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Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter. ↗
We need you to go out there and cover for us while we search for whoever's bugging us," Amy said. "Whoever it is, he or she is probably nearby." "All you have to do is keep talking. We've thought a lot about this, and we think you have the necessary skills," Dan said. "Very funny, Dan-o. But true. When it comes to nonstop chat, I'm the champ," Nellie agreed. Nellie turned off the shower and they all returned to the main room. "That pool is so fine," she said, as if she'd never been interrupted. "I met this couple from Scotland, and I was all, whoa, you have some delish smoked salmon in your excellent country...." Amy raised the window carefully, not making a sound. She and Dan quietly climbed out. "--and they were all, 'Aye, lassie, we dew, ye ken our bonny fish, ye dew!'" Nellie said in a terrible Scottish accent. "So I said, 'You know what ye lads and lassies need in Scotland? Bagels! To go with!' 'Whoa,' they said, 'lassie, ye canna be serious, that is one orrrig-in-al guid idea....'" "Okay, you can stop now." "Man, that's guid news," Nellie said. "This lassie is about to pass out. ↗
This may not be art as art commonly goes; the lack of discipline, of control, would seem to rule it out of that category. And yet Woolrich's lack of control over emotions is a crucial element in his work, not only because it intensifies the fragility and momentariness of love but also because it tears away the comfortable belief, evident in some of the greatest works of the human imagination such as Oedipus Rex, that nobility in the face of nothingness is possible. And if Woolrich's work is not art as commonly understood, there is an art beyond art, whose form is not the novel or story but the scream; and of this art Woolrich is beyond doubt a master. ("Introduction") ↗
But I think you’re beautiful. You’re lovely.” I shifted uncomfortably under the intense scrutiny and prickling heat in his eyes. “Thanks?” He thinks I'm…lovely? The idea that Kyle thought I was not just hot, but lovely, sent pangs of something like fear through me, an intense pressure in my heart. ↗
In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts. ("Introduction") ↗
Reaching out, I grab his hand and intertwine my fingers with his. And I move into his space until we're not even an inch from each other. Laying my forehead on his chest, I take a deep breath and feel his whole body relax, as if tension is rolling off his body in waves. I was always the kid who loved the smell of gasoline. His free hand comes up, and his fingers slip through my hair before his hand settles between my shoulder blades. "Ben," I say into his shirt. "Janelle," he whispers back, and I can feel his mouth against my hair. I can feel him smile. ↗
#romance #science-fiction #science-fiction-romance #unraveling #ya
Flight 2039 to Boston is now boarding at gate 14A," a voice announced over the PA system. Nellie sighed. "I love Irish accents." She paused. "And Australian accents. And English accents." A dreamy look came over her face. "Theo had an awesome accent." Dan snorted. "Yeah, there was just that one tiny problem. He turned out to be a two-timing, backstabbing thief. ↗
