This will be scant, because it’s a column night and I have a big piece due Friday. The situation: 3,000 word piece due. The problem: I wrote 5,000 words. This is actually easier than only writing 2,000, despite what some may say. “Oh, editing it down is harder.” Nonsense. Only if you treasure every word. I do not subscribe to the “Kill your darlings” idea, though; If I love a line, might it not be a sign that it’s a good one? “But your judgment is clouded.” By what? Decades of experience?
The essay is mostly humorous, at least by contemporary definitions. It will not be funny soon enough. Styles change, references get lost, talents sag. For some reason I was thinking about S. J. Perelman the other day. In college I thought he was the best humorous writer, period. Inventive command of the language, occasional surreal bits of wordplay, confident persona. I am afraid to reread him, and discover I don’t laugh at his work anymore.
Then I thought it might be a consolation to see what he was writing at my age, and decide whether he had lost it. There’s a writerly endeavor, isn’t it? Ah, idol of youth, how you phoned it in. But that seemed like the work of a cramped spirit with no sympathy and malice galore — in other words, like Perelman. Or so I thought after reading some biographical notes, all of which noted his prickly and severe personality, his indifference to his children. You get a sense of the man in this Paris Review interview, which is amusing as a piece of performance, but he wasn’t giving an exaggerated account of himself for the purposes of entertainment. He was just that much of a pill, as my mother used to say.
James Lileks, The Bleat, 2015-01-15.
February 28, 2016
QotD: Editing is the best thing that ever happened to writing
February 25, 2016
QotD: Elements of dramatic storytelling
To be a satisfying drama, certain basic elements must be present, either in large or in small:
- A protagonist with a goal or dream or need or mission, who is facing…
- An obstacle (it can be a person, as an evil villain, or a situation, as life in an evil village) presenting a real challenge, perhaps an overwhelming challenge, blocking the protagonist’s achievement of this goal. Facing this challenge initiates…
- Rising action, perhaps with unexpected yet logical plot-turns to astonish the reader’s expectations, leading to…
- A climax, a crescendo or catharsis, which in turn brings about…
- A resolution that not only…
- Makes intellectual sense, with no plot threads forgotten and no plot holes showing but also…
- Makes moral and emotional sense, it shows the cosmos the way it is or the way it should be, but also…
- Makes thematic sense, such that it can be used as an example, or a model, or a reflection of life or some aspect of life.
Other aspects of storytelling (such as ornamental language or proper pacing, or the use of humor, pathos, satire, insight into human nature, or character development) are needed at least in some degree, but this varies so greatly from genre to genre and tale to tale that it cannot be simplified to a general rule.
There are five dimensions to any story: plot, characters, setting, style, and theme. Philosopher and theologian Peter Kreeft, writing about the philosophy in Tolkein’s LORD OF THE RINGS, re-words these five as dimensions into work, workers, world, words, and wisdom.
The plot is the work to be done, and a dramatic story gains stature if the work is hard, the cost is high, and the reward immense. This is why Robert Heinlein listed only three basic types of stories 1. Boy-meets-girl 2. The Little Tailor 3. The Man Who Learns Better.
What is at stake in a boy-meets-girl story is the future happiness of the couple; nothing is more immense than love. Stories involving any deep emotional relationship fall into this category, not exclusively romance. Stories of this type are about people and passions, honor and attachment: the boy is changed because he falls in love.
The Little Tailor (if I may remind any reader who don’t read fairy stories) tells of a man whose boast of swatting flies gives him a reputation as a giant killer. Then a real giant shows up. Stories of this type are about people and challenges. Facing the giant changes the tailor. What is at stake here is life and death.
Man Learns Better is an inverse of the second plot. The Man finds his fixed ideas or his innate character, when played out, leads to ruin, and this leaves him sadder but wiser, or humbler but wiser. He changes because he learns and grows. If learning your lesson carries a heavy price, the drama is greater. What is at stake here is the man’s soul.
If the hero fails, he loses his heart, or his life, or his soul.
From these three all basic variations of plots can spring: the chase, the quest, the competition, the sacrifice, or tales of revenge, escape, enlightenment, victory and defeat, but in order for the plot to be a plot something has to be at stake and it has to be meaningful to you and to your readers. The work must be a great work.
John C. Wright, “Supermanity and Dehumanity (Complete)”, John C. Wright’s Journal, 2014-12-13.
