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A wonderfully dark, pitch-perfect noir prequel to The Maltese Falcon, featuring Dashiell Hammett’s beloved detective, Sam Spade.
It’s 1921—seven years before Sam Spade will solve the famous case of the Maltese Falcon. He’s just set up his own agency in San Francisco and he gets off to a quick start, working cases (he doesn’t do domestic) and hiring a bright young secretary named Effie Perrine. When he’s hired by a prominent San Francisco banker to find his missing son, Spade gets the break he’s been looking for. He spends the next few years dealing with booze runners, waterfront thugs, banking swindlers, gold smugglers, and bumbling cops. He brings in Miles Archer as a partner to help bolster the agency, though it was Archer who stole his girl while he was fighting in World War I. All along, Spade will tangle with an enigmatic villain who holds a long-standing grudge against Spade. And, of course, he’ll fall in love—though it won’t turn out for the best. It never does with dames.
- Sales Rank: #700743 in Books
- Published on: 2010-03-09
- Released on: 2010-03-09
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .75" w x 5.18" l, .56 pounds
- Binding: Paperback
- 337 pages
Amazon.com Review
Book Description
When Sam Spade gets drawn into the Maltese Falcon case, we know what to expect: straight talk, hard questions, no favors, and no way for anyone to get underneath the protective shell he wears like a second skin. We know that his late partner, Miles Archer, was a son of a bitch; that Spade is sleeping with Archer’s wife, Iva; that his tomboyish secretary, Effie Perine, is the only innocent in his life. What we don’t know is how Spade became who he is. Spade & Archer completes the picture.
1921: Spade sets up his own agency in San Francisco and clients quickly start coming through the door. The next seven years will see him dealing with booze runners, waterfront thugs, stowaways, banking swindlers, gold smugglers, bumbling cops, and the illegitimate daughter of Sun Yat-sen; with murder, other men’s mistresses, and long-missing money. He’ll bring in Archer as a partner, though it was Archer who stole his girl while he was fighting in World War I. He’ll tangle with a villain who never loses his desire to make Spade pay big for ruining what should’ve been the perfect crime. And he’ll fall in love—though it won’t turn out for the best. It never does with dames . . .
Spade & Archer is a gritty, pitch-perfect, hard-boiled novel--the work of a master mystery writer--destined to become a classic in its own right.
Amazon Exclusive: James Ellroy Reviews Spade & ArcherJames Ellroy’s new novel, Blood’s a Rover, due out in September 2009, is the final, stand-alone installment of the Underworld U.S.A. Trilogy, which began with American Tabloid and The Cold Six Thousand. His L.A. Quartet novels--The Black Dahlia, The Big Nowhere, L.A. Confidential, and White Jazz--were international best sellers. American Tabloid was Time magazine’s Best Book (fiction) of 1995; My Dark Places, a memoir, was a Time Best Book of the Year and a New York Times Notable Book for 1996; The Cold Six Thousand was a Los Angeles Times Best Book and a New York Times Notable Book for 2001. He lives in Los Angeles.
Dashiell Hammett died in January, 1961. Alfred A. Knopf and Joe Gores were thus unable to seek his approval for the writing of this prequel to The Maltese Falcon. The publisher’s announcement for Spade & Archer pissed me off for that reason. Knopf had kallously kashed in on the Raymond Chandler centenary with a volume of Philip Marlowe short stories, written by various contemporary crime writers; I thought the Falcon rip-off would be more of the same. I am delighted to tell you that it is not. The first difference is that the Hammett estate authorized Spade & Archer. The second difference lies in the singular distinction between the two writers. Chandler was a florid gasbag and was easy to imitate and satirize. A wise-cracking knight, a steady stream of similes and punchy one-liners. A burning hatred of authority often expressed in jejune riffs and a constant barrage of pique. Chandler wrote the man he wanted to be. Hammett wrote the man that he was afraid he had become. Chandler told you everything that Philip Marlowe was thinking. Hammett did not describe Sam Spade’s thought processes. Spade’s actions and spoken words implied who he was. His murky interactions with a range of mendacious characters filled in the remaining blanks. Questions hovered on the last page of The Maltese Falcon. We were not sure how this ruthless, skeptical and occasionally sentimental man developed the mental survival skills and moral stamina to successfully and ambiguously mediate the horrible events of the preceding pages. We wanted to know why--but Hammett never told us.
