This review was originally published in "ffwd Weekly." The quotes were gathered during my interview with Brad Smith.
Sometimes you crack open a book and you think, “Hmm. Where have I read this before?” You might be tempted to put that book down and move on to something else – something more original – but resist the temptation with Brad Smith’s new novel All Hat.
We’ve heard variations of Smith’s dialogue in countless movies – mostly in old B-grade film noir – and the plot is as familiar as your parents’ ratty old sofa. The book opens with Ray Dokes leaving prison. He’s the classic ex-con who got a raw deal from the justice system after defending the honor of his sister. He’s a cross between Batman and “Robin Hood,” a man that nearly everyone looks up to and respects.
Meanwhile, Etta, the woman he loves, is struggling to keep her farm and care for her ailing father while Sonny Stanton, the son of a rich horse breeder, is buying up all the surrounding land to put together a shady development deal.
Admittedly, it’s a struggle to get through Smith’s early onslaught of the over-familiar. But once the clichés are embraced by the reader something interesting begins to happen: Smith’s small town Ontario characters begin to grow on us. Recognizing the conventions with which he is playing, Smith makes a conscious effort to overcome cliché by providing depth to characters that might otherwise be mere archetypes:
“Even if a lot of it doesn’t make it onto the page I know who these people are,” says Smith. “I know Etta’s background and Paulie’s background. Just to have one or two main characters, to really give the development to them, and have these other characters be sort of one dimensional doesn’t work because people just won’t care about them.”
But he definitely succeeds in making us care. The story itself – the plot – has been seen in countless Hollywood movies and, at times, it feels like a crazy mix of Dick Francis & Elmore Leonard, but Smith actually manages to make us feel for his characters – despite their conventional setting.
Smith’s characters are so compelling, in fact, that he’s consistently being asked about the fate of two of his supporting cast: Paulie and Dean. These men started out, conceptually, as villains, but they became something very different as Smith tapped his book into the computer.
“When I started writing All Hat they were nastier than they turned out to be,” explains Smith. “They were going to be just a couple of punks, but it really wasn’t working. But then I got going with Paulie and his love of animals and he really just took off from there. And, because of that, it really brought Dean around a bit. He’s not as evil as I thought he’d be – he’s kind of a bonehead – but he’s not an evil guy.”
Once Ray, Paulie and Dean – and all the others who populate Smith’s world – have grown on us it’s hard not to cut Smith slack for the familiar feel of the rest of the book, particularly when his background is taken into consideration. Smith is a screenwriter, and his craft has an obvious influence on his prose.
“I write strong cinematic dialogue and very visually,” says Smith. “It’s the only way I know how to write, really.
To Smith’s credit, his writing calls to mind the novels of another screenwriter/novelist, John Sayles. Not bad company for a small town Ontario author.
All Hat is not a great piece of literature. It should not win any major literary prizes. But it’s fun, light and likable. And, as a summer read, as a backyard sun tanning book, that’s exactly what it should be.