February 4, 2016
Goodreads interviews Lois McMaster Bujold
Lois’s latest book in the long-running Vorkosigan series, Gentleman Jole and the Red Queen, has just been published (my copy arrived at lunchtime on Wednesday), and she talked to Janet Potter at Goodreads about the book, the series, and other topics:
GR: Goodreads member Wendy asks whether you have considered a book that features the next generation?
LMB: Not at this time.
GR: You deal with social justice issues in a lot of your work. Goodreads member Becca asks how new perspectives on social justice issues (particularly gender and sexuality) have affected the worlds you describe in your writing? In particular, how have they affected Beta Colony and Cordelia?
LMB: It’s a little hard to figure out how to answer that question. These books were written over a 30-year span, and each one is now fixed like an insect in amber. Whatever new perspectives may arise in our world, these pieces of art are finished. Current events cannot affect them because time does not run backward. How the old stories will be received by new readers going forward will surely shift, but that’s not under my control.
GR: Tell us about your writing process.
LMB: My writing process has evolved over the years as my context has changed. I began writing in pencil in a spiral notebook, retyped on my old college report typewriter; advanced to a three-ring binder; acquired my first computer (it had a cassette-tape drive); traded up to my second computer; the Internet was invented, and so on. Small children grew to large children, we moved to a new state, kids moved out, back, out again, career-maintenance chores multiplied, and so on. A couple of aspects have persisted over the years.
“Making it up” and “writing it down” remain two different phases for me. I still capture the ideas for a story or a scene in penciled notes, as an organizational and memory aid. These could be thought of as a very rough draft or as a (quite mutable) outline. But in thoughts and visualizations (walking is good for this) and in pencil on paper is where I munge things around till they seem to work. Only then do I take the notes to the computer and bang out the first typed draft, usually in scene-sized units. One such bite at a time, chew well, swallow, making room for the next scene to form. Each scene written alters the ideas for what could come next, sometimes by a lot, sometimes by very little. Lather, rinse, pause to whine at my test readers, repeat until the tale is told.
Formerly, as I went along I would print out each chapter and put it in a binder, freezing it till a final edit. Lately I’ve switched to working paperless. It hasn’t made the process any faster — “thinking it up” is still the main bottleneck — but I find I do more micro-editing.
GR: What books have inspired or influenced you as a writer?
LMB: The books and writers who have the most impact are inevitably those one reads first, at a young age. In science fiction and fantasy, they were mostly the books I could find in school and public libraries in the 1960s, thus a trifle out of date for the modern reader. Not necessarily the most famous, but the writers whose stories got into my head and took root include: Poul Anderson, Cordwainer Smith, Randall Garrett, Lloyd Biggle, Jr., L. Sprague de Camp with Fletcher Pratt, Zenna Henderson, Roger Zelazny, Fritz Leiber, Anne McCaffrey, and James H. Schmitz. Outside F&SF I could name Arthur Conan Doyle, Georgette Heyer, Rudyard Kipling, Dorothy Sayers, and Alexander Dumas. I read, and still read, piles of nonfiction, of course, but that tends to be memorable for the subject matter rather than the author.
December 10, 2015
QotD: Freelance writing
A few years ago, I was called upon to inform the IRS that a former employee of mine would have liked to be paid more than I had paid him. Given that I have never met a freelance writer who thought he was being paid enough, I thought it a strange request, but I eventually understood the IRS’s line of thinking: The gentleman in question, who was in his 80s at the time, had retired from his former occupation and worked as a freelance writer. His beat involved a great deal of travel, and he deducted the expenses for which he was not compensated — which, the state of the newspaper industry being what it is, was all of them, at least as far as my editorial budget was concerned. The IRS suspected that his writing gig was somehow phony, something he had invented simply for tax deductions. In truth, he was just a freelance writer who didn’t make a lot of money — i.e., a freelance writer indistinguishable from about 88.8 percent of all freelance writers.
Kevin D. Williamson, “Mottos for Miscreants”, National Review, 2014-11-20.
