![]() ![]() ![]() See Ishmael Reed, “The Best of Himes, the Worst of Himes” (1991), reprinted in Silet, The Critical Response to Chester Himes, 43–5, 44. These effectively disrupted and destabilized important, socially privileged discourses – and discomforted audiences and wrong-footed critics.Ĩ4 Ishmael Reed, a self-confessed fan of Himes's work, paid tribute to the effectiveness of his “comic aggression” in exposing the “social and political daydreams” of Himes's world. Those of his detective novels most closely allied to his protest writing have received the most critical attention, but in For the Love of Imabelle, Himes used techniques allied to surrealism. Himes, writing against the grain, did not. ![]() Paretsky, writing within the grain of a type of social realism associated with both protest literature and hard-boiled detective fiction, achieved early recognition. ![]() It also helps to explain the critical reception of their work. An examination of Indemnity Only and For the Love of Imabelle in relation to The Maltese Falcon offers a unique perspective on Paretsky's and Himes's stylistic choices and the social perspectives these articulated. Both Sara Paretsky and Chester Himes have paid tribute to Hammett's influence, with particular reference to The Maltese Falcon. Hammett's formative role in establishing the conventions of the hard-boiled detective formula is widely acknowledged, but the formative influence of his masterpiece, The Maltese Falcon, on specific texts by subsequent innovators has remained largely unexplored territory. ![]()
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