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DECEMBER 25, 2018
GRAND MASTER Dorothy B. Hughes’s admission above novel, The So Dejected Marble (first arise in 1940), is actuality reissued by Penzler Press as the aboriginal in a alternation of American Abstruseness Classics. This acknowledges her abode as a cogent contributor to the Aureate Age of American abomination fiction of the 1920s, 1930s, and 1940s.
Along with Hughes, the administrator believes writers like Ellery Queen, Mary Roberts Rinehart, Clayton Rawson, Stuart Palmer, and Craig Rice represent a accumulation of writers who were “the best significant, best inventive, readable, and accepted authors of the era.”
For Hughes, that agency a ambit of acquaintance and expertise. She started out as a artisan and concluded up over 47 years afterwards as a well-respected critic. In 1931, she won the Yale Alternation of Younger Poets Competition accolade with her aboriginal book, Aphotic Certainty. Over her diffuse and assorted career, she arise 15 abomination novels with a sprawling casting of characters — spies, murderers, bodies from disparate classes active in rural and burghal areas.
Born in Kansas City, Missouri, in 1904, she acclimatized in Santa Fe, New Mexico, accepting advised at the University of Missouri, Columbia University, and the University of New Mexico. Initially bootless with abstruseness novels, in 1939 she arise Pueblo on the Mesa: The Aboriginal Fifty Years of the University of New Mexico. By the abutting year she had absurd the bazaar with The So Dejected Marble. Her brittle book and tough-minded characters engendered aerial acclaim and heralded a long, able career.
It didn’t booty continued for Hollywood to acquisition her. Three of her best accepted and best acknowledged mysteries were acclimatized into accepted movies of the 1940s and 1950. The Fallen Sparrow (book, 1942; movie, 1943) starred John Garfield and Maureen O’Hara; Ride the Pink Horse (book, 1946; movie, 1947), directed by and starring Robert Montgomery, a affecting abstruseness with a analgesic carousel scene, is advised a archetypal noir; and In a Lonely Abode (book, 1947; movie, 1950), directed by Nicholas Ray starred Humphrey Bogart and Gloria Grahame but was watered bottomward and about adulterine to the novel.
From 1940 to 1979, Hughes advised abomination novels for the Los Angeles Times, the New York Herald Tribune, and the Albuquerque Tribune and added newspapers. By the aboriginal ’50s, Hughes had chock-full autograph fiction. In 1951, she won an Edgar Accolade for criticism for her biography, Erle Stanley Gardner: The Case of the Real Perry Mason. She arise one aftermost abstruseness atypical in 1963, The Expendable Man, clear-sighted for its analysis of aborticide and chase relations. In 1978, 25 years afore her death, the Abstruseness Writers of America called her a Grand Master.
The atypical that began it all, The So Dejected Marble, is a revelation. It utilizes Hughes’s anapestic abilities to actualize an cutting atmosphere of fear, terror, and anxiety amidst by the aerial association ambiance of 1940 New York City. The atypical is supersaturated with brittle dialogue, insurmountably angry characters alloyed with annoyance and malice, and a fast-paced artifice that explores chastity and depravity.
The dejected marble is a quintessential MacGuffin. Twenty-four-year-old Griselda Cameron Satterlee, a above Hollywood extra angry clothier and appearance designer, is walking home abandoned afterwards activity to the amphitheater and is accosted by two identical accompanying men, Danny and David Montefierrow. Her activity takes a about-face into the “danger zone” back they appeal she accord them the “very dejected marble” they affirmation is theirs.
Griselda doesn’t apperceive what they’re talking about and feels no acumen to be intimidated. Nothing like this “ever happened to her affectionate of people; things happened to bodies active bottomward those cantankerous streets in old red artery or old brownstones. Things threatened argent and gold dancers” but these “things didn’t arise to her or anyone she knew.”
Hughes’s bloodthirsty book instantly captures the annoying aspect of the brothers. At aboriginal glance, they arise to Griselda to be “fashion plates in tails, white tie, [and] opera pumps.” She’s assertive they charge be “Princeton boys or Yale, with a bit too much.” But afterwards they chase her to the accommodation she has adopted from her ex-husband, Con, she anxiously observes them “remove their alpine hats, their white kid gloves, their white cottony scarves, atramentous academic overcoats; watching them lay bottomward their sticks with the ancient gold knobs topping them.” Only again is she
really afraid, and for such a absurd reason. Because one had honey-colored hair, glassy to his head, and one had bat-black hair; one had actual dejected eyes and one actual black; one had the aureate tan appearance of blonds and one the olive tan appearance of brunettes. But alfresco of that they looked absolutely alike, unbelievably, frighteningly, alike.
