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Pulp According to David Goodis
Pulp According to David Goodis starts with six characteristics of 1950s pulp noir that fascinated mass-market readers, making them wish they were the protagonist, and yet feel relief that they were not. His thrillers are set in motion by suppressed guilt, sexual frustrations, explosions of violence, and the inaccessible nature of intimacy. Extremely valuable is a gangster-infested urban setting. Uniquely, Goodis saw a still-vibrant community solidarity down there. Another contribution was sympathy for the gang boss, doomed by his very success. He dramatizes all this in the stark language of the Philadelphia’s “streets of no return.”
The book delineates the noir profundity of the author’s work in the context of Franz Kafka’s narratives. Goodis’ precise sense of place, and painful insights about the indomitability of fate, parallel Kafka’s. Both writers mix realism, the disorienting, and the dreamlike; both dwell on obsession and entrapment; both describe the protagonist’s degeneration. Tragically, belief in obligations, especially family ones, keep independence out of reach.
Other elements covered in this critical analysis of Goodis’s work include his Hollywood script-writing career; his use of Freud, Arthur Miller, Faulkner and Hemingway; his obsession with incest; and his “noble loser’s” indomitable perseverance.
The book delineates the noir profundity of the author’s work in the context of Franz Kafka’s narratives. Goodis’ precise sense of place, and painful insights about the indomitability of fate, parallel Kafka’s. Both writers mix realism, the disorienting, and the dreamlike; both dwell on obsession and entrapment; both describe the protagonist’s degeneration. Tragically, belief in obligations, especially family ones, keep independence out of reach.
Other elements covered in this critical analysis of Goodis’s work include his Hollywood script-writing career; his use of Freud, Arthur Miller, Faulkner and Hemingway; his obsession with incest; and his “noble loser’s” indomitable perseverance.
318 pages, Paperback
Published October 29, 2018
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54 people want to read
About the author
Jay A. Gertzman
10 books6 followersProfessor emeritus of English at Mansfield University, is author of three books, including Bookleggers and Smuthounds: The Trade in Erotica, 1920–1940.
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Displaying 1 - 6 of 6 reviews
June 26, 2023
The Noir Of David Goodis
American artistic accomplishment can be found in seemingly unlikely places. At the time of his death, David Goodis (1917 -- 1967) and his paperback original pulp fiction had been virtually forgotten. Gradually, some readers developed an interest in Goodis. In 1997, the Library of America included his novel "Down There" in a volume of 1950's noir fiction. In 2012, the LOA published a volume devoted to Goodis, including five additional novels. These two volumes helped me and many other readers discover Goodis. I went on to purchase and read some of Goodis' additional novels that were available and relatively accessible. I read Philip Garnier's own English translation of his biography: "Goodis: A Life in Black and White" (2013) and watched the film adaptations that I could find of Goodis' writings. I loved this author that I had only recently discovered.
I was glad to find this outstanding new critical study of Goodis, "Pulp According to David Goodis" by Jay Gertzman, Professor Emeritus of English at Mansfield University of Pennsylvania. Gertzman specializes in American publishing history and is an authority on Goodis: with our shared interest, he and I became acquainted through several online sites. Gertzman kindly sent me a review copy of his book.
Born in Philadelphia, Goodis worked as a Hollywood screen writer and wrote several novels before returning to Philadelphia where he lived in his parents' home for the rest of his life. In Philadelphia, Goodis wrote the series of "paperback originals" or pulp fiction for which he is best--known today. Gertzman's book delves deeply into Goodis' life and writings with an emphasis on several of the books he wrote upon his return to Philadelphia with their lyrically dark exploration of Philadelphia's lower-class neighborhoods and their inhabitants.