November 12, 2015
“Camille Paglia is an intellectual flamethrower”
In The Chronicle of Higher Education, Rachel Toor talks to Camille Paglia:
Not long after she had splashed onto the scene with the publication of her first book, Sexual Personae: Art and Decadence From Nefertiti to Emily Dickinson, and followed that up with an essay in The New York Times claiming that Madonna was the future of feminism, I went to see Camille Paglia speak on a panel about political correctness at New York University. My recollection is of being frisked by armed guards before being allowed to enter the auditorium, but it’s more likely we just had to empty our pockets and go through a metal detector. That I thought the extra protection was for the professor from a small arts college in Philadelphia, and not for another speaker on the dais, Edward Said, tells you something about how Paglia was regarded in the circles in which I traveled.
Camille Paglia is an intellectual flamethrower. She’s fearless. She can be bully-mean and a name caller. She makes some people really, really mad. But she’s also a serious thinker who has been able to write important scholarly books that cross over into a wide readership, and you can regularly find her byline in national magazines, where it’s always a treat to read her sentences. Whether she’s writing about the Obama administration, characterizing cats (in Sexual Personae) as the “autocrats of self-interest,” rhapsodizing about The Real Housewives, or bludgeoning feminists, Christopher Hitchens, or Jon Stewart, she is sometimes right and never boring.
I approached her for this series with trepidation. I was eager to hear what she had to say about writing, but, to be honest, I was a little afraid of her (she called my former boss, Stanley Fish, a “totalitarian Tinkerbell”). Silly me. Camille could not have been more gracious, personable, or fun. She did tell me with a bit of glee that my former employer, Oxford University Press, was one of the seven publishers who rejected Sexual Personae. Thankfully that was before I started working there.
October 12, 2015
Is the ballpoint pen the reason we all write so badly now?
In The Atlantic, Josh Giesbrecht postulates that our penmanship went south in parallel with the rise of the ballpoint pen:
Recently, Bic launched a campaign to “save handwriting.” Named “Fight for Your Write,” it includes a pledge to “encourage the act of handwriting” in the pledge-taker’s home and community, and emphasizes putting more of the company’s ballpoints into classrooms.
As a teacher, I couldn’t help but wonder how anyone could think there’s a shortage. I find ballpoint pens all over the place: on classroom floors, behind desks. Dozens of castaways collect in cups on every teacher’s desk. They’re so ubiquitous that the word “ballpoint” is rarely used; they’re just “pens.” But despite its popularity, the ballpoint pen is relatively new in the history of handwriting, and its influence on popular handwriting is more complicated than the Bic campaign would imply.
The creation story of the ballpoint pen tends to highlight a few key individuals, most notably the Hungarian journalist László Bíró, who is credited with inventing it. But as with most stories of individual genius, this take obscures a much longer history of iterative engineering and marketing successes. In fact, Bíró wasn’t the first to develop the idea: The ballpoint pen was originally patented in 1888 by an American leather tanner named John Loud, but his idea never went any further. Over the next few decades, dozens of other patents were issued for pens that used a ballpoint tip of some kind, but none of them made it to market.
These early pens failed not in their mechanical design, but in their choice of ink. The ink used in a fountain pen, the ballpoint’s predecessor, is thinner to facilitate better flow through the nib—but put that thinner ink inside a ballpoint pen, and you’ll end up with a leaky mess. Ink is where László Bíró, working with his chemist brother György, made the crucial changes: They experimented with thicker, quick-drying inks, starting with the ink used in newsprint presses. Eventually, they refined both the ink and the ball-tip design to create a pen that didn’t leak badly. (This was an era in which a pen could be a huge hit because it only leaked ink sometimes.)
The Bírós lived in a troubled time, however. The Hungarian author Gyoergy Moldova writes in his book Ballpoint about László’s flight from Europe to Argentina to avoid Nazi persecution. While his business deals in Europe were in disarray, he patented the design in Argentina in 1943 and began production. His big break came later that year, when the British Air Force, in search of a pen that would work at high altitudes, purchased 30,000 of them. Soon, patents were filed and sold to various companies in Europe and North America, and the ballpoint pen began to spread across the world.
October 3, 2015
QotD: The hidden roots of writing
[V.S.] Pritchett begins with a conventional and not very promising theme, writers and money, and quietly turns it into a meditation on the importance of time, “the one necessity of their lives, not simply for high jinks — everyone has that — but time for their particular work.” He distinguishes two sorts of time important to writers: “…the clock time of his prose factory and the vitally necessary unending time of reflection; without the latter his work that clocks in will be dead and automatic.”
