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A Hell of a Woman (Mulholland Classic) Paperback – August 5, 2014
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Soon Dolly and Mona find themselves involved in a scheme of robbery, murder and mayhem that makes Dolly's blood run cold. As Dolly's plans begin to unravel, his mind soon follows.
In A Hell of a Woman, Jim Thompson offers another arresting portrait of a deviant mind, in an ambitious crime novel that ranks among his best work.
- Print length208 pages
- LanguageEnglish
- PublisherMulholland Books
- Publication dateAugust 5, 2014
- Dimensions5.75 x 0.75 x 8.5 inches
- ISBN-100316403733
- ISBN-13978-0316403733
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About the Author
Thompson also co-wrote two screenplays (for the Stanley Kubrick films The Killing and Paths of Glory). Several of his novels have been filmed by American and French directors, resulting in classic noir including The Killer Inside Me (1952), After Dark My Sweet (1955), and The Grifters (1963).
Product details
- Publisher : Mulholland Books; Reissue edition (August 5, 2014)
- Language : English
- Paperback : 208 pages
- ISBN-10 : 0316403733
- ISBN-13 : 978-0316403733
- Item Weight : 5.6 ounces
- Dimensions : 5.75 x 0.75 x 8.5 inches
- Customer Reviews:
About the author
Jim Thompson was born in Anadarko, Oklahoma. He began writing fiction at a very young age, selling his first story to True Detectivewhen he was only fourteen. Thompson eventually wrote twenty-nine novels, all but three of which were published as paperback originals. Thompson also co-wrote two screenplays (for the Stanley Kubrick films The Killing and Paths of Glory). Several of his novels have been filmed by American and French directors, resulting in classic noir including The Killer Inside Me (1952), After Dark My Sweet(1955), and The Grifters (1963).
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Like so many Thompson stories, it all starts with a woman – in this case, a young woman who “Dolly” Dillon meets when he’s trying to collect bills. She’s a woman in trouble, and Dillon keeps finding himself thinking about her and how to get her out – and if that means choosing her in favor of his wife, well, no great loss. Such is the kick off here, but one of the great things about Woman is the way that Thompson again and again undercuts his narrator, slowly peeling back the layers to help us see how rotten he is at the core, regardless of his protestations. And yet, we’re so immersed in his perspective that we understand why he’s making the choices that he’s making – we just get to see how he lives with them, too.
Dillon isn’t as blatantly psychotic as the narrators of The Killer Inside Me or Pop. 1280, but he’s no less damaged or self-righteous, which gives the book the glorious tension of the best noir – where we’re torn between wanting to see our protagonist get away with it and also see him be punished for his vileness. I won’t get into which happens here, other than to say that Thompson has at least one blackly comic twist up his sleeve that’s legitimately funny, only to catch us off-guard with a surprisingly nightmarish and slightly experimental final chapter.
That slight experiment reflects some of the oddness of Woman; between that and the occasional chapters where Dillon takes over the narrative and breaks the fourth wall to deliver his own memoirs, A Hell of a Woman sometimes feels like Thompson pushing the boundaries of hard-boiled noir to become more “literary,” and the results are a mixed bag. (I loved the surreal breakdown of the final chapter, for instance, but I’m not sure the “memoirs” added much.)
Still, I’ve only read one Thompson book that didn’t work for me (Nothing More than Murder), and A Hell of a Woman is no exception. Dolly may be a little less dangerous than Thompson’s worst characters, but his whining and victimhood set him apart, especially as he spirals more and more. Add to that some black comedy that Thompson doesn’t always include and you’ve got another knockout from one of the truest hard-boiled writers who ever wrote.
Thompson is simply brilliant at conveying how character and circumstance combine to form destiny. And he does it in simple, straightforward language, with no wasted words, no precious metaphor or long-winded descriptions. He simply takes you by degrees down into hell, and by the time you realize where you're going, it's too late to turn back.
Frank Dillon seems a pretty reasonable guy at first, and his more colorful comments come off as humorous. Over time, you begin to see his flaws and how they contribute to his undoing. One common element of all Thompson's novels is that the protagonist remains a largely sympathetic character, even when he starts doing horrible things. You understand his thinking and his weakness, even as you cringe at what he's doing.
This one gets very dark at the end.
His books are unpretentious and move quickly with
that "hit the oxygen dialogue" of his. And it's funny
how I picture his characters living in the same
rundown rat traps Bukowski/Chinaski always occupied
proving to me at least that ol' Buk (buke) was a true
Pulpy at heart and that his poetry is truly "poetry
noir." But back to Thompson. What I love about his
leads is they're undercover crazy, sure some more
than others, but then maybe the ones we think are
passably sane are just better at faking it. Hands
down my favorite is Population 1280. That guy
reminds me of Orton's Mister Sloane.