Gertzman places Goodis and pulp writing within the context of American literature. Goodis and other pulp writers once were not taken seriously, a situation that has fortunately changed. Gertzman distinguishes between American "authors" who wrote serious, thoughtful books for demanding readers and American "writers" who wrote to be popular and to entertain. Goodis self-described himself as in the latter category. With the market for throwaway pulp paperbacks that sold for about a quarter, Goodis and his publishers aimed to reach a large market. Gertzman develops six characteristics of the genre crime, noir novels Goodis wrote which were designed to appeal to readers seeking a titillating read through identifiable characters and situations. If that were all there was to Goodis, he would not deserve the attention he has received. Gertzman shows how Goodis took the conventions in which he worked and developed them with originality and feeling based largely on his own creativity and experiences. The distinction between "author" and "writer" or between "serious" literature and "trash" ultimately becomes blurred and in the case of a gifted author such as Goodis seriously misleading.
In his study, Gertzman combines analysis of Goodis' novels with analysis of the work of Freud and Kafka, among others. He offers a history of Philadelphia in the years after WW II as it became the setting of much of Goodis' writing. Gertzman discusses the themes that pervade Goodis' fiction, including poverty, fate, the failed search for intimacy, conflicts in recognizing and fulfilling one's sexual needs, entrapment in a destructive way of life, loneliness, and ultimately, the possibility of a redeemed life in the middle of failure. The Goodis hero as a "noble loser" and the characterization of Goodis' writing as "doomed romanticism" are themes that run through this study. Gertzman sometimes takes a novel and offers a sustained, close reading. In other instances, he examines a work of Goodis, sometimes more than once, based upon a variety of themes the work presents.
With the LOA volumes and other works that are reasonably accessible, some of Goodis is still difficult to find. Some of Gertzman's most detailed analyses are of works that I and most readers probably still have been unable to find and read. Thus, in his opening chapter, Gertzman offers a detailed reading of Goodis' 1952 paperback original "Street of the Lost" and shows how this work captures the themes of Goodis' output in its own inimitable way. I enjoyed learning about what seems to be a fascinating, violent book and am sorry that it is not in print or easily accessible.
In his final chapter, Gertzman offers another detailed analysis of Goodis' final novel "Somebody's Done For" (1967). This also is one of Goodis' less accessible titles. Readers of Goodis have mixed responses to this late work, with some disliking the book and others finding it a masterpiece in its way. Gertzman is of the latter opinion and discusses the book convincingly and well, concluding that it is a "tragedy of the common man". I learned a great deal about Goodis from Gertzman's discussion of "Somebody's Done For" and would love to have the opportunity to read the novel itself.
Gertzman also offers thematically-oriented discussions of Goodis novels I have read, centering upon their Philadelphia locations, including "Cassidy's Girl" "The Moon in the Gutter", "Street of No Return" the "Blonde on the Street Corner" and, of course "Down There" (which became a famous movie, "Shoot the Piano Player") His discussions of these books are wonderfully evocative. He discusses "Of Tender Sin", a book I have read, which explores themes of incest as it wanders through Philadelphia's mean streets. Gertzman also offers a perceptive reading of "The Burglar", a work with a discussion of the nature of loyalty and morality which also became a film with Jayne Mansfield as a major character. This is a work of Goodis which has long fascinated me and which is readily accessible in the LOA volume.
Gertzman devotes a chapter of his study to a discussion of Kafka and to parallels between Kafka and Goodis. He uses Kafka with insight at several points in his study. While the discussion of Kafka is illuminating, I found that this study works best when it focuses on Goodis' own books and on his life and on the settings of his writings.
I became absorbed in reading Gertzman's study and wanted to think about Goodis again, to reread the works I know and to read some of his books for the first time. The book helped me understand why I was so taken with Goodis when I found him. He may not be for every reader. Those who love Goodis and who are interested in noir and pulp fiction will learn a great deal from Jay Gertzman's study.
Robin Friedman
American artistic accomplishment can be found in seemingly unlikely places. At the time of his death, David Goodis (1917 -- 1967) and his paperback original pulp fiction had been virtually forgotten. Gradually, some readers developed an interest in Goodis. In 1997, the Library of America included his novel "Down There" in a volume of 1950's noir fiction. In 2012, the LOA published a volume devoted to Goodis, including five additional novels. These two volumes helped me and many other readers discover Goodis. I went on to purchase and read some of Goodis' additional novels that were available and relatively accessible. I read Philip Garnier's own English translation of his biography: "Goodis: A Life in Black and White" (2013) and watched the film adaptations that I could find of Goodis' writings. I loved this author that I had only recently discovered.