Now Joe Gores does. And in doing so, he justifies Knopf’s kash-in. He has written a prequel that honors and enhances the legendary volume it enshrines, and seamlessly describes how Sam Spade got to the existential dead-end of the Black Bird.
We now know enough. Gores is too skilled a writer and too deft a Hammett scholar to tell us everything. Spade & Archer is a revelatory novel that still plays its cards close to the vest. Gores was presented with two dramatic mandates: tell an engaging, stand-alone story and get us to the Bird. Take us to the crux of Spade’s divided loyalties and plumb his adulterous heart. The Maltese Falcon gave us Miles Archer’s death and the tenuous resolution of Spade’s affair with Ida Archer. We now know more. The soul-cracks we barely perceived in Falcon are that much harder to discern. We’re starting to get it. At its best, Spade & Archer is the stoic’s credo as whodunit, and the retroactive announcement that Hammett will soon launch the hard-boiled style.
This novel feels pre-aged more than dated--as vintage Hammett often does to today’s readers. Gores has superbly recreated Hammett straddling the romantic novel and the urban novel in extremis. The language of the 1920’s seems properly tough and authentic, properly pallid when compared to modern gangster-speak. It’s the language of the Boom. The façade of the time and place will soon crack. Gores is warning us of what Hammett will imply to us, but never preach to us in the end. This is a very fine novel. Respectful, but too mindful of the source to be reverent--Spade & Archer exalts Dashiell Hammett, codifies his life’s work and decorously affirms the master’s serious intent.
(Photo © Marion Ettlinger)
A Q&A with Author Joe GoresQuestion: Apart from the fact that you’re a Dashiell Hammett expert, what was the chief inspiration to write a prequel to his classic novel, The Maltese Falcon?
Joe Gores: It was a comment the Hammett scholar Rick Layman once said about The Maltese Falcon that first grabbed me: that it was “America’s first existential novel.” I thought yes, that’s exactly right: you don’t know anything about the past of these people: they just appear full-blown as if they sprang from the head of Zeus. So I became fascinated by that idea: who is Spade, where did he come from, why he can essentially say to the fat man, “If you’d stayed away from me you would have been okay, but when you cross me then you have to deal with me now, because this is my town.”
The way it came about is that that I’d met Professor Layman who’d written a number of fabulous books on Hammett, and the first really good biography of Hammett, called Shadow Man, (because one of the operatives at Pinkerton’s detective agency where Hammett worked said that he was a great shadow man, he could follow anyone anywhere and no one would ever see this lanky man tailing them). Through Rick Layman, I met the family, including Jo Marshall, Hammett’s surviving daughter, and in 1999 I wrote her a letter asking if she thought a prequel to The Maltese Falcon would be a good idea. She said no. So my agent, Henry Morrison, told me just to forget about it. Then in about 2004 the Hammett family was in San Francisco for a literary event and Jo Marshall got me in a corner and asked me if I’d like to write a sequel to The Maltese Falcon and I said no, I’d like to write a prequel, and she said “Oh, I guess I just wanted to see all of those wonderful characters again.” And I said “But they’re all dead,” she said “Oh, that’s right!” So from there we began.
For my own part, I wanted to find out for myself who Sam Spade was when he started out--how did he become this iconic figure? Every private eye who I’ve known, including myself, thinks Sam Spade is the ideal detective. Hammett himself said “he’s who all private detectives would like to be and in their more egotistical moments, think they are.” I have always thought you learn more of the private detective procedures in Hammett’s “Op Stories,” but Spade is the gold standard. I think of him as the Continental Ops’ older brother--the guy who really knows how to do it.
Q: As you were a private eye at one point in your career, can you say how closely the fictional character Sam Spade comes to a real private eye?
JG: He comes very close, and for many things--such as stopping in the middle of everything to talk to a theater owner who thinks that his employees are stealing from him, getting $50 bucks from the guy, and then just moving on--we never hear from this guy again. Sam just takes the money and forgets him. That’s classic.
