Arson Plus Page 2

  J.M.R.

  INTRODUCTION

  The Early Years: 1923–1924

  Dashiell Hammett may have been born with the urge to write, we can’t know, but it was happenstance that set the course for his literary fame. His first choice of careers was private investigation. When he turned twenty-one, he joined Pinkerton’s National Detective Service as an operative, a job he enjoyed for three years, from 1915 to 1918, before joining the army. He served in a medical unit at Fort Bragg, Maryland, an intake center for soldiers infected with Spanish Influenza returning from the war in Europe. Hammett contracted the flu himself, and that activated a latent strain of tuberculosis probably spread from his mother. He left the army after just less than a year with a sergeant’s rating, an honorable discharge, and a disability rating that fluctuated over the next ten years between 20% and 100%, usually hovering midway in between.

  After a period of convalescence, Hammett returned to detective work sporadically, until he was hospitalized with tuberculosis for some six months from November 1920 to the following May. Upon his release from the hospital, he moved to San Francisco and married his nurse, Josephine Dolan, in July 1921. Their daughter Mary was born in October. Hammett tried to support his new family as a detective, but he was unable. He retired permanently from the agency in either December 1921 or February 1922, depending on which evidence you choose to accept, due to disability. He was twenty-six, often a virtual invalid, and he needed money.

  In February 1922 he commenced a year and a half of study at Munson’s School for Private Secretaries, with a “newspaper reporting objective,” as he wrote in his disability log for the Veterans Bureau. The training shows. His early fiction has a journalistic quality about it—in the best sense. It is clearly written, detail oriented, and plainly narrated, without the strained and sensationalistic flourishes that mark the fiction of other early pulp writers. In October 1922 he began submitting humorous and ironic sketches to The Smart Set, the high-brow magazine edited and partially owned by H.L. Mencken and George Jean Nathan. At their suggestion, after publishing three of his sketches, he lowered his sights to pulp magazines, which offered him steady, if not hefty, paychecks but required that he alter his subject matter. He made his living during most of the twenties on the back of what soon became his series character, the Continental Op, a professional detective.

  Hammett’s Continental Op is inseparable from the pulp magazine Black Mask, which was barely three years old and under new ownership when the Continental Op was introduced. Twenty-six of the twenty-eight published Op stories first appeared there between October 1923 and November 1930, as well as two four-part serial novels featuring the Op. Founded in 1920 by Mencken and Nathan to publish what Mencken called in My Life as Author and Editor “hacks of experience,” writing for “murder fans.” Black Mask had no literary pretensions in the beginning. Its sole purpose was to make money. Mencken claimed in a 1933 letter to his friend Philip Goodman that he and Nathan could “get out a 128-page magazine at a cash outlay of no more than $500” and did so in the case of Black Mask. With “no desire to go on with the Black Mask.” Mencken and Nathan sold it in summer 1921 to Eugene Crowe and Eltinge Warner (just before Crowe’s death), having earned about $25,000 each for their efforts. From the beginning the magazine was aimed at a blue-collar audience who wanted entertaining stories. Though it is known now as the publication that pioneered hard-boiled detective fiction, in the 10 October 1923 issue, the editor bragged that Black Mask published “Rugged adventure and real man and woman romance; rare Western yarns, swift-acting logical detective stories, weird, creepy mystery tales, and the only thrilling, convincing ghost stories to be found anywhere.” In that mix, Hammett found no models, and his sure-footed stories stood out—initially because of their confident, plausible prose and notable absence of gratuitous violence.

  Hammett used pseudonyms for his earliest Black Mask stories, usually Peter Collinson (from theatre slang for a phantom person). One might guess, and it is only a guess, that he was embarrassed to appear in the cheap pulps—certainly he spoke disparagingly of them later in his life. But he dropped his guard when he was asked for a comment about “the Vicious Circle,” a story about a politician reacting to blackmail published in the15 June 1923 Black Mask as by Collinson. Hammett replied that the story, which does not feature the Op, was based on cases he experienced as a private detective. He signed the response “S. D. Hammett” and soon afterward abandoned the Collinson pseudonym altogether. Sutton missed the reference. Even though Hammett took particular care in those early stories to describe accurately how a private detective went about his job and in “Zigzags of Treachery” (1 March 1924) provided specific how-to advice, it wasn’t until later that Sutton’s successor recognized the real-life experience that shaped the Op’s workman-like approaches to his cases.

  Writers rarely develop in a vacuum. In Hammett’s case, the course of his literary development seems clearly enough to have been molded by his editors. He came to write detective fiction because Mencken saw no future for him among the smart set, and at Black Mask he clearly was guided in the beginning by his editors’ ideas about what would sell in their market, ideas that changed with the man in charge. George W. Sutton, the Black Mask editor who agreed after three months on the job to publish “Arson Plus,” had no literary qualifications. He, described himself this way in a farewell message to readers in the 15 March 1924 issue, the last for which he had responsibility:

  The Editor is primarily a writer of automobile and motorboat articles, and all during the wonderful period that he has been at the helm of BLACK MASK, he has continued his automobile departments in various publications; using the afternoons and most of every night, every Sunday and holiday, to read the thousands of stories which come in to BLACK MASK—editing them, consulting with authors and artists, writing to readers, and attending to the thousands of details that make up the work necessary to getting out a “peppy” fiction magazine.