I was glad to find this outstanding new critical study of Goodis, "Pulp According to David Goodis" by Jay Gertzman, Professor Emeritus of English at Mansfield University of Pennsylvania. Gertzman specializes in American publishing history and is an authority on Goodis: with our shared interest, he and I became acquainted through several online sites. Gertzman kindly sent me a review copy of his book.
Born in Philadelphia, Goodis worked as a Hollywood screen writer and wrote several novels before returning to Philadelphia where he lived in his parents' home for the rest of his life. In Philadelphia, Goodis wrote the series of "paperback originals" or pulp fiction for which he is best--known today. Gertzman's book delves deeply into Goodis' life and writings with an emphasis on several of the books he wrote upon his return to Philadelphia with their lyrically dark exploration of Philadelphia's lower-class neighborhoods and their inhabitants.
Gertzman places Goodis and pulp writing within the context of American literature. Goodis and other pulp writers once were not taken seriously, a situation that has fortunately changed. Gertzman distinguishes between American "authors" who wrote serious, thoughtful books for demanding readers and American "writers" who wrote to be popular and to entertain. Goodis self-described himself as in the latter category. With the market for throwaway pulp paperbacks that sold for about a quarter, Goodis and his publishers aimed to reach a large market. Gertzman develops six characteristics of the genre crime, noir novels Goodis wrote which were designed to appeal to readers seeking a titillating read through identifiable characters and situations. If that were all there was to Goodis, he would not deserve the attention he has received. Gertzman shows how Goodis took the conventions in which he worked and developed them with originality and feeling based largely on his own creativity and experiences. The distinction between "author" and "writer" or between "serious" literature and "trash" ultimately becomes blurred and in the case of a gifted author such as Goodis seriously misleading.
In his study, Gertzman combines analysis of Goodis' novels with analysis of the work of Freud and Kafka, among others. He offers a history of Philadelphia in the years after WW II as it became the setting of much of Goodis' writing. Gertzman discusses the themes that pervade Goodis' fiction, including poverty, fate, the failed search for intimacy, conflicts in recognizing and fulfilling one's sexual needs, entrapment in a destructive way of life, loneliness, and ultimately, the possibility of a redeemed life in the middle of failure. The Goodis hero as a "noble loser" and the characterization of Goodis' writing as "doomed romanticism" are themes that run through this study. Gertzman sometimes takes a novel and offers a sustained, close reading. In other instances, he examines a work of Goodis, sometimes more than once, based upon a variety of themes the work presents.
With the LOA volumes and other works that are reasonably accessible, some of Goodis is still difficult to find. Some of Gertzman's most detailed analyses are of works that I and most readers probably still have been unable to find and read. Thus, in his opening chapter, Gertzman offers a detailed reading of Goodis' 1952 paperback original "Street of the Lost" and shows how this work captures the themes of Goodis' output in its own inimitable way. I enjoyed learning about what seems to be a fascinating, violent book and am sorry that it is not in print or easily accessible.
In his final chapter, Gertzman offers another detailed analysis of Goodis' final novel "Somebody's Done For" (1967). This also is one of Goodis' less accessible titles. Readers of Goodis have mixed responses to this late work, with some disliking the book and others finding it a masterpiece in its way. Gertzman is of the latter opinion and discusses the book convincingly and well, concluding that it is a "tragedy of the common man". I learned a great deal about Goodis from Gertzman's discussion of "Somebody's Done For" and would love to have the opportunity to read the novel itself.
