March 8, 2022
I recently picked up (hahaha) a type of book I dig, and one you don’t see as much anymore (though maybe they’re making a small comeback? Here’s hoping): the double book book. The two-complete-novels-under-one-spine book, the a-cover-on-each-side book, the take-the-awesome-and-twice-it (in the best circumstances) book! I love the idea of having two books at once, so was stoked to get the Armchair Fiction (a publisher it seems I need to look out for) double book book that combines a pulsating pulp twosome: The Deadly Pick-up, by Milton K. Ozaki, and Killer Take All, by James O. Causey. Were these two noir-sters put together cause they both utilize that middle initial so well? Maybe? But I think it’s mainly cause both of these books hit that pulpy, noiry, sweet spot of fast pace, seemingly inescapable problems for our narrators, some swell and shady characters (and often trouble deciding which is which), some trouble, some dark nights, and some booze-y boozing. Today’s Cocktail Talk is from The Deadly Pick-up, which is about as straightforward a title as you could imagine: recent Chicago transplant Gordon Banner offers a ride to a blond beauty, who then is murdered in her apartment while salesman Mr. Banner is waiting in his car downstairs, leading to him being the prime suspect, gangsters, other ladies and gentlemen who help, hinder, and harass him, and stops at many bars, including the one below.
It was 8:30 when I entered the Flask Club and wormed my way past a long crowded bar where four white jacketed bartenders were performing feats of alcoholic interest. At the rear was a huge room littered with closely spaced tables and chairs. The walls looked as though a whirlwind had flung huge gusts of newspapers against it and plastered them there, permanently imbedding their headlines in the calcimine. A dark-haired red-mouthed girl in black slacks and tight white blouse swung toward me and lead the way to a tiny table against a wall. She leaned against my shoulder, giving me a whiff of her body odor and glimpse of the dep V between her breasts while she lit a stub of candle, which projected from a wax-dappled Ehrlenmeyer flask set between the salt and pepper shakers. That rite duly performed to her satisfaction, she straightened and asked, “What’ll ya have?”
“Something to eat,” I told her.
“Okay. I’ll get a menu. Drink?”
“You might bring me an Old Fashioned.”
— Milton K. Ozaki, The Deadly Pick-up
December 21, 2021
As we wind our way into the final Some Slips Don’t Show Cocktail Talk (by the way: love the book cover here!), we find ourselves back at a situation touched on briefly in the book’s Cocktail Talk Part I (don’t miss Part II, either), where the real star of the series, detective Donald Lam (don’t tell his partner Bertha Cool I said he was the star, though), is getting cuddlier with one of the murder suspects in this here tale. And, as happens in the books (written by Erle Stanley Gardner writing as A.A. Fair), this cuddling, or prelude to cuddling, happens over drinks. Doubles, even.
A waiter came over and she ordered a double Manhattan.
“Single for me,” I said.
“Bring him a double, she said, smiling at the waiter. “I don’t want to get ahead of him.”
The waiter nodded and withdrew.
We nibbled pretzels and did a little verbal sparring until the waiter came back with the Manhattans. They were both doubles.
–A.A. Fair, Some Slips Don’t Show
October 26, 2021
I went down a large Cornell Woolrich hole at one point in my life, and in some ways never came out (perhaps I’m not in as deep as I once was, which isn’t to say my liking of books by said author is less, but maybe to say I’ve read such a fair amount of those available that there aren’t that many more readily available) – heck, check out the past Cornell Woolrich Cocktail Talks for evidence. There are a fair few of them! You’ll get lots of background on this, the noir-y-est (in many ways – I mean, no mystery writer uses the word “black” in more titles for a start, but also he’s such a master of psychological dark moods and mental, as well as action-driven, thrillers that seem going down a dark path) of the pulp writers, perhaps. He also wrote under a couple pseudonyms, the best-known being William Irish, under-which name he became famous enough that I have a copy of The Best of William Irish which I was recently re-reading. Featuring two full-length reads and a handful of stories, the book’s highlight may well be “Rear Window” (from which the legendary movie was made, which you should re-watch right now), which, funny enough, I think was pub’d under Cornell’s own name originally (and originally called “It Had to be Murder”). But if you have a story which a famous movie is based on, you work it in. The whole collection starts with perhaps the most famous William Irish-monikered tale (though that could be debated), the novel Phantom Lady, which I am also lucky enough to have as a standalone book, and which was also made into a movie in 1944, a movie I haven’t seen, but would love to! The book’s chapters all countdown to an execution (28 Days Before the Execution, etc.), which gives an insight into the plot: a man is accused – falsely, we know – of the murder of his wife, with only one possible way to convince the police he’s innocent, finding of a missing woman who can place him at a bar at a particular time. It’s a good read and then some, keeping you moving and twisting around this way and that way, with a few more murders and lots of surprises. Having a bar with a key role doesn’t hurt, either, and neither does the mention of Jack Rose cocktails, among others, in the below Cocktail Talk quote.