Writing has a long gestation because the writer never knows what might prove useful. If he is, as Henry James suggests he ought to be, “one of those on whom nothing is lost,” he has no spare time, no “down time,” no time to kill. A hastily written pen-for-hire piece of journalism may have decades-old origins unknown even to the writer. Every thought, every experience, every book read, might come in handy. Pritchett alludes to Keats’ notion of “negative capability” and adds: “A writer must have the capacity to become passive and lost in doubt in order to be open to new suggestion. He must alternate between clocking in and clocking out.”
Patrick Kurp, “‘They Never Stop Working'”, Anecdotal Evidence, 2014-09-17.
September 11, 2015
QotD: Ayn Rand
Let it be said at the outset that I have never been an Objectivist nor am I now a Libertarian, albeit, obviously, I share many of their aims. There is much in Ayn Rand’s philosophy I admire, and much I despise. She has the odd ability to write pages and pages of very insightful wisdom argued with almost Thomistic rigor and logic, and then to stagger like a screaming drunk into page after page of vituperation and nonsense based on an apparently inability to distinguish radically unalike concepts, such as selfishness versus self-interest, or altruism versus communism.
John C. Wright, “Ayn Rand as Author”, John C. Wright’s Journal, 2014-09-24.
August 24, 2015
Lois McMaster Bujold interview from Goodreads
I meant to post this while it was still “fresh”, but I don’t think the content of the interview has gone stale:
[Q:] How do your family and friends relate to you and your writing? I imagine they would enjoy a special understanding of your thoughts, feelings, and values from reading your work. For instance, my wife and I have both completed the Vorkosigan saga and I’ve taken to quoting to her, apropos of family matters, “all true wealth is biological”, which benefits from what we’ve both experienced in the novels.
Lois McMaster Bujold
Mm, family is difficult. My parents passed away years ago, my father when my career was only starting. From one comment he made, I gathered that my adult content was a bit dismaying to him; I think that somewhere in his head, I was still twelve. My mother was not a F&SF reader, so while the writing part seemed sort of OK to her, the genre was not something to which she related. “If you want to write, why not try writing for the local paper?” she once inquired, when I was bemoaning my early lack of progress. Leaving aside the rural benightedness of The Marion Star, the noncomprehension of this question seemed profound.Only one of my brothers is a reader — he does like my stuff, and I think reading it has brought me into focus as a human being for him, rather than a vague fuzzball labeled “little sister”. I gather he found this rather unexpected. (He loved The Curse of Chalion.)
My kids, well, my children are rather opaque to me. Cordelia’s apparent maternal telepathy is the most wish-fulfillment part of the character, from my point of view. My daughter has read at least some of my work, and we relate to each other as adults nowadays, or at least I think we do. My son has never, as far as I know, read any of my fiction. Not sure what to make of that. (I wish he would, for just the reasons you name above, but I can hardly make my books required reading.)
My friends pretty much consist of folks who like my stuff, because there is, after all, a selection process at work there.
Ta, L.
[Q:] Any chance of the story describing the episode “more than a simple assassination” that Miles mentions in A Civil Campaign? Or the one with a tenyearold girl as courier, mentioned in Komarr? Or are they doomed to be unvoiced backstory? Thanks for all the enjoyment you’ve provided already!
Lois McMaster Bujold
I’m afraid those are doomed to stay throw-away lines, along with the politician, the lighthouse, and the trained cormorant.I am now having a vision of an annex to L-Space, somewhere, where all those unused characters and ideas from the whole of literature sit around getting drunk and complaining to each other about how they were robbed of their rightful places in the spotlight…
Ta, L.
August 20, 2015
Frédéric Bastiat
Lawrence W. Reed makes the case for Frédéric Bastiat to be awarded a Nobel Prize … if they awarded them posthumously, anyway:
If a posthumous Nobel Prize was awarded for crystal-clear writing and masterful storytelling in economics, no one would be more deserving of it than Frédéric Bastiat (June 30, 1801–December 24, 1850). He set the standard over a century and a half ago.
This remarkable Frenchman was an economist in more than the traditional sense. He understood the way the economic world works, and he knew better than anybody how to explain it with an economy of words. He employed everyday language and a conversational tone, an innate clarity that flowed from his logical and orderly presentation. Nothing he wrote was stilted, artificial, or pompous. He was concise and devastatingly to the point. To this day, nobody can read Bastiat and wonder, “Now what was that all about?”