  Sutton’s “various publications” included Vanity Fair, Collier’s, Town & Country, Popular Mechanics, and newspaper syndication.

  In 1923 Sutton wrote a memo to prospective writers called “The Present needs of Black Mask,” in which he lamented that “BLACK MASK finds it very difficult to get exactly the kind of stories it wants. We can print stories of horror, supernatural but explainable phenomena and gruesome tales which no other magazine in the country would print, but they must be about human beings, convincing, entertaining, and interest impelling.” Sutton warned in his memo: “We do not care for purely scientific detective stories which lack action; and we are prejudiced by experience against the psychological story which is not very rugged and intense.”

  Though Black Mask is regarded, appropriately, as the birthplace of hard-boiled fiction, the hard-boiled story was still in gestation under Sutton. While crime was a staple of his Black Mask, it was but one ingredient of the editorial mix, and only the earliest stories of Carroll John Daly, featuring cartoonishly violent protagonists acting out what seem to be the author’s homicidal, tough-guy fantasies, could properly be called hard boiled. Hammett set out to fulfill Black Mask’s needs with stories about a short, portly, tough, nameless detective for the Continental Detective Agency, based obviously on Pinkerton’s, who described his cases in procedural detail.

  Hammett was known to Sutton and his associate editor Harry North only through correspondence and his fiction. Hammett lived in San Francisco; the editorial offices were in New York. Sutton made an effort to stay in touch with his writers and his readers, though. He solicited letters from his writers about the genesis of their stories, and he encouraged readers to write in with their reactions, which he published, criticisms and all. Hammett responded to Sutton’s requests regularly, and his letters are included here after the stories on which they comment.

  By the time his fourth Op story was published, Hammett was advertised by Sutton as having “suddenly become one of the most popul
ar of Black Mask writers, because his stories are always entertaining, full of action and very unusual situations.” They were also notably restrained by Black Mask standards. In those first four stories the Op does not carry a gun. In the first two there are no deaths; in the third there is one offstage murder and one murder before the story begins; and in the fourth there is one off- stage murder and one shooting. In the next five stories, Hammett’s last under Sutton’s editorship, there are a total of five murders during the action. Though the Op had an occasional fistfight, under Sutton he never killed a person; the crooks are the murderous ones. But Sutton went back to motorsports at the end of March 1924—his Camping by the Highway: Autocamper’s Handbook and Directory of Camp Sites was published by Field and Stream Publishing Company in 1925—and though Hammett was among the core writers on whose talents Sutton’s successors planned to build, the new editor had different ideas about what makes an entertaining story.

  The reputations of Hammett and the magazine that nurtured his talent rose together, and by 1930 each had altered the course of English-language literature. Black Mask had grown in circulation to 100,000 copies a month, and it was grudgingly respected as the unquestioned king of the pulps, beginning to show its influence in the mainstream development of tough-guy literature. Hammett, already regarded as the master of the hard-boiled detective story, was being recognized as a major force in what arguably can be called America’s most talented literary generation, the generation of Ernest Hemingway, F. Scott Fitzgerald, William Faulkner, and John Dos Passos. Hammett did not regard the Op stories, early or late, as his best work—he reserved that distinction for The Maltese Falcon (serialized in Black Mask from September 1928–January 1929) and The Glass Key (serialized in Black Mask from March to June 1930)—but there is no question that he used these stories to test characters, plots, and dialogue he used in his novels, and his genius shines through in every one.

  R.L.

  ARSON PLUS

  Black Mask, 1 October 1923

  Dashiell Hammett writing as Peter Collinson, author of “The Vicious Circle”1

  This is a detective story you’ll have a hard time solving before the end. Form your ideas of the outcome as you go along and then see how near you guessed it.

  Jim Tarr picked up the cigar I rolled across his desk, looked at the band, bit off an end, and reached for a match.

  “Fifteen cents straight,” he said. “You must want me to break a couple of laws for you this time.”

  I had been doing business with this fat sheriff of Sacramento County for four or five years—ever since I came to the Continental Detective Agency’s San Francisco office—and I had never known him to miss an opening for a sour crack; but it didn’t mean anything.

  “Wrong both times,” I told him. “I get two of them for a quarter; and I’m here to do you a favor instead of asking for one. The company that insured Thornburgh’s house thinks somebody touched it off.”

  “That’s right enough, according to the fire department. They tell me the lower part of the house was soaked with gasoline, but God knows how they could tell—there wasn’t a stick left standing. I’ve got McClump working on it, but he hasn’t found anything to get excited about yet.”