I was essentially a repo man and a skip tracer, tracking people down. If somebody disappears he’s a “skip” so I’d try to find him. The reason we were more like the Op than Spade is I might be carrying 75 files at one time, working on simultaneous cases. However, just like Spade I never carried a gun. No private eye I know of ever did.
Q: The rhythm of the language--the poetic yet staccato-like style of dialogue--is so well done by Hammett, as well as by you in Spade & Archer. Was it hard to pull off? And do you think most people now hear Humphrey Bogart’s voice when they read Spade’s words?
JG: My style is very much for this book, I write in a broader, looser fashion in my other novels, but I was trying to emulate his style in The Maltese Falcon. In fact the greatest compliment I’ve gotten is that Jo Marshall, his daughter, said that when she was reading Spade & Archer she often forgot I’d written it. At certain moments, she thought she was reading her father’s writing.
I’m sure most people do hear Bogart’s voice, his delivery in that film. But he sounded quite different in Beat the Devil for example. He was smart enough to adopt that particular Hammett style for this movie. But in foreign countries, where he’s been dubbed, no one’s heard Bogart’s voice, which is strange to think about. I will say that the actors in The Maltese Falcon are all really great for their parts. You could never find a better Kasper Gutman than Sydney Greenstreet and Peter Lorre is insanely good as Joel Cairo. The one who doesn’t fit physically is the secretary, Effie: in the book she’s in her early 20s, and in the movie she comes across a bit older. But otherwise everything is perfect.
Q: What is it about Hammett’s style that made him so popular as a writer of detective fiction? He seems very good at giving the reader the physical details of who’s where in a room and what people look like--do you think that’s from his own years as a detective or just as a good fiction writer?
JG: It is his style, but he wrote characters who you believed were real: you believed these people would and could do the things they do in this novel. Fred Dannay, who was half of Ellery Queen (Manny Lee, his cousin, was the other half), was a great friend of Hammett’s and in discussing his work he said that Hammett was a “romantic realist.” That tags it absolutely. The stories he told, the people he wrote about were, on a gut level, so real, so believable, while his plots--a golden bird encrusted with diamonds, for example--were more romantic.
The mystery about The Maltese Falcon is not about the Maltese Falcon: the question is who killed Miles Archer--that’s the whole point of the novel. Since Sam Spade was his partner, he has to do something about it. Almost all the private eye cliches that have turned up since--such as seeking revenge for killing a partner, or the bottle in the desk drawer that he takes out for a drink--were started with The Maltese Falcon.
The other thing that made him so central to the mystery novel is the Hammett hero, which, when you get right down to the bottom of it, is the hero deciding “it’s him or me. He is the enemy and I have to deal with him.” Hammett’s other great detective, The Continental Op, barely exists outside of his work--there’s nothing to him but his work. But Sam Spade is different in that we see his life: he’s a womanizer, he’s icy cold, he’s very bright, and he’s unsentimental. So we have a much more rounded picture of him and that was one of the reasons I wanted to write about him--it was to get at that Hammett hero. But yes, I think his physical descriptions are both from his years as a detective and because he’s very good fiction writer.
Q: One of the great things about Spade & Archer, of course, is that you not only get to see Archer--alive for longer!--but you get the history of Sam Spade starting his own agency and his evolving relationship with Effie, his secretary, as well as Iva, Archer’s wife. Was it difficult to stick to the details of these characters as you knew them from later in life, or did you feel free to take them to slightly different places?
JG: No it was not difficult: I started with what Hammett gave us about each of these characters. At one point he says about Archer that he was a son-of-a-bitch. And I felt that wasn’t enough for Spade to be having this affair with his wife, Iva. So I had to figure how did Spade know Iva. And one of the things Rick Layman notes in his marvelous book, Discovering the Maltese Falcon and Sam Spade, is that Hammett was asked about where the character Iva came from. He said that she was loosely based on, if only in description, rather than character, a woman who worked in a bookstore in Spokane. That’s why I set part of the story in Spokane. What if Spade, as a private detective in Spokane, went into that bookstore, met this woman, they’d become lovers, and that would be Iva. He leaves to go to the First World War and she marries someone else—-namely Archer.