Gertzman also offers thematically-oriented discussions of Goodis novels I have read, centering upon their Philadelphia locations, including "Cassidy's Girl" "The Moon in the Gutter", "Street of No Return" the "Blonde on the Street Corner" and, of course "Down There" (which became a famous movie, "Shoot the Piano Player") His discussions of these books are wonderfully evocative. He discusses "Of Tender Sin", a book I have read, which explores themes of incest as it wanders through Philadelphia's mean streets. Gertzman also offers a perceptive reading of "The Burglar", a work with a discussion of the nature of loyalty and morality which also became a film with Jayne Mansfield as a major character. This is a work of Goodis which has long fascinated me and which is readily accessible in the LOA volume.
Gertzman devotes a chapter of his study to a discussion of Kafka and to parallels between Kafka and Goodis. He uses Kafka with insight at several points in his study. While the discussion of Kafka is illuminating, I found that this study works best when it focuses on Goodis' own books and on his life and on the settings of his writings.
I became absorbed in reading Gertzman's study and wanted to think about Goodis again, to reread the works I know and to read some of his books for the first time. The book helped me understand why I was so taken with Goodis when I found him. He may not be for every reader. Those who love Goodis and who are interested in noir and pulp fiction will learn a great deal from Jay Gertzman's study.
Robin Friedman
December 2, 2024
Gertzman’s “Pulp According to Goodis” (2018 by Down & Out Books) is a novel-length treatise about Philadelphia noir poet David Goodis’ writing, his place in noir literature, and the influences and societal pressures that went into Goodis’ pulp writing. In other words, Gertzman takes Goodis as seriously as other literary professors take Faulkner, Hemingway, or Shakespeare. As stated in Richard Godwin’s introduction, it is “a thorough and meticulous body of research into Goodis, exploring in depth his literary relevance, his tropes, and their ongoing importance within American culture, his relationship to other authors who occupy similar terrain, and research into Goodis the man himself.” All of the book is fascinating to anyone interested in noir writing, but some of it may be cryptic to those who do not possess at least a passing familiarity with Goodis’ work. Gertzman apparently met Goodis twice and cites to Phillipe Garnier’s biographical work, A Life in Black and White.
In the preface,Gertzman sets out his task. He explains that Goodis’ characters were outcasts, hiding in cellars, flophouses, and skid row alleys in working class neighborhoods and had often fallen and been beaten down. Gertzman specifies six requirements for pulp crime paperbacks.
Gertzman argues that pulp was the underclass’ own literary genre, and the six parameters were: (1) an underclass or working class setting where mobsters, gamblers, psychos, hitmen, and petty crooks hang out; (2) characters obsessed with an existential sense of inadequacy or victimization; (3) violence, reaching the point of grotesqueness, horror; (4) tough, but tender; (5) some faithfulness, trust, or courage emerging from people in unlikely places; and (6) the loving but doomed woman, the sex pot for whom the most fun is always to be had in bed, the femme fatale, or the hard luck tough gal all o whom may prod the hero to believe in himself.
He also explores the setting which is almost always had-boiled post-war Philadelphia and explores the reasons socio-economic and political why the neighborhoods deteriorated so rapidly and became such wastelands. Relying on Eddie Duggan’s definitions, he explains the difference between noir, where the primary focus is interior psychic imbalance leading to self-hatred, aggression, sociopathy or compulsion, with hard boiled, which paints a backdrop of institutionalized social corruption. In such a setting as inner Philadelphia, Gertzman explains, “Those who tried for a better ride had to be hard boiled” in order to respond to a corrupt society. But as they suffered, their stories would shift from hardboiled to noir.
Gertzman consciously compares Goodis to Kaka and the presence of fate. Pulp crime novels “were a significant way of making readers see what existential choices were.”
It is a fascinating book that reveals the depth and complexity of pulp crime writing through the primary examples of Goodis’ novels, some of which are examined at length. It is, however, one of those thick and rich reads which will require more than one sitting to absorb and process.
In the preface,Gertzman sets out his task. He explains that Goodis’ characters were outcasts, hiding in cellars, flophouses, and skid row alleys in working class neighborhoods and had often fallen and been beaten down. Gertzman specifies six requirements for pulp crime paperbacks.