  “What’s the layout? All I know is that there was a fire.”

  Tarr leaned back in his chair, turned his red face to the ceiling, and bellowed:

  “Hey, Mac!”

  The pearl push-buttons on his desk are ornaments as far as he is concerned. Deputy sheriffs McHale, McClump and Macklin came to the door together—MacNab apparently wasn’t within hearing.

  “What’s the idea?” the sheriff demanded of McClump. “Are you carrying a bodyguard around with you?”

  The two other deputies, thus informed as to who “Mac” referred to this time, went back to their cribbage game.

  “We got a city slicker here to catch our firebug for us,” Tarr told his deputy. “But we got to tell him what it’s all about first.”

  McClump and I had worked together on an express robbery, several months before. He’s a rangy, towheaded youngster of twenty-five or six, with all the nerve in the world—and most of the laziness.

  “Ain’t the Lord good to us?”

  He had himself draped across a chair by now—always his first objective when he comes into a room.

  “Well, here’s how she stands: This fellow Thornburgh’s house was a couple miles out of town, on the old county road—an old frame house. About midnight, night before last, Jeff Pringle—the nearest neighbor, a half-mile or so to the east—saw a glare in the sky from over that way, and phoned in the alarm; but by the time the fire wagons got there, there wasn’t enough of the house left to bother about. Pringle was the first of the neighbors to get to the house, and the roof had already fell in then.

  “Nobody saw anything suspicious—no strangers hanging around or nothing. Thornburgh’s help just managed to save themselves, and that was all. They don’t know much about what happened—too scared, I reckon. But they did see Thornburgh at his window just before the fire got him. A fellow here in town—name of Handerson—saw that part of it too. He was driving home from Wayton, and got to the house just before the roof caved in.

  “The fire department people say they found signs of gasoline. The Coonses, Thornburgh’s help, say they didn’t have no gas on the place. So there you are.”

  “Thornburgh have any relatives?”

  “Yeah. A niece in San Francisco—a Mrs. Evelyn Trowbridge. She was up yesterday, but there wasn’t nothing she could do, and she couldn’t tell us nothing much, so she went back home.”

  “Where are the servants now?”

  “Here in town. Staying at a hotel on I Street. I told ’em to stick around for a few days.”

  “Thornburgh own the house?”

  “Uh-huh. Bought it from Newning & Weed a couple months ago.”

  “You got anything to do this morning?”

  “Nothing but this.”

  “Good! Let’s get out and dig around.”

  We found the Coonses in their room at the hotel on I Street. Mr. Coons was a small-boned, plump man with the smooth, meaningless face, and the suavity of the typical male house-servant.

  His wife was a tall, stringy woman, perhaps five years older than her husband—say, forty—with a mouth and chin that seemed shaped for gossiping. But he did all the talking, while she nodded her agreement to every second or third word.

  “We went to work for Mr. Thornburgh on the fifteenth of June, I think,” he said, in reply to my first question. “We came to Sacramento, around the first of the month, and put in applications at the Allis Employment Bureau. A couple of weeks later they sent us out to see Mr. Thornburgh, and he took us on.”

  “Where were you before you came here?”

  “In Seattle, sir, with a Mrs. Comerford; but the climate there didn’t agree with my wife—she has bronchial trouble—so we decided to come to California. We most likely would have stayed in Seattle, though, if Mrs. Comerford hadn’t given up her house.”

  “What do you know about Thornburgh?”

  “Very little, sir. He wasn’t a talkative gentleman. He hadn’t any business that I know of. I think he was a retired seafaring man. He never said he was, but he had that manner and look. He never went out or had anybody in to see him, except his niece once, and he didn’t write or get any mail. He had a room next to his bedroom fixed up as a sort of workshop. He spent most of his time in there. I always thought he was working on some kind of invention, but he kept the door locked, and wouldn’t let us go near it.”

  “Haven’t you any idea at all what it was?”

  “No, sir. We never heard any hammering or noises from it, and never smelt anything either. And none of his clothes were ever the least bit soiled, even when they were ready to go out to the laundry. They would have been if he had been working on anything like
machinery.”

  “Was he an old man?”

  “He couldn’t have been over fifty, sir. He was very erect, and his hair and beard were thick, with no grey hairs.”

  “Ever have any trouble with him?”

  “Oh, no, sir! He was, if I may say it, a very peculiar gentleman in a way; and he didn’t care about anything except having his meals fixed right, having his clothes taken care of—he was very particular about them—and not being disturbed. Except early in the morning and at night, we’d hardly see him all day.”

  “Now about the fire. Tell us the whole thing—everything you remember.”

  “Well, sir, I and my wife had gone to bed about ten o’clock, our regular time, and had gone to sleep. Our room was on the second floor, in the rear. Some time later—I never did exactly know what time it was—I woke up, coughing. The room was all full of smoke, and my wife was sort of strangling. I jumped up, and dragged her down the back stairs and out the back door, not thinking of anything but getting her out of there.