Red Harvest
Ratings40
Average rating3.9
Este libro me lo prestó Don Polo, todo un personaje de mi pequeña ciudad, amante de las novelas policíacas. Esta fue una de lectura rápida, pero buena, porque odio eso de saber desde el inicio quién mató a quién. Nunca había escuchado de Hammett, pero ahora me interesa leer otro libro escrito por él.
Well, that was quite a bloodbath. Not even sure where the body count would be, but the author counts himself up to seventeen before the climax even begins!
When the the Continental Op is called to a job in Personville (yes, and odd name for a town - the occupants of which call is Poisonville) his client is murdered before I even gets to meet him, or find out what the job is! Not one to give up easily he find his own job, a new client to bankroll him, and sets to work cleaning up the town. The crims have the town well sown up, all working in an uneasy alliance to divide up the work, and the profits, but that alliance is tinder dry and the Continental Op sets out to divide an conquer!
There are twists and turns, and just when you think the Op has himself in a fix he finds a way out. Published in 1929, there are some archaic terms I wasn't familiar with, and the plot was a little jumpy. I was surprised with the way the murders were solved by the Op without much signalling to the reader - he sort of dropped the accusation of murder into conversation with the murderer - Not sure if this is the style of Hammett, or something he tried in this novel. Perhaps his later novels allow the reader more insight into his thought as he unravels the web!
Worth a look, for some early hard-boiled action.
3.5 stars, rounded down.
This book was... Sort of a slog to get through?
Some of Hammett's other books (you know the ones) are iconic and definitely worth reading. Red Harvest? I'm not so sure. He plays around with this idea of the hardboiled detective and the allure for most reviewers and advocates for the book seems to be that it's “really hardboiled,” which I guess just means insanely violent?
Detective shows up to a small city riddled with crime and corruption, gets hired by one of the people who made it that way to ‘clean it up,' and finds himself becoming the driver of endless violence and death. He worries about himself starting to enjoy it and things are only resolved in a sense that he got blackout drunk/stoned and didn't kill the woman he sorta liked?
With quite literally almost 100 years of distance from when this book was released, this trope of someone pitting the baddies against each other to survive being done a lot (better in some cases) since then, plus reading it with modern sensibilities, this book is just eh. The protagonist wasn't super likeable and served more as a vehicle to get from action scene to action scene. He served as the audiences eyes and ears for the spectacle of endless car chases, gun fights, brawls and heists.
There were what I'd call “third act issues” in this, as well, where it just felt like it dragged and whatever the actual plot was seemed muddy and lost in all of the blood. If your idea of “hardboiled” is not just an antihero, but one that doesn't seem to exist outside of his violence and nothing but nonstop destruction it's the book for you. If you're looking for the antihero and violence with something more in it, this'll probably not be the book for you.
Please give my Amazon review a helpful vote - https://www.amazon.com/review/R2HJYH0VJJF34P/ref=cm_cr_rdp_perm
This is something of the Ur-source for the hard-boiled detective genre. The main character is the “Man with No Name” - the Continental Op - who is called to Personville aka “Poisonville” to meet with Donald Willsson, the last honest man in town. Unfortunately, the Op is five minutes too late and the man is murdered. The Op takes the lay of the land and learns that the police are corrupt and the town is run by three gangs - the gambling gang headed by Max “Whisper” Thaler, the bootleggers run by Pete the Finn, and the thugs run by Lew Yard. The Op meets with Willsson's father, Elihu Willsson, who owns the mining company that underlies Poisonville, and everything else in town, and who brought in the gangs to break a miner's strike. Elihu is curmudgeonly, contemptible and cowardly, and the Op browbeats him into paying him $10,000 to clean-up Poisonville.
The remainder of the book involves the Op playing the cops against the gamblers against the thugs against the bootleggers. Murders happen every couple of pages as the players whittle themselves down to nothing. The Op plays games of alliance and betrayal. Along the way, the Op solves several of the murders with flawless intuition. Throughout it all, the Op is tougher and more dangerous than his adversaries, and usually one step ahead.
If any of this familiar, it should. If you've seen “Fistful of Dollars” or “Yojimbo” or, even, Bruce Willis' “Last Man Standing,” where a stranger comes to town and destroys the equipoised gangs that control a town, then you've seen the Red Harvest plotline. In fact, Yojimbo and Fistful of Dollars were based on Red Harvest, and Last Man Standing is a re-make of Yojimbo.
I enjoyed the book, but I had two problems that keep me from giving five stars. First, the book shows that it was written in 1929. The dialogue is very dated with “tough guy” language that often eluded my grasp or which just sounded weird. Here's an example:
““Who? Who?”
She stood up, suddenly almost sober, tugging at my lapels. “Tell me who did it.”
“Not now.”
“Be a good guy.”
“Not now.”
She let go my lapels, put her hands behind her, and laughed in my face.
“All right. Keep it to yourself—and try to figure out which part of what I told you is the truth.”
I said: “Thanks for the part that is, anyhow, and for the gin. And if Max Thaler means anything to you, you ought to pass him the word that Noonan's trying to rib him.”
“Trying to rib him”? “Be a good guy”? Unfortunately, this sounds like cliched movie gangster talk, rather than normal speech, probably because Hammet's dialogue did become cliched gangster movie dialogue. Take this for example:
““I may say, in all justice, that you will find it the invariable part of sound judgment to follow the dictates of my counsel in all cases. I may say this, my dear sir, without false modesty, appreciating with both fitting humility and a deep sense of true and lasting values, my responsibilities as well as my prerogatives as a—and why should I stoop to conceal the fact that there are those who feel justified in preferring to substitute the definite article for the indefinite?—recognized and accepted leader of the bar in this thriving state.”
That is dialogue from a lawyer in Red Harvest, but try not to hear Sydney Greenstreet from The Maltest Falcon voicing that dialogue.
The other problem I had was the way that the Op solved mysteries in an offhand way. There would be gunplay followed by fistfights and threats, and then, suddenly, when he needed it, the Op would just arrest someone who had actually committed one of the three or four murders that mattered. As a mystery, the book was not much, but as “hard-boiled detective,” it is first rate.
Great old hard boiled detective book.
It makes me want to read Dashiell Hammett's other novels.
An unnamed private dick shows up in a town known as Poisonville, and tries to clean it up from the crooked politicians and gangsters running it.
What set this apart from a lot of noir, for me, was that while it's pessimistic, its not at all misanthropic, which was a nice change. It also did a good job of advancing a social argument that evil sometimes isn't something that arises in the individual, but rather is something that a place can inflict on a person. That's an interesting idea, and one worthy of further development within the genre, I think. It's also somewhere where Red Harvest would have benefited from being a longer book - it clocks in at under 200 pages, which memans that there isn't too much time available for rny sense of morality more developed than “Sometimes pepople are evil, and when they are they just need a killing to set themselves straight.”