Tyson Adams

Putting the 'ill' back in thriller

Archive for the tag “Donald Westlake”

Book review: Richard Stark’s Parker by Darwyn Cooke




Richard Stark's Parker: Slayground
Richard Stark’s Parker Series by Darwyn Cooke

My rating: 5 of 5 stars

“Please…they’ll kill me.”
“I’ll kill you…worry about me.”

A long time ago Donald Westlake (aka Richard Stark) imagined an imposing figure with large hands storming over the bridge into New York. Who was he? Why was he so pissed off? Who was intending to kill? And so was born Parker.

Fast forward past 24 novels, 8 film adaptations, and countless impersonators and homages, and we come to this graphic novel series by Darwyn Cooke. I’m not a fan of most of the film adaptations of the Parker novels as they don’t seem to understand the material – although Payback – Straight up: The Director’s Cut was pretty close to getting it right. But Cooke did understand the material.

This series didn’t just adapt the novels to the graphic novel format, it improved upon them. The artwork especially captured the grit of the original stories. This was done without compromising on the story, remaining very faithful to the originals.

I have previously read The Hunter, The Outfit, and Slayground, and managed to get my hands on an Omnibus edition to read The Score and re-read the others. It was a treat. At the end of Slayground is a short adaptation of The Seventh, a novella I have previously read. Cooke managed to capture much of the story with just a few panels on a handful of pages. I think this short work is emblematic of the skilful artwork and storytelling Cooke has brought to these adaptations.

Unfortunately both Cooke and Westlake are not longer with us. Just as there will be no more Parker novels, there will be no more graphic novel adaptations by Cooke. It is a pity.

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How Copyright Made Mid-Century Books Vanish

Now this is an interesting study and article. I have actually noticed this phenomenon myself when looking for crime and thriller authors and books from various generations. Everyone knows Robert Howard, Raymond Chandler and Donald E Westlake, they’ve pretty much stayed in print since they were released. But what about the other authors from the 1920s to the mid 1980s? On various writer forums you will find writers re-releasing their novels from the 80s as ebooks. This is the downside of copyright. Read for this article I stole am re-blogging from The Atlantic.

by REBECCA J. ROSEN
A book published during the presidency of Chester A. Arthur has a greater chance of being in print today than one published during the time of Reagan.

neweditions650-thumb-650x317-128315 Last year I wrote about some very interesting research being done by Paul J. Heald at the University of Illinois, based on software that crawled Amazon for a random selection of books. At the time, his results were only preliminary, but they were nevertheless startling: There were as many books available from the 1910s as there were from the 2000s. The number of books from the 1850s was double the number available from the 1950s. Why? Copyright protections (which cover titles published in 1923 and after) had squashed the market for books from the middle of the 20th century, keeping those titles off shelves and out of the hands of the reading public. Heald has now finalized his research and the picture, though more detailed, is largely the same: “Copyright correlates significantly with the disappearance of works rather than with their availability,” Heald writes. “Shortly after works are created and proprietized, they tend to disappear from public view only to reappear in significantly increased numbers when they fall into the public domain and lose their owners.” The graph above shows the simplest interpretation of the data. It reveals, shockingly, that there are substantially more new editions available of books from the 1910s than from the 2000s. Editions of books that fall under copyright are available in about the same quantities as those from the first half of the 19th century.