(Photo © Jonathan Sprague)
From Bookmarks Magazine
Nearly all critics begin their reviews with one, head-scratching question: Why? The pages of book sections are littered with excoriating reviews of prequels to classics like Gone With The Wind and The Godfather. So it's an even greater tribute to Gores's achievement that, but for one glaring exception, he creates a chorus of converts. This meticulously researched backstory is a highly entertaining novel in its own right, albeit one that happens to cast new light on one of crime fiction's most compelling characters. Gores, who has written for television shows like Columbo and Magnum P. I., was turned down once by Hammett's daughter when he asked to write a prequel. She finally gave him the green light, and he's done her, her father, and a literary icon proud.Copyright 2009 Bookmarks Publishing LLC
From Booklist
*Starred Review* A prequel to The Maltese Falcon sounds like a bad idea in so many ways, but not when it’s three-time Edgar winner Gores—author of the novel Hammett (1975), a former PI himself, and a master of the hard-boiled style—at the helm. The idea is to show us what Sam Spade was up to before he got involved with a black bird and a dame named O’Shaughnessy. Gores not only creates a compelling backstory for Spade but also does it so completely in the Hammett style that we suspend disbelief in an instant. Yes, it’s imitation, but it’s utterly unlike listening to a fake Sinatra croon. Rather than marveling at how much Gores sounds like Hammett, we forget all about who’s doing the talking and let the mood take over. From the clipped dialogue to the emphasis on the geography of San Francisco to the carefully detailed recounting of what a PI does, Gores nails it. He’s equally on the mark with Hammett’s characters: not only Spade, whose toughness and savvy are immediately recognizable from what we know of him, but also his secretary, Effie, who plays a larger role here, and his partner, Miles, who more than earns the “son of a bitch” label Sam gives him in Falcon. The novel’s only weak point, plot, is also in keeping with Hammett’s fondness for corkscrewy story lines. Here the story straddles what are really three novellas, united by a Moriarty-like bad guy who just won’t go away. But this novel isn’t about story; it’s about getting another chance to walk the streets of San Francisco with the city’s most memorable fictional character. --Bill Ott
Most helpful customer reviews
32 of 36 people found the following review helpful.
The Stuff of Which Dreams are Made
By The Ginger Man
A while back, mystery writer Robert Parker tried his hand at bringing Raymond Chandler's Philip Marlowe back to life. In this book, writer and former private eye Joe Gores takes on the equally daunting task of filling us in on Sam Spade's career prior to The Maltese Falcon. Gores prepared for this in a previous volume in which he has Spade creator Dashiell Hammett star in his own detective story.
In Spade and Archer, Gores succeeds in recreating the characters as well as the atmosphere of 1920s San Francisco. There are times, especially in the exchanges between Spade and police detectives Dundy and Polhaus, when the reader feels as if the dialogue was taken directly from Hammett with echoes from Bogart's on screen version of Spade. The plot has Spade chasing master criminal St. Clair McPhee over the course of 5 years while solving a series of lesser crimes. As always, the plot is secondary to the seedy atmosphere, snappy dialogue and interaction between the characters. All of this rings true to the hard-boiled tradition and allows the reader a passport back in time to witness the reinvention of the genre.
The only time I felt Gores misfired is in portraying a fight in which Spade is ambushed by 3 men variously wielding brass knuckles, a baseball bat and a knife. Spade not only dispatches all 3 but does so in less than a minute, resembling James Bond more than Hammett's shambling gumshoe.
More importantly, Gores fully captures the spirit of the hard-boiled detective: operating alone in the margins of the law, disguising a rigorous moral code with a rough and cynical exterior. In Spade, the reader can watch an archetype develop that is portrayed over the next 80 years, perhaps most fully realized today in Parker's Spenser series.
The book succeeds in its very ambitious goal. As a result, the reader can once again "walk the streets of San Francisco with the city's most memorable fictional character" as Booklist says. It was worth waiting for.
18 of 22 people found the following review helpful.
" 'booze, bribes, and biddies' "
By K. M.
