Hollywood: A Third Memoir by Larry McMurtry (Simon & Schuster 2010)

 

HOLLYWOOD—as opposed movies, its principal product—entered my life almost simultaneously with my son, James McMurtry, who arrived in March 1962, at which time I was teaching world literature—all of it, from the Ramayana to Dylan Thomas—at Texas Christian University in Fort Worth, Texas. To the farm and oil patch kids I was teaching, literature—or at least my mandated selection of it—held little appeal. In desperation I began to challenge these reluctant students to Ping-Pong matches, a game at which I was then quite good. If a student won, he or she got an A; if they lost they got a C.

That may seem a little unorthodox, but then five classes is a lot of classes. Between matches I was able to make friends with two writers, John Graves and Dave Hickey, both still alive and both still friends.

Then one day a man from Paramount Studios called, taking me by surprise. He turned out to be a location scout—that night he took me to dinner at what was probably the best restaurant in Fort Worth. Though, by this time, I had lived in both Houston and San Francisco, I knew nothing of fine dining. The man wore a pin-striped suit which bespoke a standard of eloquence far beyond my own. Though the suit was probably just normal Brooks Brothers, I remember it to this day; and I also remember the news he brought me, which was that Paramount had just bought the film rights to my slight first novel, Horseman, Pass By, and planned to film it in the Panhandle of Texas, starting almost immediately, with Paul Newman to star. The sum they planned to pay me, $10,000, meant, to me, farewell forever to the Ramayana and to table tennis as a grading system as well.

Fast One by Paul Cain (Vintage Crime/Black Lizard 1932)

 

Kells walked north on Spring. At Fifth he turned west, walked two blocks, turned into a small cigar store. He nodded to the squat bald man behind the counter and went on through the ground-glass-paneled door into a large and bare back room.

The man sitting at a wide desk stood up, said, “Hello!” heartily, went to another door and opened it,said, “Walk right in.”

Kells went into a very small room, partitioned off from the other by ground-glass-paneled walls. He sat down on a worn davenport against one wall, leaned back, folded his hands over his stomach, and looked at Jack Rose.

Rose sat behind a round green-topped table, his elbows on the table, his long chin propped upon one hand. He was a dark, almost too handsome young man who had started life as Jake Rosencrancz of Brooklyn and Queens. He said, “Did you ever hear the story about the three bears?”

Kells sat regarding Rose gravely and nodded his head slowly up and down.

Rose was smiling. “I thought you'd have heard that one.” He moved the fingers of one hand down to his ear and pulled violently at the lobe. “Now you tell one. Tell me the one about why you've got such a load on Kiosque in the fourth race.”

Kells smiled faintly, dreamily. He said, “You don’t think I'd have an inside that you’d overlooked, do you, Jackie?” He got up stretched extravagantly and walked across the room to inspect a large map of Los Angeles County on the far wall.

The Forensic Records Society by Magnus Mills (Bloomsbury USA 2017)

 

The Forensic Records Society
 
‘I saw you!’
 

We listened closely. The voice sounded slightly remote, as if it came from an adjoining room. It was followed by a fuzzy silence.
 

James gazed at the turntable as it ground to a halt.
 

‘That’s Keith,’ he said.
 

‘You certain?’ I asked.
 

‘Yes.’
 

‘Not Roger?’
 

‘No.’
 

He played the record through for the third time. This was the agreed number of plays, so he then removed it from the turntable and returned it to its sleeve. As he did so he gave the label a cursory glance.
 

‘Fabulous music,’ he remarked.
 

I rose from my seat and went over to the window. Outside there was snow lying everywhere.
 

‘Do you realise,’ I said, ‘we were probably the only people on the planet listening to that?’
 

‘Surely not,’ replied James.
 

‘Just think about it,’ I continued. ‘They released it almost fifty years ago and it was a moderate success before disappearing without a trace. You never hear it on the radio these days, or anywhere else for that matter. The song was a deliberate joke: the lyrics are childish to say the least. They’re practically meaningless in English, let alone Chinese, French or Russian.'

 

“Marvellous ensemble performance nonetheless,’ said James.
 

‘Of course.'

Poor Folk by Fyodor Dostoevsky (Penguin Classics 1846)

 

On the other hand, perhaps she's just a fraud, purposely sending a hungry, feeble child out to dupe people, and thereby making him ill. And what does the poor boy learn from handing out these letters? His heart merely grows hard- ened; he goes around, runs up to people, begging. The people are going about their business, and they have no time. Their hearts are stony; their words are cruel: 'Be off with you! Go away! You won't make a monkey out of me!' That is what he hears from everyone's lips. His child's heart grows hardened, and the poor frightened boy shivers for nothing in the cold, like a little bird that has fallen out of a broken nest. His arms and legs are frozen; he gasps for breath. The next time you see him, he is coughing; it is not long before illness, like some unclean reptile, creeps into his breast, and when you look again, death is already standing over him in some stinking corner somewhere, and there is no way out, no help at hand — there you have his entire life! That's what life can be like! Oh, Varenka, it's so agonizing to hear those words 'For the love of Christ', and to walk on, and give the boy nothing, to say to him: 'God will provide.' Some 'For the love of Christ' are not so bad. (There are various kinds of them, little mother.) Others are long-drawn-out, habitual, studied - a beggar's stock-in-trade; it's not so hard to refrain from giving to one of those — he's an inveterate beggar, one of long stand- ing, a beggar by trade; he's used to it, you think, he'll get over it, he knows how to get over it. But another will be unpractised, coarse, terrible — as today when, just as I was about to take the letter from the boy, a man standing by the fence, who was selecting the people he asked for money, said to me: 'Give me a half-a-copeck, barin, for the love of Christ!' in such a rude, abrupt voice that I shuddered with a sense of terrible emotion, but did not give him a half-copeck: I didn't have one. And then again, there's the fact that rich people don't like the poor to complain of their lot out loud — they say they are causing trouble, being importunate! Yes, poverty is always importunate — perhaps those groans of hunger keep the rich awake!

Ethan Frome by Edith Wharton (Oxford University Press 1911)

 

I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.

If you know Starkfield, Massachusetts, you know the post-office. If you know the post-office you must have seen Ethan Frome drive up to it, drop the reins on his hollow-backed bay and drag himself across the brick pavement to the white colonnade: and you must have asked who he was.

It was there that, several years ago, I saw him for the first time; and the sight pulled me up sharp. Even then he was the most striking figure in Starkfield, though he was but the ruin of a man. It was not so much his great height that marked him, for the “natives” were easily singled out by their lank longitude from the stockier foreign breed: it was the careless powerful look he had, in spite of a lameness checking each step like the jerk of a chain. There was something bleak and unapproachable in his face, and he was so stiffened and grizzled that I took him for an old man and was surprised to hear that he was not more than fifty-two. I had this from Harmon Gow, who had driven the stage from Bettsbridge to Starkfield in pre-trolley days and knew the chronicle of all the families on his line.

“He’s looked that way ever since he had his smash-up; and that’s twenty-four years ago come next February,” Harmon threw out between reminiscent pauses.