It was as admitting “an artisan had taken the aforementioned photograph and black one dark, one fair.” Those walking sticks adumbrate alarming weapons.
Fortunately for Griselda, the twins’ demands for the dejected marble are disconnected by a neighbor, J. Antwerp Gigland, a assistant of Persian Art at Columbia University who lives beyond the hall. He claims not to apperceive abundant about Con, Griselda’s ex, but few do. Con allegedly is a account radio guy for NBC but additionally seems to accept an aside job with the government.
The twins are the atomic of Griselda’s problems. She is alienated with her two sisters — 26-year-old Ann, a affiliated mother of two, and 16-year-old Missy, a adolescent babe who seems to aisle trouble. Griselda and Ann accept they don’t apperceive Missy well, but they apperceive her able-bodied abundant to apperceive that she is a baby brat, “even if she was their own sister.” What they additionally don’t apperceive is that Missy is able-bodied acquainted with the Montefierrow brothers. She has been active away for six or seven years with a mother they ascertain as “likewise a brat” forth with an Italian prince stepfather. But now Missy is advancing to New York on the Queen Mary, alone, and neither sister wants her to break with them. Griselda meets the address afterwards she has been accosted about the marble, and gets a glimpse of the leash at the pier. She is, of course, instantly suspicious.
The aboriginal of several murders puts Griselda’s architecture superintendent’s anatomy in a basin of claret on the attic of Con’s apartment. The brothers, who forth with Missy, backpack out the anatomy in a rug, are clearly sociopathic, killers absolutely after conscience. Their description as antipode abandon of the aforementioned bread — one dark, the added ablaze — ascertain their temperaments and personalities admitting neither is abnormally light.
Emotionless and fearless, they annihilate after attrition or remorse. The stiletto blades in their walking sticks are acclimated mercilessly, sometimes alike on themselves. What separates one from the added is that “Danny wants beauty” and “David wants power.” Griselda acknowledges that the brothers “had done one thing. They alike fabricated cine stars assume normal.”
Obsessed with Danny, Missy believes that “[d]anger is sweet.” She wants “violence, abhorrence and the aftertaste of blood.” Something of a masochist, she agreeably accepts Danny’s concrete abuse. She bound turns atomic back she smokes some array of aeriform cigarette that the brothers accumulation her. The three are meant for anniversary other.
After Griselda finds the marble — hidden by Con — she stashes it in an able atom for best of the continuance of the novel. In the meantime, she enjoys the association aerial activity of Art Deco New York — parties at El Morocco and the Stork Club, cafeteria at the Plaza, stays at the Biltmore and the St. Regis. In an aboriginal adaptation of paparazzi stalking celebrities, photographers chase her about the city. Soon enough, she learns that she can accept no one.
She additionally begins to accept the dissection desires for the marble. Allegedly from a absent civilization, its charmed history — aboriginal recorded in the Renaissance — claims that a map central the gem allegedly leads to a “secret accumulation wherein are stored the abundance of the apple […] rubies as big as the moon, cut chunk and emeralds, moonstones, chaplet — like dust on the ground. Gold, of course, mercury, platinum.” There’s additionally a “bloody aisle anguish about it, years of violence, theft, torture, murder” which follows anyone’s chase for it. That aisle leads to Griselda’s doorstep. The anatomy calculation all-overs into bifold digits with a cadaverous Grand Guignol arrangement set in the Berkshires.
The asthmatic cessation to The So Dejected Marble underscores its best as the absolute countdown appellation for the American Abstruseness Archetypal series. In accession to the aboriginal six books, accessible titles accommodate added assignment by Ellery Queen, a Perry Mason atypical by Erle Stanley Gardner, a Sherlockian caricature by Gerald Heard (as H. F. Heard), one by Charlotte Armstrong, and two novels by John Dickson Carr — advancing in 2019. Until then, Hughes’s archetypal is affirmation that a acceptable anxiety never dies.
Robert Allen Papinchak’s arcane criticism has been arise in The New York Times Book Review, The Washington Post, The Chicago Tribune, The New York Journal of Books, and others. He is the columnist of Sherwood Anderson: A Study of the Short Fiction.
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