In the thoroughly entertaining, Spade & Archer: The Prequel to Dashiell Hammett's The Maltese Falcon, the title characters brassily bandy about "booze, bribes, and biddies" in talk of field expenses They might well also talk "bullion, bimbos, and burglars" in a bull session about their investigative work. Or "treachery, tricks, and treasure." In a string of cases (presented in three parts) dealing with stolen British gold, grisly murders, union breaking, ship stowaways, bank fraud, the Bohemian Club, Chinese legends and nationalists, adultery, bootlegging, an elusive criminal mastermind, etc., this atmospheric and suspenseful novel covers select Sam Spade investigations in San Francisco over an eight-year period.
Joe Gores' prequel to The Maltese Falcon delivers pitch-perfect 1920s detective noir. As one reads one can almost see a (young) Humphrey Bogart-like Samuel Spade as he hitches his hip onto secretary Effie Perine's desk and "sweetheart"s her. Their introduction to one another is a don't-miss event. The FALCON cops, Dundy and Polhaus, also play their lived-in roles in SPADE & ARCHER, as does Spade's lawyer, Sid Wise, and it is a delight to see their histories fleshed out and them coming "alive" again in a seamless companion work.
Naturally Spade's back story with Miles and Iva Archer infuses the novel, and the author convincingly sets up the tensions within this percolating, complicated troika. Sam (who is 27 when the story starts) possesses brains, toughness, and survivor instincts. Freewheeling Miles, not so much, though he is, in Spade's estimation, " 'a good detective." And seemingly fickle Iva just doesn't want to be without a man in her bed. If anything in SPADE & ARCHER is underdeveloped it is the Archer arc. One hankers for bigger helpings of these two very different private eyes to understand their dynamic and what leads to events in Hammett's "sequel." Approaching the conclusion of ARCHER & SPADE, one may wonder if some pages were left out when both Iva and Miles are conspicuously absent. However, the book's final exchange between Spade and Effie provides felicitous and entirely justified cover. Still, the Archers could arguably have played more prominent roles in this novel.
SPADE & ARCHER's crystal clear prose vividly recreates hard-boiled Sam Spade's ever foggy San Francisco. The old days, when a phone call cost a nickel and a cup of coffee a dime, shimmer, even without the Golden Gate (which hadn't been built yet). It's a time when modern political correctness, social safety nets, and sweeping civil rights hadn't been dreamed up. It places us beside men in worsted wool suits who smoke constantly, drive Model Ts, and live in a less crowded society rife with the dangers fit to the time.
As a former private detective himself, Gores' experience beefs up the muscularity of Archer and Spade's operative work and also injects the complex cases Sam solves with a factual, down-to-earth credibility.
SPADE & ARCHER is a practically perfect novel that should take its place beside the famed THE MALTESE FALCON as unimpeachable Spade lore, and classic tough-guy detective literature. After all, what's not to love about cinematic Bogart/Spade dialogue like this:
" 'Where's the girl, Sam?'
"The tension went out of Spade. 'I've got her stashed.'
" 'Gimme her name so we can check her out,' said Dundy.
" '....Go out and find her yourself. I'm not stopping you.' "
4.7 stars.
6 of 6 people found the following review helpful.
Great Book
By Mel Odom
I started reading Joe Gores back in the 1970s when he was writing his Dan Kearney short stories for Ellery Queen Mystery Magazine, then began writing novels of the same. From there I discovered his other works, including HAMMETT, which was an excellent book and anchored in the time period.
With SPADE & ARCHER, Gores also makes use of the time period, making it all fresh and familiar while at the same time easing the reader into the world. When I read the original THE MALTESE FALCON, I was surprised at how little author Dashiell Hammett used point of view. The novel was stripped down, bare prose that focused on action and reaction. SPADE & ARCHER is the same, and that may be off-putting to some readers who like to crawl inside the skins of their characters.
The mystery is very intricate and well done. As Hammett did before him, Joe Gores also worked as a real-life private investigator. He brings his love of the craft and of the genre to this book. Hopefully it won't be the only one Gores writes in this time frame, or about the iconic Sam Spade.
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