From Claudia Roth Pierpont’s “Tough Guy: The mystery of Dashiell Hammett” (The New Yorker [11 February 2002]: 70):
There is one section of “The Maltese Falcon” that could not be filmed, and for many readers it is the most important story Hammett ever told. A dreamlike interruption in events, it is a parable that Spade relates [...]
Posted on October 1st, 2006 by Scott Granneman
Filed under: commonplace book, language & literature, security | Comments Off
From Claudia Roth Pierpont’s “Tough Guy: The mystery of Dashiell Hammett” (The New Yorker [11 February 2002]: 70):
In March, 1928, [Hammett] had written to his publisher, Blanche Knopf, about his plans to adapt the “stream-of-consciousness method” to a new detective novel. He was going to enter the detective’s mind, he told her, reveal his impressions [...]
Posted on October 1st, 2006 by Scott Granneman
Filed under: art, business, history, language & literature | Comments Off
From Neither the Power Nor the Glory: Why Hollywood leaves originality to the indies, on Slate:
Back in the old days of the studio system, the brand of a Hollywood studio meant something to the moviegoing public. Each studio, with its roster of stars under contract, came to be identified with a particular genre of movies: [...]
Posted on October 18th, 2005 by Scott Granneman
Filed under: commonplace book | Comments Off
From "Culture Club" by Louis Menand in the 15 October 2001 issue of The New Yorker:
Things take their identities from what they are not … The concept of a highbrow culture, the culture of great books and the like, depends on the concept of a lowbrow, or popular, culture, whose characteristics highbrow culture defines iself [...]
Posted on October 16th, 2005 by Scott Granneman
Filed under: commonplace book, on writing | Comments Off