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Quote by Oliver Dean Spencer

“HE FELL DOWN HARD—stone-cold dead, next to my feet. It didn’t take much—just a pull of the trigger. The way I figured; a bullet always had its way of settling things. It asked no questions. Just did what it was told. And I hadn’t planned on resolving my disagreement with the Thin Man that way. But he left me no choice. He pulled his Luger, deciding that one of his .28s was the only way to resolve the issue. Trouble was, he missed. But a .22 from my Colt didn’t.”

Quote by Oliver Dean Spencer

Book:The Case of the Runaway Orangutan
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The Case of the Runaway Orangutan

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Oliver Dean Spencer

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“Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter.”

HorrorScience FictionFantasticSuspenseGothicNoirNoir FictionBildungsromanCornell Woolrich
Book:The Fantastic Stories of Cornell Woolrich
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“But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful. ("Introduction")”

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Book:Night and Fear: A Centenary Collection of Stories by Cornell Woolrich
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“One of the two owners, the man who had been sitting in the front room, was stretched out in there asleep, stockinged-toes pointed at the ceiling, one hand backed defensively against his eyes to ward off the light. He'd taken off his vest and shoes, and that strap that wasn't straight enough to be a suspender-strap was dangling now around one of the knobs at the foot of the bed. It ended in a holster, with a black, cross-grained slab of metal protruding from it. Turner couldn't take his eyes off it, while the long seconds that to him were minutes toiled by. That meant out, that black slab, more surely than any door. He had to have it. More than that, it meant a continuance of out, for so long as he had it. And he wanted out with all the desperate longing of all trapped things, blindly scratching, clawing their way through a maze to the open. To the open where the equal chance is.”

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Book:Marihuana
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