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Walls That Hear You
"Nothing beats a tale of fatalistic dread by the supreme master of suspense, Cornell Woolrich. His novels and hundreds of short stories define the essence of noir nihilism."-Marilyn Stasio, The New York Times Book Review
It’s unfortunate that Woolrich didn’t try the speculative fiction more often, since his scattering of horror stories, in particular “Dark Melody of Madness,” “Speak to Me of Death,” its novel version Night Has a Thousand Eyes, and “Jane Brown’s Body,” are among the greatest weird tales ever written. - Ryan Harvey, Black Gate
“Along with Raymond Chandler, Cornell Woolrich practically invented the genre of noir.” —Newsday
“Critical sobriety is out of the question so long as this master of terror-in-the-commonplace exerts his spell.” - Anthony Boucher, The New York Times Book Review
"No one has ever surpassed Cornell Woolrich for shear suspense, or equalled him for exciting entertainment." - Robert Bloch
"Woolrich can distill more terror, more excitement, more downright nail-biting suspense out of even the most commonplace happenings than nearly all his competitors." - Ellery Queen
"An opus out of the ordinary, highly emotional and suspenseful, with a surprise finish that turns somersaults." - The Saturday Review of Literature on "The Bride Wore Black".
"Revered by mystery fans, students of film noir, and lovers of hardboiled crime fiction and detective novels, Cornell Woolrich remains almost unknown to the general reading public. His obscurity persists even though his Hollywood pedigree rivals or exceeds that of Cain, Chandler, and Hammett. What Woolrich lacked in literary prestige he made up for in suspense. Nobody was better at it." - Richard Dooling
“He was the greatest writer of suspense fiction that ever lived.” — Francis M. Nevins, Cornell Woolrich Biographer
"Walls That Hear You" was first published in Detective Fiction Weekly on August 13, 1934. The magazine can probably be credited for launching the career of the greatest writer of suspense fiction. This story is the 2nd one that Woolrich delivered to the magazine in the crime fiction style - the first being "Death Sits in the Dentist's Chair."
The short, in genre and tone, leans away from the pulp Woolrich had been writing and moves closer to the noir classics that soon followed.
When Eddie Mason's brother opens the door to find a cop standing there he knew something had happened to Eddie. But when the cop informs him that his brother has been found on a deserted road with his fingers cut off and his tongue severed at its base, we soon find Eddie's brother on a quest for vengeance.
Classic films like Hitchcock's "Rear Window" and Truffaut's "The Bride Wore Black" and novels like "Night has a Thousand Eyes" and "Rendezvous in Black" earned Woolrich epithets like "the twentieth century's Edgar Allen Poe" and "the father of noir."
Cornell George Hopley-Woolrich (4 December 1903 – 25 September 1968) is one of America's best crime and noir writers who sometimes wrote under the pseudonyms William Irish and George Hopley. He's often compared to other celebrated crime writers of his day, Dashiell Hammett, Erle Stanley Gardner and Raymond Chandler.
He attended New York's Columbia University but left school in 1926 without graduating when his first novel, "Cover Charge", was published. "Cover Charge" was one of six of his novels that he credits as inspired by the work of F. Scott Fitzgerald.
It’s unfortunate that Woolrich didn’t try the speculative fiction more often, since his scattering of horror stories, in particular “Dark Melody of Madness,” “Speak to Me of Death,” its novel version Night Has a Thousand Eyes, and “Jane Brown’s Body,” are among the greatest weird tales ever written. - Ryan Harvey, Black Gate
“Along with Raymond Chandler, Cornell Woolrich practically invented the genre of noir.” —Newsday
“Critical sobriety is out of the question so long as this master of terror-in-the-commonplace exerts his spell.” - Anthony Boucher, The New York Times Book Review
"No one has ever surpassed Cornell Woolrich for shear suspense, or equalled him for exciting entertainment." - Robert Bloch
"Woolrich can distill more terror, more excitement, more downright nail-biting suspense out of even the most commonplace happenings than nearly all his competitors." - Ellery Queen
"An opus out of the ordinary, highly emotional and suspenseful, with a surprise finish that turns somersaults." - The Saturday Review of Literature on "The Bride Wore Black".
"Revered by mystery fans, students of film noir, and lovers of hardboiled crime fiction and detective novels, Cornell Woolrich remains almost unknown to the general reading public. His obscurity persists even though his Hollywood pedigree rivals or exceeds that of Cain, Chandler, and Hammett. What Woolrich lacked in literary prestige he made up for in suspense. Nobody was better at it." - Richard Dooling
“He was the greatest writer of suspense fiction that ever lived.” — Francis M. Nevins, Cornell Woolrich Biographer
"Walls That Hear You" was first published in Detective Fiction Weekly on August 13, 1934. The magazine can probably be credited for launching the career of the greatest writer of suspense fiction. This story is the 2nd one that Woolrich delivered to the magazine in the crime fiction style - the first being "Death Sits in the Dentist's Chair."
