Crime noir comes to Harlem

I found myself digging through the Chester Himes collection at amazon. He is now included in Penguin Modern Classics,with a half dozen titles re-released a couple years back, including his debut novel, For Love of Imabelle (1957), better known as A Rage in Harlem. I'm not sure if he was the first African-American crime writer, but his books hold up well over time.

Before the lurid crime novels, Himes wrote an account of his prison life in Yesterday Will Make You Cry. It was greatly edited and reduced to pulp fiction in its original edition, Cast the First Stone in 1952, but has since been restored and re-published by Old School Books.

It surprises me that the Library of America hasn't released an omnibus edition of his work, especially since it has recognized other crime writers like Raymond Chandler, Dashiell Hammett and David Goodis. But, Mario Van Peebles took it upon himself to re-release Grimes works in omnibus editions back in the late 90s, after the success of the film, A Rage in Harlem.

Probably Grimes' most famous work remains Cotton Comes to Harlem, largely because of the highly successful screen adaptation with Godfrey Cambridge and Raymond St. Jaques as Gravedigger Jones and Coffin Ed Johnson, who featured prominently in many of his novels. The movie was more played for laughs than grit, including Redd Foxx and Cleavon Little. The lead characters actually date back to early magazine pieces he wrote for Abbot's Monthly in the 1930s, the time which many of his stories are set.

Grimes took pulp fiction to an extreme that few other writers have been able to match. His colorful crime novels prefigure blaxploitation films of the 70s and the exploitation films by Quentin Tarantino in the mid 90s. You figure Mario Van Peebles came to Chester Himes through his father Melvin, who directed a film, Sweet Sweetback's Baadassss Song, which is arguably the best film of the genre.

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The Triangle Shirtwaist Factory Fire

Welcome to this month's reading group selection. David Von Drehle mentions The Melting Pot , a play by Israel Zangwill, that premiered on Broadway in 1908. At that time theater was accessible to a broad section of the public, not the exclusive domain it has become over the decades. Zangwill carried a hopeful message that America was a place where old hatreds and prejudices were pointless, and that in this new country immigrants would find a more open society. I suppose the reference was more an ironic one for Von Drehle, as he notes the racial and ethnic hatreds were on display everywhere, and at best Zangwill's play helped persons forget for a moment how deep these divides ran. Nevertheless, "the melting pot" made its way into the American lexicon, even if New York could best be describing as a boiling cauldron in the early twentieth century. Triangle: The Fire That Changed America takes a broad view of events that led up the notorious fire, not...

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Whoever it was in 1969 who named the very first Bob Dylan bootleg album “Great White Wonder” may have had a mischievous streak. There are any number of ways you can interpret the title — most boringly, the cover was blank, like the Beatles’ “White Album” — but I like to see a sly allusion to “Moby-Dick.” In the seven years since the release of his first commercial record, Dylan had become the white whale of 20th-century popular song, a wild, unconquerable and often baffling force of musical nature who drove fans and critics Ahab-mad in their efforts to spear him, lash him to the hull and render him merely comprehensible. --- Bruce Handy, NYTimes ____________________________________________ I figured we can start fresh with Bob Dylan. Couldn't resist this photo of him striking a Woody Guthrie pose. Looks like only yesterday. Here is a link to the comments building up to this reading group.

Team of Rivals Reading Group

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Dispatches from Vilnius

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