Forgotten Books: Dark Passage by David Goodis
March 10, 2011
If David Goodis hadn't written this book it would have fallen to Cornell Woolrich to do the job. The set-up (and several parts of the book) are pure Woolrich.
Vincent Parry escapes San Quentin where he's serving life for a murder he didn't commit. He goes back to his old haunts in San Francisco intent on finding the real killer. But he's talked into a plastic surgery that certainly borders on science fiction. Zip zap, wait a few days and you're walking around with a completely new face. I supplement my income with The Ed Gorman Medical Drive-Through; you get a burger and fries with every procedure. But not even MY docs could do what this doc did.
Anyway despite my doubts about the medicine practiced here the book is gripping from page one to the finale. And Goodis is as good at menace and paranoia as Woolrich. His San Francisco bears a real resemblance to the London of The Ripper. There's an extended scene in the fog with a cop that starts to choke you. Will the cop figure out who he is? There are chase scenes in the fog that take on the aspect of horror fiction. And there is the ever-shifting game of whodunit.
There's the beautiful blonde stranger (Lauren Bacall in the film version) who helps him for mysterious reasons of her own; the old friend we begin to have doubts about; and the shrew (Agnes Moorehead in the movie) who is almost as much of a bitch as his dead wife--though nobody could have out-bitched her.
A very dark (in all respects) and very rich novel (parts of it read more like a mainstream book than a genre one) with an ending I'm sure Hollywood changed (I haven't seen it for some time). A page-turner and a masterful story of menace.
Vincent Parry escapes San Quentin where he's serving life for a murder he didn't commit. He goes back to his old haunts in San Francisco intent on finding the real killer. But he's talked into a plastic surgery that certainly borders on science fiction. Zip zap, wait a few days and you're walking around with a completely new face. I supplement my income with The Ed Gorman Medical Drive-Through; you get a burger and fries with every procedure. But not even MY docs could do what this doc did.
Anyway despite my doubts about the medicine practiced here the book is gripping from page one to the finale. And Goodis is as good at menace and paranoia as Woolrich. His San Francisco bears a real resemblance to the London of The Ripper. There's an extended scene in the fog with a cop that starts to choke you. Will the cop figure out who he is? There are chase scenes in the fog that take on the aspect of horror fiction. And there is the ever-shifting game of whodunit.
There's the beautiful blonde stranger (Lauren Bacall in the film version) who helps him for mysterious reasons of her own; the old friend we begin to have doubts about; and the shrew (Agnes Moorehead in the movie) who is almost as much of a bitch as his dead wife--though nobody could have out-bitched her.
A very dark (in all respects) and very rich novel (parts of it read more like a mainstream book than a genre one) with an ending I'm sure Hollywood changed (I haven't seen it for some time). A page-turner and a masterful story of menace.
Forgotten Books: Night Squad by David Goodis
If Philip K. Dick had written crime fiction he probably would have sounded a lot like David Goodis. Or if David Goodis had written science fiction he probably would have sounded a lot like Philip K. Dick.
Think about it. The precursor to Dick's dystopian future worlds resemble in many respects Goodis' 1953 world of down-and-out Philadelphia. Worlds of poverty, violence, despair. And protagonists whose well-earned paranoia often lapse into almost hallucinatory reactions. Cloying, claustrophobic worlds where death is often a mercy.
In the case of THE NIGHT SQUAD we have another example of the Goodis-Dick connection, that of the utter isolation of a man in society. Here though, unlike Dick's protagonists Corey Bradford is not innocent. He's an ex-cop who shook down everybody in the neighborhood called the Swampland. The slum neighborhood where he grew up and has lived out his life. After he got bounced from the force, a kind of shunning took place. The people here hate him so much they generally refuse to acknowledge him.
His luck changes when he saves the life of Walter Grogan, the gangster who runs everything in the Swampland. Grogan likes him and puts him to work with the promise of fifteen grand if Bradford can find out who the two men were who tried to to kill him. They tried to make it look as if it was just a mugging but Grogan knows better. Somebody in the Swampland is trying to kill him and take over his territory.
Goodis puts a twist on this twist. Soon enough an angry cop hires him to double-cross Grogan; Bradford will report back everything he learns from the gangster. Or will he?
I'm not an expert on Goodis (hell I'm not an expert on anything) but I read a few reviews after I finished the book and the impression I got is that it's not considered one of his best mainly because of how he handles the moral dilemma faced by Bradford.
I admired the book. It's the equivalent of somebody holding your head under water until your lungs start to burst--that grim, that frightening. But man I kept flipping those pages because this was a guided tour of hell and I was hooked. Goodis is at his best here dealing with a wino named Carp, the only honorable person in the book except maybe for Bradford's ex-wife. Nobody created the lost angels of the underclass more vividly than Goodis. He broke your heart with them.
I recommend this novel because of its bleak, Phil Dickian power. This is noir cast in phantasmagoric terms.
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