The short, in genre and tone, leans away from the pulp Woolrich had been writing and moves closer to the noir classics that soon followed.
When Eddie Mason's brother opens the door to find a cop standing there he knew something had happened to Eddie. But when the cop informs him that his brother has been found on a deserted road with his fingers cut off and his tongue severed at its base, we soon find Eddie's brother on a quest for vengeance.
Classic films like Hitchcock's "Rear Window" and Truffaut's "The Bride Wore Black" and novels like "Night has a Thousand Eyes" and "Rendezvous in Black" earned Woolrich epithets like "the twentieth century's Edgar Allen Poe" and "the father of noir."
Cornell George Hopley-Woolrich (4 December 1903 – 25 September 1968) is one of America's best crime and noir writers who sometimes wrote under the pseudonyms William Irish and George Hopley. He's often compared to other celebrated crime writers of his day, Dashiell Hammett, Erle Stanley Gardner and Raymond Chandler.
He attended New York's Columbia University but left school in 1926 without graduating when his first novel, "Cover Charge", was published. "Cover Charge" was one of six of his novels that he credits as inspired by the work of F. Scott Fitzgerald.
34 pages, Kindle Edition
Published May 20, 2015
About the author
Cornell Woolrich
453 books485 followersCornell Woolrich is widely regarded as the twentieth century’s finest writer of pure suspense fiction. The author of numerous classic novels and short stories (many of which were turned into classic films) such as Rear Window, The Bride Wore Black, The Night Has a Thousand Eyes, Waltz Into Darkness, and I Married a Dead Man, Woolrich began his career in the 1920s writing mainstream novels that won him comparisons to F. Scott Fitzgerald. The bulk of his best-known work, however, was written in the field of crime fiction, often appearing serialized in pulp magazines or as paperback novels. Because he was prolific, he found it necessary to publish under multiple pseudonyms, including "William Irish" and "George Hopley" [...] Woolrich lived a life as dark and emotionally tortured as any of his unfortunate characters and died, alone, in a seedy Manhattan hotel room following the amputation of a gangrenous leg. Upon his death, he left a bequest of one million dollars to Columbia University, to fund a scholarship for young writers.
Source: [http://www.hardcasecrime.com/books_bi...]
Source: [http://www.hardcasecrime.com/books_bi...]
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Displaying 1 - 7 of 7 reviews
February 26, 2018
Walls That Hear You is a terrific little early tale from Cornell Woolrich, the absolute master of suspense. It was first published in Detective Fiction Weekly in August of 1934. Walls That Hear You moves swiftly, has a gruesome and terrific opening, and a thrilling conclusion.
Twenty-year-old Eddie Mason is lying in a hospital bed. He was found sprawled on a lonely road — minus his tongue, and all of his fingers. Cops locate his brother, and it’s from his viewpoint that the narrative goes forward. There’s a sarcastic cop named Kane his brother doesn’t like, but he likes what’s been done to his brother even less. Without the ability to talk, or even write, it’s difficult questioning Eddie. Finally, they find a slow and methodical way to get his side of the story — at least the little he remembers — and those efforts add a touch of poignancy to the tale.
While you’d think this story would be overly fatalistic, considering the reputation of the writer, it is not. This is nearly a whiz-bang pulp story, due to the swiftly paced narrative. There is definitely a lot of movement to this pulp story, which is one of Woolrich’s short mystery/suspense tales not about fate. For that reason, Walls That Hear You has much more in common with Death in the Dentist Chair or Mystery in Room 913, than Too Nice a Day to Die or For the Rest of Her Life.
Eddie’s brother hits on something when the cops aren’t around, which leads him to a hotel, and some fancy — for the time — gadgetry to try to get the goods on the man he believes responsible for what happened to his brother. But then the tables are turned, and the cops may not be in time to prevent Eddie’s brother from suffering the same fate.
This is a very fun little pulp mystery, especially when you consider this was written in 1934. Great stuff when you’re in the mood for something swift and fun.
Twenty-year-old Eddie Mason is lying in a hospital bed. He was found sprawled on a lonely road — minus his tongue, and all of his fingers. Cops locate his brother, and it’s from his viewpoint that the narrative goes forward. There’s a sarcastic cop named Kane his brother doesn’t like, but he likes what’s been done to his brother even less. Without the ability to talk, or even write, it’s difficult questioning Eddie. Finally, they find a slow and methodical way to get his side of the story — at least the little he remembers — and those efforts add a touch of poignancy to the tale.
