Table Of ContentPublished by THE WORLD PUBLISHING COMPANY
2231 WEST IIOTH STREET CLEVELAND OHIO
By arrangement with Dashiell Hammett
TOWER BOOKS EDITION
First Printing January 1945 Second Printing February 1945 Third Printing July
1945
INTRODUCTION BY ELLERY QUEEN
Acknowledgment is gratefully made to the jallowing magazines in which these
stones originally appeared: BLACK MASK; COLLIER'S; THE AMERICAN
MAGAZINE; MYSTERY LEAGUE. The stories appear in their original form
and have not been cut.
MEET SAM SPADE.
Meet the rough, tough dick of THE MALTESE FALCON.
Meet the man with a V-for-Victory face who looks like a blond satan; the man
who hated his partner's guts but who tracked down his killer; the man who
believes it's bad business to let a killer get away with it, no matter who gets hurt,
even if it's the woman you love.
Meet the private agency detective whom Casper Gut-man (The Fat man) called
wild, astonishing, unpredictable, amazing — a most headstrong individual who's
not afraid of a bit of trouble —an uncommonly difficult person to get the best of
— a man of many resources and nice judgment; a man who can mix his Bacardi,
Manhattans, and knockout-drops, and still land on his feet right side up; who
is a son of a gun when it comes to plain speaking and a clear understanding;
whose dialogue can telescope to two words, the first a short guttural verb, and
the second "you"; who can play both ends against the middle, have his pie and
eat it, outwit, outfight, and outbluff, whichever way the cards fall.
Meet that rough-and-tumble operative who is most dangerous when his smile
flickers with a dreamy quality; who hates to be hit without hitting back; who
won't play the sap for anyone, man or woman, dead or alive; who can call a
$2,000,000 rara avis a dingus and who, when asked in the latest movie version
what the heavy lead falcon was made of, answered: "the stuff of dreams."
Meet the wild man from Frisco who always calls a spade a spade.
Meet Sam.
There are only four Sam Spade stories —THE MALTESE FALCON and the
three short stories now collected in book form for the first time. If there were
more, we'd fill the book with Sam Spade. But as a great actress once said:
"That's all there is, there isn't any more."
To give you full measure in this first volume of Hammett short stories, we've
added to THE ADVENTURES OF SAM SPADE four assorted tales, all genuine
24-carat Hammett. The first, The Assistant Murderer, is a novelette out of
Hammet's "Black Mask" days, written three years before the fabulous Falcon; it
introduces Alec Rush, the ugliest detective in fiction, one of Hammett's most
authentic private ops. The second, Nightshade, is a short-short story penned with
bitter-poison ink. The third, The Judge Laughed Last, is Hammett in a wryly
humorous and
ironically playful mood. The fourth, His Brother's Keeper, is a story of murder
and the prizefighting racket, one of Hammett's finest studies of character and
background.
Many adjectives have been wrapped around Hammett's neck. His style has been
called hard, hardbitten, and hardboiled; lean, dynamic, and unsentimental;
penetrating, virile, and shocking. But the adjective used most often is probably
the word "realistic." Hammett is the acknowledged founder of the contemporary
realistic school. But despite the unanimity of this critical opinion, it is neither
fair nor accurate to describe Hammett's style as simply "realistic." It's a bit more
complicated than that —and strangely enough, a bit more paradoxical.
In our considered judgment we would not label Hammett a "realist" and merely
let it go at that. We would add an adjective of our own, to fill out the picture, to
put the finger on the very heart of Hammett. We would call him a "romantic
realist."
Examine the plot of Hammett's most famous story, THE MALTESE FALCON:
the seventeen years' crusade to win that fabulous, solid-gold, gem-loaded bird;
the trail of theft, murder, doublecross, chicanery, blood, sweat, and tears. Can
you imagine a more romantic theme?
Every incident in the main line of the plot is 2oth Century fairy tale. Against
this background of sheer melodrama and sensational romanticism, how does
Hammett achieve the hard lacquer of realism? What makes critics and readers,
one and all, think of THE MALTESE FALCON — and RED HARVEST and
THE DAIN CURSE before the FALCON—as hardboiled stories?
The secret is in Hammett's method. Hammett tells his
modern fables in terms of realism. He blends, intermingles, combines extreme
romanticism of plot with extreme realism of characterization. His stories are the
stuff of dreams; his characters are the flesh-and-blood of reality. The stories are
flamboyant extravaganzas, but the characters in those stories are authentic
human beings who talk, think, and act like real people. Their speech is tough,
earthy, two-syllabled; their desires, their moods, their frustrations, are cut open,
laid bare, probed with frank, hard fingers.
The skin of realism hides the inner body of romance. All you see at first glance
is that tough outer skin. But inside — deep in the core of his plots and
counterplots — Hammett is one of the purest and most uninhibited romantics of
us all.
Reader, take from Hammett what you crave: escape to a dreamworld of
Maltese treasure — a modern Arabian Nights of crime and detection; or the
down-to-earth story of a professional detective at work (and play), told with a
realism comparable to Hemingway's. Or, enjoy both ends of the stick, Hammett's
as yet unsurpassed mixture of real people and unreal events, fact and fancy, the
intellectual and the sensational.
That we owe a great debt to Hammett no honest writer, reader or reviewer of
detective fiction can deny. He broke away — violently — from the
overpowering influence of the polished English writers; he divorced us from
effete, nambypamby classicism; he gave us the first 100 per cent American, the
first truly native, detective story. He is our most important modern originator. He
didn't invent a new kind of detective story — he invented a new way of telling it.
ELLERY QUEEN
THE ADVENTURES OF SAM SPADE
TOO MANY HAVE LIVED
THE MAN'S TIE was as orange as a sunset. He was a large man, tall and meaty,
without softness. The dark hair parted in the middle, flattened to his scalp, his
firm, full cheeks, the clothes that fit him with noticeable snugness, even the
small, pink ears flat against the sides of his head — each of these seemed but a
differently colored part of one same, smooth surface. His age could have been
thirty-five or forty-five.
He sat beside Samuel Spade's desk, leaning forward a little over his Malacca
stick, and said, "No. I want you to find out what happened to him. I hope you
never find
him." His protuberant green eyes stared solemnly at Spade.
Spade rocked back in his chair. His face — given a not unpleasantly Satanic
cast by the v's of his bony chin, mouth, nostrils, and thickish brows — was as
politely interested as his voice. "Why?"
The green-eyed man spoke quietly, with assurance: "I can talk to you, Spade.
You've the sort of reputation I want in a private detective. That's why I'm here."
Spade's nod committed him to nothing.
The green-eyed man said, "And any fair price is all right with me."
Spade nodded as before. "And with me," he said, "but I've got to know what
you want to buy. You want to find out what's happened to this — uh — Eli
Haven, but you don't care what it is?"
The green-eyed man lowered his voice, but there was no other change in his