He said, “I had a Scotch and water. I always have that, never anything else. Give me just a minute now, to see if I can get hers. It was all the way down near the bottom –“
The barman came back with a large tin box.
Henderson said, rubbing his forehead, “There was a cherry left in the bottom of the glass and – “
“That could be any one of six drinks. I’ll get it for you. Was the bottom stemmed or flat? And what color was the dregs? If it was a Manhattan the glass was stemmed and dregs, brown.”
Henderson said, “It was a stem-glass, she was fiddling with it. But the dregs weren’t brown, now, they were pink, like.”
“Jack Rose,” said the barman briskly. “I can get it for you easy, now.”
–Cornell Woolrich (writing as William Irish), Phantom Lady
March 16, 2021
I have a tear in my eye, as while I could probably have a fair more Cocktail Talks from the Charlie Dickens collection of essays The Uncommercial Traveller, for now (but perhaps not forever), this will our last one. If you’ve missed any of the previous four, then be sure to read The Uncommercial Traveller Cocktail Talks Part 1, Part II, Part III, and Part IV, and while you’re in the reading mood, check out all the Dickens Cocktail Talks. Don’t read so much that your eyes tire, however, as you won’t want to miss the below quote. From one of the laugh-out-loud-ier pieces in the collection (and there are many funny scenes throughout, so that’s saying something), called “A Little Dinner in an Hour,” the below quote is just a small part of a regrettable dining experience Dickens has with his pal Bullfinch, when they are traveling for some business and decide to book a meal at a local spot that once was rumored to be worthy. But now leaves much to be desired! Ah, I wish I could have been there to watch it all unfold (if not to actually partake in it). A fine end to our Cocktail Talk tour through the book. Sherry, please!
‘It’s quite impossible to do it, gentlemen,’ murmured the waiter; ‘and the kitchen is so far off.’
‘Well, you don’t keep the house; it’s not your fault, we suppose. Bring some sherry.’
‘Waiter!’ from Mr. Indignation Cocker, with a new and burning sense of injury upon him.
The waiter, arrested on his way to our sherry, stopped short, and came back to see what was wrong now.
‘Will you look here? This is worse than before. Do you understand? Here’s yesterday’s sherry, one and eightpence, and here we are again two shillings. And what the devil does ninepence mean?’
This new portent utterly confounded the waiter. He wrung his napkin, and mutely appealed to the ceiling.
‘Waiter, fetch that sherry,’ says Bullfinch, in open wrath and revolt.
‘I want to know,’ persisted Mr. Indignation Cocker, ‘the meaning of ninepence. I want to know the meaning of sherry one and eightpence yesterday, and of here we are again two shillings. Send somebody.’
The distracted waiter got out of the room on pretext of sending somebody, and by that means got our wine. But the instant he appeared with our decanter, Mr. Indignation Cocker descended on him again.
— Charles Dickens, The Uncommercial Traveller
March 9, 2021
While this isn’t going to turn into The Uncommercial Traveller blog – though that wouldn’t be a horrible idea, honestly – we do have a few more stops with the wandering Charles Dickens, as he wanders through London and the UK and other parts and places as well, writing essays along the way. Today, we’re taking a journey with him to the essay called “An Old Stage-Coaching House,” where he visits a bar and town that used to be a stop for stage coaches, when such ran, before the trains took the wind out of the stage coach business, leaving towns fading behind (as in some ways the highways did to a lot of train towns). Our actual Cocktail Talk is from the owner of the Dolphin (the inn mentioned above), who still wants to give the Traveller a good meal, even if there are no stages running. Oh, don’t miss The Uncommercial Traveller Cocktail Talks Part I, Part II, and Part III, for more about the book, and all the Dickens Cocktail Talks for more good Dickens quotes.
‘If I couldn’t give you a pint of good wine, I’d—there!—I’d take and drown myself in a pail. But I was deceived when I bought this business, and the stock was higgledy-piggledy, and I haven’t yet tasted my way quite through it with a view to sorting it. Therefore, if you order one kind and get another, change till it comes right. For what,’ said Mellows, unloading his hat as before, ‘what would you or any gentleman do, if you ordered one kind of wine and was required to drink another? Why, you’d (and naturally and properly, having the feelings of a gentleman), you’d take and drown yourself in a pail!’
