The Blonde on the Street Corner (Midnight Classics) [Paperback]

David Goodis (Author)

Book Description

Series: Midnight Classics | Publication Date: August 1, 1997

Long out-of-print major work from a master of classic American crime fiction

Editorial Reviews

From Library Journal

Goodis's 1954 novel is typical of his work. It features a down-on-his-luck guy whose life is turned upside down by a woman. Fans of gritty, noirish fiction will be all over this.
Copyright 1998 Reed Business Information, Inc.

About the Author

One of the greatest yet least appreciated American post-war crime writers, David Goodis was born in Philadelphia in 1917, and wrote his first novel, Retreat from Oblivion, in 1938. His big break came in 1946 with the publication of Dark Passage, which was made into a film starring Bogart and Bacall. During his life he wrote many short stories, film treatments, scripts for radio serials such as Superman, and seventeen novels including Shoot the Pianist (filmed by Truffaut). He died in 1967.

Product Details

• Paperback: 250 pages
• Publisher: Serpent's Tail (August 1, 1997)
• Language: English
• ISBN-10: 1852424478
• ISBN-13: 978-1852424473
• Product Dimensions: 7.8 x 5 x 0.5 inches
• Shipping Weight: 4.5 ounces (View shipping rates and policies)
• Average Customer Review: 3.9 out of 5 stars  See all reviews (7 customer reviews)
• Amazon Best Sellers Rank: #949,167 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

22 of 23 people found the following review helpful:

5.0 out of 5 stars A small masterpiece of genuine expression., November 27, 1998

By 

Robert E. Lloyd (Deerfield Beach, FL) - See all my reviews
(REAL NAME)   

This review is from: The Blonde on the Street Corner (Midnight Classics) (Paperback)

Forget the title--this book is not about sex. At least, not very much (only a brief reference or two). What it's about is what it's like to live as a young poor person in Philadelphia. The book was written in the 1950's, it's written about the 1930's, but as a former resident of Philadelphia, I can attest to the fact that it is as accurate a depiction of today's world as any other decade. The novel is a small gem that captures the essence of being unemployed and poor in the big city, but without being depressing or moralistic in any way. Doesn't sound like much of a recipe for success, but Goodis is a master at bringing a mood to life. He accomplishes with understatement what most novelists never achieve: genuine, believable characters in real settings. This book has not, to my knowledge, been made into a film as his other works have, which is probably due to the unusual plot structure (basically, not much excitement goes on in the book), but the trueness of his vision soars beyond any limitations. I lived in similar circumstances to the characters in the book, and was astonished at the accuracy that Goodis gives to real life. It's amazing. Worth a read, even if you are only marginally interested. It's a brief page turner that leaves you longing for more, just as the characters in the book feel. This book is a revelation.

15 of 17 people found the following review helpful:

3.0 out of 5 stars A welcome rarity in the pulp canon by David Goodis., February 15, 1998

By A Customer

This review is from: The Blonde on the Street Corner (Midnight Classics) (Paperback)

Four "bums," all in their early 30s, all still living at home, all hopelesly frozen in the hell of inanimation, stand on the street corner eating Indian nuts and buying 16 cent packs of cigarettes, talking about nothing, doing nothing, going nowhere and not much caring. It is fascinating to think that The Blonde on the Street Corner [1954], stylistically most aytpical of David Goodis' novels, should appear just a year after the publication of alain Robbe-Grillet's The Erasers [Eng. Tr. 1964]. Goodis doesn't go nearly so far as Robbe-Grillet in dispensing with character, plot, and all the other traditional elements of the novel, but he does give us a kind of pulp analogue, with rhythmic repetitions of a domestic ugliness, banality, and violence not much short of the "spirit of ugly" celebrated by William S. Burroughs just a few years down the road.

For Goodis, the icy heart of this ugliness is the essential meaninglessness of things, so that the novel's tired randomness of events moves forward in the kronos of the profane. By default, almost, nothingness becomes the novel's central obsession:

"You don't know what you'll be doing tonight. Or tomorrow. Or the day after tomorrow. What are you? What do you do? You stand on the corner. You're one of the bums. You're thirty years old and what do you have?

"Nothing."

"Is that what you want?"

"It gives me very little to worry about. I don't have to think about losing it. There's nothing to lose." (152)

Nothing is mostly what "happens" in this novel, which is only superficially set in the Depression, but could occur at any time in the bleak unending asphalt of row houses and and torn overcoats in the Goodis Urban Freezer. Genuine relationships are impossible to achieve and undesirable to sustain. Marriage and family are dead ends. Work is a humiliating experience, difficult to come by, and ultimately without meaning. As in so many of Goodis's novels, at the center of this one lounges a fat, sensual woman, verbally abusive to everyone around her. Here, though, she is not so much fascinating for the protagonist as she is a way to pass the time, when time itself is of no account. It's as if Goodis had exhausted himself of his own masochistic leitmotif and stood looking in the abyss, seeing and feeling nothing but the cold. "What is this?" says one of the young bums, Dippy, whenever something he doesn't understand arises. It becomes, by novel's end, Goodis's own bewildered ontological question, one he is too far gone to care about asking, much less answering. Recommended for Goodis fans.

5 of 5 people found the following review helpful:

4.0 out of 5 stars Classic noir, August 31, 2006

By 

Pitoucat (UK) - See all my reviews

This review is from: The Blonde on the Street Corner (Midnight Classics) (Paperback)

David Goodis was one of the major writers of crime noir in the 1940s and '50s. Many of his best works were filmed to good effect, including DARK PASSAGE, with Bogart playing the lead, Tourneur's NIGHTFALL, Truffaut's SHOOT THE PIANO PLAYER, Sam Fuller's STREET OF NO RETURN, and THE BURGLAR. Goodis's novels painted bleak, black views of the inner-city life he himself lived, populated by losers and drunks. As Ed Gorman once said, Goodis didn't write novels, he wrote suicide notes. But his power lay in his ability to get down on paper the stark reality of the low-life he witnessed around him, before he too fell victim to the type of decline experienced by the characters he wrote about.

It's a tragedy that, apart from this reissue, few of the eighteen novels Goodis wrote are currently in print. This is the first publication of THE BLONDE ON THE STREET CORNER since it originally appeared in a paperback edition in 1954. The story is set during the depression years of the 1930s, in Goodis's own home town of Philadelphia, and seems to be at least partly autobiographical. Ralph and his buddies are out of work, and jobs are not easy to find. He'd like to be a song-writer, but there's little hope of getting that kind of break. Christmas is coming and he needs some money, and the only other options involve crime and sex. With his usual talent for brilliant prose description and language, Goodis takes you effortlessly into the murky realms of depression America to meet the deadbeat characters who populate the streets and bars.

Serpent's Tail Press are to be congratulated for reissuing this long-lost classic by one of the legendary writers of the hardboiled. It's to be hoped that more by Goodis follows from them soon.