While you’d think this story would be overly fatalistic, considering the reputation of the writer, it is not. This is nearly a whiz-bang pulp story, due to the swiftly paced narrative. There is definitely a lot of movement to this pulp story, which is one of Woolrich’s short mystery/suspense tales not about fate. For that reason, Walls That Hear You has much more in common with Death in the Dentist Chair or Mystery in Room 913, than Too Nice a Day to Die or For the Rest of Her Life.
Eddie’s brother hits on something when the cops aren’t around, which leads him to a hotel, and some fancy — for the time — gadgetry to try to get the goods on the man he believes responsible for what happened to his brother. But then the tables are turned, and the cops may not be in time to prevent Eddie’s brother from suffering the same fate.
This is a very fun little pulp mystery, especially when you consider this was written in 1934. Great stuff when you’re in the mood for something swift and fun.
June 22, 2019
I heard and have seen Cornell Woolrich's works before I became aware of him, as an author. "Rear Window" was my first look at his stories, Jimmy Stewart and Grace Kelly made that book, immortal. But before that I had seen as a kid the spoof on "The Flintstones" which had an Alfred Hitchcock character supposedly burying his wife with Fred's spade. This is from season 2 episode 4. I have heard many of his stories on OTR (Old Time Radio) over the years but not until today did I read his works.
Alvin Brinkrock Presents-Flintstones
https://www.dailymotion.com/video/x6j...
My thoughts on this short story; I was in suspense til the very end and wondered if the crazed maniac would add another to his list. Woolrich was able to keep the story short and has all points line up nicely.
Story in brief- Mason is called to see his younger brother in the hospital, barely alive and mutilated. The question is who did this and then revenge is a big factor, not letting someone of the hook.
Looking forward to reading Woolrich again.
There were a couple errors in this Kindle edition which I reported.
💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢SPOILER 💢💢💢💢💢💢💢💢💢💢💢💢ALERT💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢
I think the mad doctor probably preformed abortions because of the female patient that he was operating in his room.
Alvin Brinkrock Presents-Flintstones
https://www.dailymotion.com/video/x6j...
My thoughts on this short story; I was in suspense til the very end and wondered if the crazed maniac would add another to his list. Woolrich was able to keep the story short and has all points line up nicely.
Story in brief- Mason is called to see his younger brother in the hospital, barely alive and mutilated. The question is who did this and then revenge is a big factor, not letting someone of the hook.
Looking forward to reading Woolrich again.
There were a couple errors in this Kindle edition which I reported.
💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢SPOILER 💢💢💢💢💢💢💢💢💢💢💢💢ALERT💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢💢
I think the mad doctor probably preformed abortions because of the female patient that he was operating in his room.
December 3, 2024
It's Cornell Woolrich, so of course these tales are filled with suspense and choking dread. Not as good as the first collection, Speak to Me of Death (this is the third volume, I'm reading the second next; I'm out of order), but still a satisfying read. This is the signed and numbered hardcover from Centipede Press, and it is beautiful.
December 14, 2018
creepy old-fashioned home-made detective almost gets bad guy, then almost "gets it" himself before being saved by the coppers.
July 2, 2022
4.75
Ordinary characters under duress are capable of the extraordinary in Cornell Woolrich’s short stories. This is no more evident than in the tales that grace this third volume of short fiction from Centipede Press’s ongoing Woolrich revitalization. His characters smash through the passivity barrier and react to what they see and experience, poking and prodding their way to an answer while embroiled up to their necks, risking life and limb. All this to put the bad guys in their place. And it feels as natural as real life because he’s so quick and proficient at setting up character traits to match their actions. Fiction writers take notice. This is how engaging narratives and characters should be written.
But beyond the mostly serious life or death instances that befall his characters, Woolrich finds the humor that can trail closely behind the terror. “The Penny-a-Worder” follows a writer just trying to make a living. He finally has a story to tell and thinks he has it until his boss finds nothing on the page. It’s the irony of searching high and low, finally finding the wishing well, diving in, and realizing there’s no escape. But here he can escape, and he does… without a dime for his work which is lost to the ether. It’s the fortuitous nature of both creativity and chance meshed together that you just have to chalk up to the idiom: c'est la vie.
Then there’s the otherwise prosaic settings other authors would disregard as pure banality such as the dentist’s office in “Death Sits in the Dentist’s Chair” or the movie theater in “Double Feature”. What’s clear is that Woolrich is pulling from his own experience, which further injects an element of authenticity. But this also factors into the extraordinary that breaks through what is the seemingly ordinary. And this is what connects even more with the reader.
Above all, Woolrich was ahead of his time when it comes to gender parity, subverting the trope noir tales and mixing in elements that have since become the fashion of crime fiction. Stories such as “The Book That Squealed”, The Murder at Mother’s Knee”, and “The Body in Grant’s Tomb” feature female leads who are no less agile, instinctual, and inquisitive than their male counterparts. I would even argue that they’re more adept at pursuing and solving the puzzles than the male leads, who fall prey to their own hubris. It’s refreshing and surprising at the same time to think that these stories offer this much dimension and distinction when they came from a time of such traditional values. But Woolrich is full of surprises... if one is so inclined to pursue them like that of his characters.
