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A number of Thompson's books were adapted as popular films, including The Getaway and The Grifters. The writer R.V. Cassill has suggested that of all crime fiction, Thompson's was the rawest and most harrowing; that neither Dashiell Hammett nor Raymond Chandler nor Horace McCoy ever "wrote a book within miles of Thompson". [1]
A sub-genre of noir fiction has been named "rural noir" in the US, [15] [16] and sometimes "outback noir" in Australia. [17] [18] Many rural noir novels have been adapted for film and TV series in both countries, such as Ozark, No Country for Old Men, [15] and Big Sky in the US, [19] and Troppo, The Dry, Scrublands, [17] and High Country (2024) in Australia.
Pages in category "Novels by Jim Thompson" The following 19 pages are in this category, out of 19 total. ... Bad Boy (1953 book) C. The Criminal (novel) G.
Roy Dillon is a 25-year-old con artist living in Los Angeles.At the start of the novel, he gets hit in the stomach with a baseball bat when a simple con goes wrong. He seems to be well but when Lilly — his mother — visits him for the first time in almost eight years, he starts to deteriorate.
Black Lizard was an American book publisher. [1] A division of the Creative Arts Book Company of Berkeley, California, Black Lizard specialized in reprinting forgotten crime fiction and noir fiction writers and novels originally released between the 1930s and the 1960s, many of which are now acknowledged as classics of their genres.
The book contains six stories by six masters of hard-boiled noir and the teleplays for their film adaptations. The hard-boiled stories were written by: Raymond Chandler, Jim Thompson, William Campbell Gault, Cornell Woolrich, Jonathan Craig and James Ellroy. Preface: by James Ellroy.
The Killer Inside Me is a 1952 novel by American writer Jim Thompson published by Fawcett Publications. [1] In the introduction to the anthology Crime Novels: American Noir of the 1950s, it is described as "one of the most blistering and uncompromising crime novels ever written." [2] [3]
Much has been made of the symbolism of the last third of the book, in which the text transitions from a gritty crime thriller into a surreal and heavily allegorical drama. The caves that Ma Santis compels McCoy and Carol to hide in have been analogized to tombs or graves , the manure pile to rot and decomposition, and the boat ride to crossing ...
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