Economic writing these days can be dull and lifeless, larded with verbosity and presumptuous mathematics. Bastiat proved that economics doesn’t have to be that way: the core truths of the science can be made lively and unforgettable. In literature, we think of good storytelling as an art and stories as powerful tools for understanding. Bastiat could tell a story that stabbed you with its brilliance. If your misconceptions were his target, his stories could leave you utterly, embarrassingly disarmed.
If you aspire to be an economist or a policy maker or a teacher or just an influential communicator, take time to study at the feet of this 19th-century master.
June 26, 2015
Vowels, consonants … and how we understand the written word
In the New English Review, Colin Wells undertakes to explain why Arabs hate reading:
Though little reliable research has been done on Arabic literacy, the little that has been done is quite clear in one regard. As Johns Hopkins researcher Niloofar Haeri concludes in her contribution to The Cambridge Handbook of Literacy (2009), throughout the Arab world educated people find reading very difficult, don’t like to do it, and do as little of it as possible — even the librarians.
Why this uniformly strong dislike of reading?
Haeri’s answer is that Arabic literature is written in “classical Arabic,” the archaic language of the Quran, which is stilted, difficult, and often unfamiliar to speakers of the many modern dialects of spoken or “street Arabic.”
[…]
If you look up “writing” in the current Encyclopedia Britannica online, you’ll find an article by David Olson, a leading scholar of writing systems at the University of Toronto, where much of the most important research on literacy has been done over the past half century. Among the entry’s many interesting bits of information, one brief observation is easily overlooked: writing that has only consonants must be understood before it can be read, while writing that has both consonants and vowels reverses that process.
With consonants alone, the consonants act as hints, but the reader has to fill in the missing vowel sounds, as in “Ll mn r crtd ql” or “Nc pn tm thr ws lttl prncss.” This seems easy enough, at first glance. With both consonants and vowels, on the other hand, you read it first and then go on to figure out what it means, as in “Look out the window and bring me the nail file.” In Olson’s academese, with consonantal writing “interpretation precedes decipherment,” while with alphabetic writing “decipherment precedes interpretation.”
With a fine-tuned academic alertness to thin ideological ice, Olson deftly skates away from exploring the implications of this well-known fact. Nor is he alone in doing so. Only two kinds of consonantal writing are widely used today, Hebrew and Arabic, and both are considered sacred by their practitioners. So among scholars, there’s an unspoken and perhaps understandable reluctance to look closely at how — and at how well — they work when it comes to reading them, and especially to countenance that alphabetic writing might be easier to read.
Hebrew writing is a special case, a consonantal script for a dead language that was brought back to life by European Zionists for use in Israel, where alphabetic script is also commonly used. But it’s no secret that the Arab world has a huge literacy problem, though most of us in the West are unaware of just how severe it is. Not only are very few books published in Arabic overall, virtually none are translated into Arabic from other languages. This intellectual starvation and isolation contrasts with the many millions of books published in, and the hundreds of thousands translated into, alphabetic languages each year.
June 16, 2015
The Author of All Quiet on The Western Front – Erich Maria Remarque I WHO DID WHAT IN WW1?
Published on 15 Jun 2015
All Quiet On The Western Front is surely the most prominent anti-war book and book about World War 1 of all time. The German author Erich Maria Remarque fought on the Western Front until he got wounded. During his recovery he collected stories from his comrades and started writing the book. Just one year after publication, a movie was made in the US where Remarque later emigrated to.
June 1, 2015
The place of “The Marys” in feminist and literary history
In the June issue of Reason, Amy Sturgis reviews a new book by Charlotte Gordon, Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft and Her Daughter Mary Shelley:
Mary Wollstonecraft and her daughter, Mary Shelley, shared life on earth for a mere 11 days. But though fate kept them apart, the two women together managed to change the Western world’s conception of women’s rights, human reason, education theory, and romantic love. Not to mention invent modern science fiction. In Romantic Outlaws, biographer Charlotte Gordon makes a compelling case that each woman’s intellectual legacy has been underappreciated. She also argues persuasively that the two were linked by more than just blood: Wollstonecraft’s life and principles had a profound impact on her daughter, an influence critics largely have ignored.
Both Marys led lives that captured the public imagination at least as much as their path-breaking writings did. Their dramatic personal stories, coupled with well-meaning family members’ attempts to manage their reputations after their deaths, help explain how their ideas got lost in the sensationalist shuffle. But Gordon sees the Marys’ private lives not as obstacles to be overcome but as extensions of their philosophies. Mother and daughter, she argues, tried to craft independent and meaningful lives of the mind in times when a self-supporting, freethinking woman wasn’t just an oddity but a scandal.
