personal rules that shaped his actions throughout his life.
    Of course, despite his age and physical appearance, the Op is Hammett himself in fictional guise. Told in the first person, many of the Op’s adventures are fictionalised versions of actual cases that Hammett worked on during his sporadic years as a detective. When young Hammett first joined the Baltimore branch of the Pinkerton Detective Agency, the headquarters were in the Continental Building – clearly the source for the Op’s fictitious agency.
    Hammett deliberately kept his character’s biographical background to a minimum. As critic Peter Wolfe notes, “he tells us nothing of [the Op’s] family, education, or religious beliefs.” Of course the Op has no religion in any traditional sense of the term; his religion is the always dangerous game of manhunting, a trade he pursues with near-sacred zeal.
    If one sifts carefully through the canon (some three dozen stories), it is revealed that the Op joined Continental as “a young sprout of twenty” (Hammett’s age when he became a Pinkerton operative), that he held a captain’s commission in wartime military intelligence, that he speaks some French and German, eats all his meals out, smokes Fatima cigarettes, enjoys poker and prizefights, and avoids romantic entanglements (“They don’t go with the job”). Pragmatic, hard-souled, and tenacious, he resorts to physical violence when necessary and uses a gun when he has to, but prefers using his wits. He is as close to an actual working detective as Hammett could make him.
    Hammett featured the Op in his earlier long works, Blood Money (also known as The Big Knockover), Red Harvest, and The Dain Curse, all of which were revised from Black Mask novellas.
    His next major fictional creation was San Francisco private eye Samuel Spade, to whom Hammett gave his first name. (As a Pinkerton, he had always been called Sam. When he turned to writing, he became simply Dashiell Hammett.) Spade made his debut in The Maltese Falcon, a five-part Black Mask serial that Hammett carefully reworked for book