Ordinary characters under duress are capable of the extraordinary in Cornell Woolrich’s short stories. This is no more evident than in the tales that grace this third volume of short fiction from Centipede Press’s ongoing Woolrich revitalization. His characters smash through the passivity barrier and react to what they see and experience, poking and prodding their way to an answer while embroiled up to their necks, risking life and limb. All this to put the bad guys in their place. And it feels as natural as real life because he’s so quick and proficient at setting up character traits to match their actions. Fiction writers take notice. This is how engaging narratives and characters should be written.
But beyond the mostly serious life or death instances that befall his characters, Woolrich finds the humor that can trail closely behind the terror. “The Penny-a-Worder” follows a writer just trying to make a living. He finally has a story to tell and thinks he has it until his boss finds nothing on the page. It’s the irony of searching high and low, finally finding the wishing well, diving in, and realizing there’s no escape. But here he can escape, and he does… without a dime for his work which is lost to the ether. It’s the fortuitous nature of both creativity and chance meshed together that you just have to chalk up to the idiom: c'est la vie.
Then there’s the otherwise prosaic settings other authors would disregard as pure banality such as the dentist’s office in “Death Sits in the Dentist’s Chair” or the movie theater in “Double Feature”. What’s clear is that Woolrich is pulling from his own experience, which further injects an element of authenticity. But this also factors into the extraordinary that breaks through what is the seemingly ordinary. And this is what connects even more with the reader.
Above all, Woolrich was ahead of his time when it comes to gender parity, subverting the trope noir tales and mixing in elements that have since become the fashion of crime fiction. Stories such as “The Book That Squealed”, The Murder at Mother’s Knee”, and “The Body in Grant’s Tomb” feature female leads who are no less agile, instinctual, and inquisitive than their male counterparts. I would even argue that they’re more adept at pursuing and solving the puzzles than the male leads, who fall prey to their own hubris. It’s refreshing and surprising at the same time to think that these stories offer this much dimension and distinction when they came from a time of such traditional values. But Woolrich is full of surprises... if one is so inclined to pursue them like that of his characters.
August 7, 2023
I’m a huge Woolrich fan, but the great bulk of this beautifully packaged edition is bottom of the barrel pulp. He can write great atmosphere and emotionally tortured characters, but not much of that is present in this collection.
It’s a slog until around 200 pages in when finally there are some just plain fun pulp stories. Not very believable, lightweight, but entertaining. And a nice twist for the time period and the genre is that a lot of the crime solving protagonists are pragmatic women. But you have to wade through some dross to get to those stories.
I was surprised because this is volume 3 of his collected stories, so it’s not even his rookie material. But he was insanely prolific and living on words, so had to keep production up.
These are a stark contrast to the first stories of Hammett I just finished. He hit the ground running with fairly complex characters and a good handle on social constructs.
It’s a slog until around 200 pages in when finally there are some just plain fun pulp stories. Not very believable, lightweight, but entertaining. And a nice twist for the time period and the genre is that a lot of the crime solving protagonists are pragmatic women. But you have to wade through some dross to get to those stories.
I was surprised because this is volume 3 of his collected stories, so it’s not even his rookie material. But he was insanely prolific and living on words, so had to keep production up.
These are a stark contrast to the first stories of Hammett I just finished. He hit the ground running with fairly complex characters and a good handle on social constructs.
April 18, 2022
Death Sits in the Dentist’s Chair ****o
Walls That Hear You ****o
Kiss of the Cobra ***oo
Hot Water ***oo
Change of Murder ***oo
Johnny on the Spot **ooo
Double Feature ***oo
One and a Half Murders **ooo
The Penny-a-Worder **ooo
The Book that Squealed ***oo
Meet Me by the Mannequin ***oo
Momentum **ooo
Murder at Mother's Knee ***oo
The Body in Grant's Tomb ***oo
Mind over Murder ***oo
When Love Turns ***oo
Life is Weird Sometimes ***oo
Walls That Hear You ****o
Kiss of the Cobra ***oo
Hot Water ***oo
Change of Murder ***oo
Johnny on the Spot **ooo
Double Feature ***oo
One and a Half Murders **ooo
The Penny-a-Worder **ooo
The Book that Squealed ***oo
Meet Me by the Mannequin ***oo
Momentum **ooo
Murder at Mother's Knee ***oo
The Body in Grant's Tomb ***oo
Mind over Murder ***oo
When Love Turns ***oo
Life is Weird Sometimes ***oo
Displaying 1 - 7 of 7 reviews