“Without knowing the history of the era, the difficulties Wollstonecraft and Shelley faced are largely invisible, their bravery incomprehensible,” Gordon writes. “Even those who revere mother and daughter do not fully realize how profoundly they challenged the moral code of the day. Yet both women were what Wollstonecraft termed ‘outlaws.’ Not only did they write world-changing books, they broke from the strictures that governed women’s conduct, not once but time and again. Their refusal to bow down, to be quiet and subservient, to apologize and hide, makes their lives as memorable as the words they left behind.” Gordon’s admiration for the two is clear and contagious.
May 9, 2015
QotD: “Constructive” criticism
Upon the low practical value of so-called constructive criticism I can offer testimony out of my own experience. My books are commonly reviewed at great length, and many critics devote themselves to pointing out what they conceive to be my errors, both of fact and of taste. Well, I cannot recall a case in which any suggestion offered by a constructive critic has helped me in the slightest, or even actively interested me. Every such wet-nurse of letters has sought fatuously to make me write in a way differing from that in which the Lord God Almighty, in His infinite wisdom, impels me to write — that is, to make me write stuff which, coming from me, would ‘be as false as an appearance of decency in a Congressman. All the benefits I have ever got from the critics of my work have come from the destructive variety. A hearty slating always does me good, particularly if it be well written. It begins by enlisting my professional respect; it ends by making me examine my ideas coldly in the privacy of my chamber. Not, of course, that I usually revise them, but I at least examine them. If I decide to hold fast to them, they are all the dearer to me thereafter, and I expound them with a new passion and plausibility. If, on the contrary, I discern holes in them, I shelve them in a pianissimo manner, and set about hatching new ones to take their place. But constructive criticism irritates me. I do not object to being denounced, but I can’t abide being school-mastered, especially by men I regard as imbeciles.
H.L. Mencken, “Footnote on Criticism”, Prejudices, Third Series, 1922.
May 2, 2015
“…every word she says is a lie, including ‘and’ and ‘the'”
An older article from Lesley McDowell at The Independent, discussing the relationship between Lillian Hellman and Dashiell Hammett:
When Mary McCarthy said of Lillian Hellman, “every word she says is a lie, including ‘and’ and ‘the'”, a certain attitude was fostered. Not only to the celebrated playwright’s experiences in war-torn Spain during the 1930s or before the House Un-American Activities Committee during the 1950s, but also to her personal life. Hellmann, this attitude said, was a myth-maker of the worst kind. She couldn’t be trusted to tell the truth, not even about those she loved. So what if she wrote in her memoirs that crime writer Dashiell Hammett, with whom she lived on-and-off for 30 years, was the most important person in her life? “Did anyone ever see them together?” queried Gore Vidal.
Writers make myths out of people’s lives, especially their own. And when writers become embroiled with other writers, the opportunity increases ten-fold. It was to Hammett, the pulp magazine writer turned detective novelist, that she always owed a debt, Hellman insisted. The completion of her first play, The Children’s Hour, in 1934, just four years after they met at a Hollywood party, was all thanks to “help from Hammett.” She “worked better if Hammett was in the room.” Yet Hellman’s words about this crucial relationship have been doubted too. Perhaps it didn’t help that she wrote in her 1969 memoir, An Unfinished Woman, “what a word is truth. Slippery, tricky, unreliable. I tried in these books to tell the truth…I see now, in re-reading, that I kept much from myself, not always, but sometimes.”
Lillian Hellman was married to a writer, Arthur Kober, when they wound up in Hollywood in 1930. Kober had a script-writing job and Hellman was a script-reader. She was 25, bored in her five-year marriage and had writing ambitions. When she met Hammett at a party, he was 36 and famous, the bestselling author of Red Harvest and The Maltese Falcon. Different accounts of their first meeting don’t help Hellman’s case for truth-telling, but there is a nastier undercurrent to those who doubted Hellman’s version of the subsequent relationship.
Hammett was extremely handsome and rich, thanks to his books. Hellman was never a pretty girl, and had a forthright manner that scared people. Some doubted Hammett’s interest in her: why should such a successful writer take up with an unattractive nobody?