Gertzman argues that pulp was the underclass’ own literary genre, and the six parameters were: (1) an underclass or working class setting where mobsters, gamblers, psychos, hitmen, and petty crooks hang out; (2) characters obsessed with an existential sense of inadequacy or victimization; (3) violence, reaching the point of grotesqueness, horror; (4) tough, but tender; (5) some faithfulness, trust, or courage emerging from people in unlikely places; and (6) the loving but doomed woman, the sex pot for whom the most fun is always to be had in bed, the femme fatale, or the hard luck tough gal all o whom may prod the hero to believe in himself.
He also explores the setting which is almost always had-boiled post-war Philadelphia and explores the reasons socio-economic and political why the neighborhoods deteriorated so rapidly and became such wastelands. Relying on Eddie Duggan’s definitions, he explains the difference between noir, where the primary focus is interior psychic imbalance leading to self-hatred, aggression, sociopathy or compulsion, with hard boiled, which paints a backdrop of institutionalized social corruption. In such a setting as inner Philadelphia, Gertzman explains, “Those who tried for a better ride had to be hard boiled” in order to respond to a corrupt society. But as they suffered, their stories would shift from hardboiled to noir.
Gertzman consciously compares Goodis to Kaka and the presence of fate. Pulp crime novels “were a significant way of making readers see what existential choices were.”
It is a fascinating book that reveals the depth and complexity of pulp crime writing through the primary examples of Goodis’ novels, some of which are examined at length. It is, however, one of those thick and rich reads which will require more than one sitting to absorb and process.
November 5, 2018
This is a comprehensive and enlightening study on the novels of obscure but highly regarded pulp maestro David Goodis. Each chapter tackles the themes of particular novels in detail, including some that are frustratingly hard to find (Somebody's Done For, Behold This Woman). Stark House Press are doing good work in bringing these neglected works back into print, and Gertzman's book will help to solidify Goodis' reputation as one of the best noir writers of his era.
July 27, 2018
I was privileged to read this book prepublication.
David Goodis is not merely a pulp writer. Comparable only to Jim Thompson in reputation among the well-known writers of the paperback era, Goodis is, however, sui generis. In Pulp According to David Goodis, Jay Gertzman considers Goodis's "noble outcasts" in several contexts, incorporating an impressive array of references. If you want to know about Goodis in his time, with a close analysis of the texts to accompany the biographical work of Garnier, you'll want this book, a stylish and singular work of scholarship and admiration.
David Goodis is not merely a pulp writer. Comparable only to Jim Thompson in reputation among the well-known writers of the paperback era, Goodis is, however, sui generis. In Pulp According to David Goodis, Jay Gertzman considers Goodis's "noble outcasts" in several contexts, incorporating an impressive array of references. If you want to know about Goodis in his time, with a close analysis of the texts to accompany the biographical work of Garnier, you'll want this book, a stylish and singular work of scholarship and admiration.
April 7, 2022
I found myself walking—a stranger in a strange land—in dimness, where silhouettes emerge from the shadows on North Broad Street in Philly. Walking down there. With the writer, David Goodis. Wanderer. Looking for an outpost on the border of oblivion: night club, dive bar with B-girls, maybe the odd pervert, a slick guy quick with a knife. Outsider of the first water despite his university education, those dark silhouettes would be his undoing, the end of the line in an imaginary land, a fantasy, the existential black pit that he elected to fall into. Unknowingly, I travelled down Goodis’ dark passages in San Francisco: From San Quentin through the Waldo Tunnel to the Golden Gate Bridge, the art-deco opulence of Filbert Street on Telegraph Hill, down along 21 Plum Alley for a back-alley plastic job where all men are cowards, afraid of getting hurt. Dropped off at a greasy spoon at the break of dawn, on the lam across Post Street from a streak of rotten luck that wouldn’t stop and a nosy cop. Settling the hash of a blackmailing carnival grifter under the Golden Gate Bridge. And the final escape to South America trying to outrun his fate. Follow Jay Gertzman as he guides you down those mean streets. Walking in another man’s shoes. The shoes of David Goodis.
February 14, 2024
I bailed. I’ll just re-read the Goodis books.
Displaying 1 - 6 of 6 reviews