Ed here: One day a publisher I knew called me and said is there a Don Westlake novel that has never been in paperback. I immediately said yes. He asked me if I had a copy of it. I said yes. I sent him my one and only copy, a very good hardcover edition of Pity Him Afterwrd. As it turned out they had to destroy it to create the new book. But it was worth it so other people could read it. It's that good.
Every once in awhile I get stoned just watching a literary master do his work. The last two nights I was flat out dazzled from beginning to end with Donald Westlake's 1964 novels PITY HIM AFTERWARD.
The story concerns an escaped madman who takes the identity of a man who is headed to a theater that does summer stock. While we see the story several times from the madman's point of view, we're never sure who he is. This is a fair clue mystery.
In quick succession, a young woman who works summer stock is found murdered in the house where the young, struggling actors stay. A part-time chief of police appears to find the killer.
Two points: writers owe their readers original takes on familiar tropes as often as possible. The madman here is no slobbering beast but rather a deranged and sometimes pitiful lunatic (the opening three thousand words are among the most accomplished Westlake pieces I've ever read). And the police chief Eric Songard is one of the most unique cops I've come across in mystery fiction. He works nine months of the year as a professor and summers as a police chief. The small town he oversees usually offers nothing worse than drunks and the occasional fight. Murder is another matter. Westake gives us a cop whose self-confidence is so bad all he can do is try and hasten the appearance of the regular cops from a nearby district. Meanwhile he has to pretend he knows what's going on. He could easily have gone to series. He's a great character.
As the story is told, we get a beleivable look at summer stock with its low pay, brutal hours, frequent rivalries. The payoff is that some of the actors will get their Equity card at the end of the nine week run and thereby become professional actors.
Then there is the telling. The craft is impeccable. Precise and concise and yet evocative because of the images Westlake constantly presents us. You also have to marvel at the rhythm of his language, watching how'll he'll shave an anticpated word here for a certain effect, add a word there for the sake of cadence. These sentences are CRAFTED.
There are so many great Westlake novels it's impossble to rank them. But given what he accomplished, I'd have to say this is one of his early best.
Subscribe to: Post Comments (Atom)
I have a green Penguin paperback of Pity Him Afterward, The Mercenaries, Killy and 361.
Am I alone thinking Westlake was playing a game, about to conflate the madman with a character whose point of view is adopted in the telling? I was waiting in suspense to the last pages to read the coming together of different personalities -- then it didn't happen. I wonder if Westlake, a master writer, had envisioned a different ending, but just couldn't make it work and settled for something more conventional. I liked this book, but I'm still wondering.
I liked this novel, but wondered if Westlake was playing a game, about to conflate the madman with the point of view of a character he began to use to tell the story. I waited in suspense to the book's end for these two characters to be revealed as one, but that didn't happen. I wonder if Westlake envisioned that, but in the final drafts couldn't make it work. I'm still wondering . . .
Post a Comment