–Charles Dickens, The Uncommercial Traveller
March 2, 2021
As we continue traveling with our pal Charles Dickens writing as The Uncommercial Traveller (be sure to read The Uncommercial Traveller Cocktail Talks Part I and Part II, to have a little more background on this collection of essays that isn’t perhaps read enough – oh, and be sure to see all Dickens Cocktail Talks, too), today we walk with him through London into a dining establishment that he’s very positive on, due to it’s low prices and big portions (remaining taste throughout), all focused it seems to me to be supportive of all income ranges. Great, right! Except there’s one facet that Dickens isn’t a fan of, and, really, who can blame him.
The most enthusiastic admirer of those substantials, would probably not object to occasional inconstancy in respect of pork and mutton: or, especially in cold weather, to a little innocent trifling with Irish stews, meat pies, and toads in holes. Another drawback on the Whitechapel establishment, is the absence of beer. Regarded merely as a question of policy, it is very impolitic, as having a tendency to send the working men to the public-house, where gin is reported to be sold. But, there is a much higher ground on which this absence of beer is objectionable. It expresses distrust of the working man.
— Charles Dickens, The Uncommercial Traveller
February 16, 2021
The Uncommercial Traveller by our pal Charles Dickens is not a book one hears about enough – heck, even a Dickens head like me hadn’t had it in his hands until recently. But I scored a copy, which isn’t really that hard, though said copy is like a print-to-order thing, with no, like TOC, or copyright notes, or title page, anything. Which is fine, and definitely better than no copy at all! If you don’t know (and I’ll admit, I didn’t know much until I got said copy), The Uncommercial Traveller is a collection of personal essays, or literary sketches as they say, that Dickens originally published in a journal he founded called “All the Year Round” (if anyone wants to gift me a few original copies of that, go right ahead), and really involves the main character (Dickens, that is, as far as it goes) writing about his wanderings around London, the UK, and (in a dreamy sort-of way and regular ways) Europe, including visiting the site of a famous shipwreck, strolling the city in the wee hours due to insomnia, mapping out the haunts of neighborhood dogs, visiting the town he grew up in, and more. They are all written in the Dickensian style, with wit, insights that remain relevant today, details rendered through his particular peculiar eye, and all. He stops at pubs and hotels and other watering holes, too, as he loved such, and drinks, so it makes for good Cocktail Talk-ing (oh, don’t miss all the past Charles Dickens Cocktail Talks, as there are many jolly ones). I’m not sure yet how many Uncommercial Traveller Cocktails Talks I’ll have yet, but you can bet they’ll be more! We’re going to start at one of those neighborhood public houses, one attended by theatre-goers during intermission. And while it does have drinks! It’s really an ode to the sandwich. But I love sandwiches! Especially with drinks.
Between the pieces, we almost all of us went out and refreshed. Many of us went the length of drinking beer at the bar of the neighbouring public-house, some of us drank spirits, crowds of us had sandwiches and ginger-beer at the refreshment-bars established for us in the Theatre. The sandwich—as substantial as was consistent with portability, and as cheap as possible—we hailed as one of our greatest institutions. It forced its way among us at all stages of the entertainment, and we were always delighted to see it; its adaptability to the varying moods of our nature was surprising; we could never weep so comfortably as when our tears fell on our sandwich; we could never laugh so heartily as when we choked with sandwich; Virtue never looked so beautiful or Vice so deformed as when we paused, sandwich in hand, to consider what would come of that resolution of Wickedness in boots, to sever Innocence in flowered chintz from Honest Industry in striped stockings. When the curtain fell for the night, we still fell back upon sandwich, to help us through the rain and mire, and home to bed.
–Charles Dickens, The Uncommercial Traveller
December 8, 2020
Well, it’s nearly time after a fair number of swell quotes to say so-long (for now – he’ll be back) to Raymond Chandler, with one last Cocktail Talk from a story within the collection Trouble Is My Business and Other Stories, this time “Red Wind,” which starts with the below quote that has a wind indeed in it. It’s a twisty kind of tall, beginning with that wind and a bar that’s across the street from Chandler’s PI Philip Marlowe’s apartment. Then there’s a lady, various angles, and lots of gumshoe-ing. Start it off with the below, and then read the whole story whydontcha? Oh, and also don’t miss all the other Raymond Chandler Cocktail Talks, cause you deserve to read them.
There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that, meek little wives feel the edge of the carving knife and study their husbands’ necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.
I was getting one in a flossy new place across the street from the apartment house where I lived. It had been open about a week and it wasn’t doing any business. The kid behind the bar was in his early twenties and looked as if he had never had a drink in his life.
–Raymond Chandler, “Red Wind”