Publishers are simply not publishing copyrighted titles unless they are very recent. But this isn’t a totally honest portrait of how many different books are available, because for books that are in the public domain, often many different editions exist, and the random sample is likely to overrepresent them. “After all,” Heald explains, “if one feeds a random ISBN number [into] Amazon, one is more likely to retrieve Milton’s Paradise Lost (with 401 editions and 401 ISBN numbers) than Lorimer’s A Wife out of Egypt (1 edition and 1 ISBN).” He found that on average the public domain titles had a median of four editions per title. (The mean was 16, but highly distorted by the presence of a small number of books with hundreds of editions. For this reason, statisticians whom Heald consulted recommended using the median.) Heald divided the number of public-domain editions by four, providing a graph that compares the number of titles available. titlesavailable650 Heald says the picture is still “quite dramatic.” The most recent decade looks better by comparison, but the depression of the 20th century is still notable, followed by a little boom for the most recent decades when works fall into the public domain. Presumably, as Heald writes, in a market with no copyright distortion, these graphs would show “a fairly smoothly doward sloping curve from the decade 2000-20010 to the decade of 1800-1810 based on the assumption that works generally become less popular as they age (and therefore are less desirable to market).” But that’s not at all what we see. “Instead,” he continues, “the curve declines sharply and quickly, and then rebounds significantly for books currently in the public domain initially published before 1923.” Heald’s conclusion? Copyright “makes books disappear”; its expiration brings them back to life. The books that are the worst affected by this are those from pretty recent decades, such as the 80s and 90s, for which there is presumably the largest gap between what would satisfy some abstract notion of people’s interest and what is actually available. As Heald writes:

This is not a gently sloping downward curve! Publishers seem unwilling to sell their books on Amazon for more than a few years after their initial publication. The data suggest that publishing business models make books disappear fairly shortly after their publication and long before they are scheduled to fall into the public domain. Copyright law then deters their reappearance as long as they are owned. On the left side of the graph before 1920, the decline presents a more gentle time-sensitive downward sloping curve.

But even this chart may understate the effects of copyright, since the comparison assumes that the same quantity of books has been published every decade. This is of course not the case: Increasing literacy coupled with technological efficiencies mean that far more titles are published per year in the 21st century than in the 19th. The exact number per year for the last 200 years is unknown, but Heald and his assistants were able to arrive at a pretty good approximation by relying on the number of titles available for each year in WorldCat, a library catalog that contains the complete listings of 72,000 libraries around the world. He then normalized his graph to the decade of the 1990s, which saw the greatest number of titles published. adjustedtitles650 By this calculation, the effect of copyright appears extreme. Heald says that the WorldCat research showed, for example, that there were eight times as many books published in the 1980s as in the 1880s, but there are roughly as many titles available on Amazon for the two decades. A book published during the presidency of Chester A. Arthur has a greater chance of being in print today than one published during the time of Reagan. Copyright advocates have long (and successfully) argued that keeping books copyrighted assures that owners can make a profit off their intellectual property, and that that profit incentive will “assure [the books’] availability and adequate distribution.” The evidence, it appears, says otherwise.

Further reading: http://artlawjournal.com/can-find-creative-work-copyright-free/

Book Review: The Hunter by Richard Stark

I know, another book review and none of my usual wit and original material. Bear with me, I’ve been doing a lot of reading lately to make up for the fact I’m back at work. Christmas holidays are always too short.

The Hunter: A Parker NovelThe Hunter: A Parker Novel by Richard Stark
My rating: 4 of 5 stars

I like gritty, unless we are talking sandwiches. The crime noir genre really is all about gritty and Parker is the quintessential character embodying this.

Once again I’m late to the bandwagon. Clearly Australia doesn’t have enough German and Japanese influences to have clear bandwagon schedules. Or maybe it is just me, but I prefer to blame others for my failings, like many great men before me. There was a point here about being late…. Oh yes, Richard Stark – aka Donald Westlake – and his Parker character are not new entities, thus my reading of my first Parker novel is probably well overdue.

The reason I came to this series was two-fold. The first was I had recently watched the director’s cut of Mel Gibson’s Payback. The director’s cut was much more faithful to the source material than the original version, despite being made more friendly to a wider audience. The second reason was that I have also been reading a lot of Ed Brubaker’s graphic novels, such as Criminal. At the back of each edition of Criminal there are essays on crime movies and books that started and were highlights of the genre. The Parker series caught my attention for this reason.

Needless to say, I can’t argue with history, this is a good book. Actually I could argue with history, as it is generally perspective based rather than objectively measured, but that is just the science nerd in me, rearing its ugly head. In my perspective though, the Parker series is well worth getting into.

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