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The New Mammoth Book of Pulp Fiction

Электронная книга - «The New Mammoth Book of Pulp Fiction». Краткое содержание книги:

Pulp fiction has been looked down on as a guilty pleasure, but it offers the perfect form of entertainment: the very best storytelling filled with action, surprises, sound and fury. In short, all the exhiliration of a roller-coaster ride. The 1920s in America saw the proliferation of hundreds of dubiously named but thrillingly entertaining pulp magazines in America: Black Mask, Amazing, Astounding, Spicy Stories, Ace-High, Detective Magazine, Dare-Devil Aces. It was in these luridly-coloured publications, printed on the cheapest pulp paper, that the first gems began to appear. The one golden rule for writers of pulp fiction was to adhere to the art of storytelling. Each story had to have a beginning, an end, economically-etched characters, but plenty going on, both in terms of action and emotions. Pulp magazines were the TV of their day, plucking readers from drab lives and planting them firmly in thrilling make-believe, successors...
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She’s a shopping-bag lady who lives on the sidewalks of Broadway Wearing all of her clothes and her years on her back Toting dead dreams in an old paper sack Searching the trashcans for something she lost here on Broadway – Shopping-bag lady . . .
You’d never know but she once was an actress on Broadway Speaking the words that they stuffed in her head Reciting the lines of the life that she led Thrilling her fans and her friends and her lovers on Broadway – Shopping-bag lady . . .
There are demons who lurk in the corner of minds and of Broadway And after the omens and portents and signs Came the day she forgot to remember her lines Put her life on a leash and took it out walking on Broadway – Shopping-bag lady . . .

There were a couple more verses and the shopping-bag lady in the song wound up murdered in a doorway, dying in defense of the “tattered old treasures she mined in the trashcans of Broadway.” The song went over well and got a bigger hand than any of the ones that had preceded it.

I asked Barry who Gordon Lurie was.

“You know very nearly as much as I,” he said. “He started here Tuesday. I find him whelming, personally. Neither overwhelming nor underwhelming but somewhere in the middle.”

“Mary Alice never spent much time on Broadway. I never saw her more than a block from Ninth Avenue.”

“Poetic license, I’m sure. The song would lack a certain something if you substituted Ninth Avenue for Broadway. As it stands it sounds a little like ‘Rhinestone Cowboy.’ ”

“Lurie live around here?”

“I don’t know where he lives. I have the feeling he’s Canadian. So many people are nowadays. It used to be that no one was Canadian and now simply everybody is. I’m sure it must be a virus.”

We listened to the rest of Gordon Lurie’s act. Then Barry leaned forward and chatted with the bartender to find out how I could get backstage. I found my way to what passed for a dressing room at Kid Gloves. It must have been a ladies’ lavatory in a prior incarnation.

I went in there thinking I’d made a breakthrough, that Lurie had killed her and now he was dealing with his guilt by singing about her. I don’t think I really believed this but it supplied me with direction and momentum.

I told him my name and that I was interested in his act. He wanted to know if I was from a record company. “Am I on the threshold of a great opportunity? Am I about to become an overnight success after years of travail?”

We got out of the tiny room and left the club through a side door. Three doors down the block we sat in a cramped booth at a coffee shop. He ordered a Greek salad and we both had coffee.

I told him I was interested in his song about the bag lady.

He brightened. “Oh, do you like it? Personally I think it’s the best thing I’ve written. I just wrote it a couple of days ago. I opened next door Tuesday night. I got to New York three weeks ago and I had a two-week booking in the West Village. A place called David’s Table. Do you know it?”

“I don’t think so.”

“Another stop on the K-Y circuit. Either there aren’t any straight people in New York or they don’t go to nightclubs. But I was there two weeks, and then I opened at Kid Gloves, and afterward I was sitting and drinking with some people and somebody was talking about the shopping-bag lady and I had had enough Amaretto to be maudlin on the subject. I woke up Wednesday morning with a splitting headache and the first verse of the song buzzing in my splitting head, and I sat up immediately and wrote it down, and as I was writing one verse the next would come bubbling to the surface, and before I knew it I had all six verses.” He took a cigarette, then paused in the act of lighting it to fix his eyes on me. “You told me your name,” he said, “but I don’t remember it.”

“Matthew Scudder.”

“Yes. You’re the person investigating her murder.”

“I’m not sure that’s the right word. I’ve been talking to people, seeing what I can come up with. Did you know her before she was killed?”

He shook his head. “I was never even in this neighborhood before. Oh. I’m not a suspect, am I? Because I haven’t been in New York since the fall. I haven’t bothered to figure out where I was when she was killed but I was in California at Christmas-time and I’d gotten as far east as Chicago in early March, so I do have a fairly solid alibi.”

“I never really suspected you. I think I just wanted to hear your song.” I sipped some coffee. “Where did you get the facts of her life? Was she an actress?”

“I don’t think so. Was she? It wasn’t really about her, you know. It was inspired by her story but I didn’t know her and I never knew anything about her. The past few days I’ve been paying a lot of attention to bag ladies, though. And other street people.”

“I know what you mean.”

“Are there more of them in New York or is it just that they’re so much more visible here? In California everybody drives, you don’t see people on the street. I’m from Canada, rural Ontario, and the first city I ever spent much time in was Toronto, and there are crazy people on the streets there but it’s nothing like New York. Does the city drive them crazy or does it just tend to draw crazy people?”

“I don’t know.”

“Maybe they’re not crazy. Maybe they just hear a different drummer. I wonder who killed her.”

“We’ll probably never know.”

“What I really wonder is why she was killed. In my song I made up some reason. That somebody wanted what was in her bags. I think it works as a song that way but I don’t think there’s much chance that it happened like that. Why would anyone kill the poor thing?”

“I don’t know.”

“They say she left people money. People she hardly knew. Is that the truth?” I nodded. “And she left me a song. I don’t even feel that I wrote it. I woke up with it. I never set eyes on her and she touched my life. That’s strange, isn’t it?”

* * *

Everything was strange. The strangest part of all was the way it ended.

It was a Monday night. The Mets were at Shea and I’d taken my sons to a game. The Dodgers were in for a three-game series which they eventually swept as they’d been sweeping everything lately. The boys and I got to watch them knock Jon Matlack out of the box and go on to shell his several replacements. The final count was something like 13–4. We stayed in our seats until the last out. Then I saw them home and caught a train back to the city.

So it was past midnight when I reached Armstrong’s. Trina brought me a large double and a mug of coffee without being asked. I knocked back half of the bourbon and was dumping the rest into my coffee when she told me somebody’d been looking for me earlier. “He was in three times in the past two hours,” she said. “A wiry guy, high forehead, bushy eyebrows, sort of a bulldog jaw. I guess the word for it is underslung.”

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