“I like a little danger. Tame danger, controlled by
me. It gives me a sense of power, I guess, to take my life in my hands and know
damn well I’m not going to lose it.”― Mystery novelist Ross Macdonald
(1915-1983), The Moving Target (1949)
I was first exposed to Ross Macdonald and his most
famous character, private eye Lew Archer, indirectly: through the Paul Newman
film Harper. (The actor—pictured
here, of course—in a bit of superstition, decided that a name with the letter
“H” might work best, like his prior hits The
Hustler and Hud, so the character
was re-christened “Harper” for the movies. Amazingly, it worked at the box
office once again.)
I thought the character was impossibly cool—flip and
gutsy, and I couldn’t wait to see how he sounded on paper. When I finally did
get around to Macdonald’s Lew Archer series, it was the later ones that I read
first, where the author (and the character) plumbed the haunted lives of
families in postwar Southern California—people with untold material prosperity
but deep, empty emotional poverty. In the telling, Archer is considerably more
thoughtful and introspective than his cinema embodiment.
A couple of years ago, I finally got around to
reading the novel that inspired Harper,
The Moving Target. Reluctantly, I had to agree with another one of my
favorite mystery novelists, Raymond Chandler, that Lew Archer in this case
seemed like a knockoff of his own hard-boiled, wisecracking, but incorruptible private eye, Philip Marlowe.
Nevertheless, I remain grateful to Harper for introducing me to the work of
Macdonald—and to the novelist himself for showing how an author can move past
an undoubted influence in forging his own unique themes, styles and
characterization.
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