#766: Little Fictions – Darkness at Dawn [ss] (1988) by Cornell Woolrich

Don’t be put off by the publication date — we’re deep in the Golden Age here, with the twelve stories in this collection originally published in 1934 and 1935. And, oh my, what a collection it is.

A quick piece of clarification before we begin: the collection Darkness at Dawn (1985) was originally published in the US by the Southern Illinois University Press before a 1988 UK reprint by Xanadu Publications. Mine is the UK edition, pictured above, which I mention only because the copyright page herein lists thirteen stories — ‘Dead on Her Feet’ (1935) being M.I.A. — and a checklist of Woolrich’s work by co-editor and introducer Francis M. Nevins, Jr. which is also not included.

My reading of Woolrich is limited at present, but I wasn’t prepared for just how traditional some of these stories would be. ‘Death Sits in the Dentist’s Chair’, a.k.a. ‘Hurting Much?’ (1934) and ‘Preview of Death’, a.k.a. ‘Screen Test’ (1934) are arguably neatly-contrived impossible crime problems, and the solidly procedural elements to ‘The Body Upstairs’ (1935), ‘Red Liberty’, a.k.a. ‘Mystery in the Statute of Liberty’, a.k.a., ‘The Corpse in the Statue’ (1935), and ‘The Showboat Murders’ (1935) elevate them above mere sensation pieces: the scheme of ‘Red Liberty’ in particular, while I don’t for a second believe the clue that puts our culturally-deprived detective on the correct scent, is really neat and beautifully explored: how can a man weighing 250 lbs disappear while on a walking tour of the Statue of Liberty? And how do you find him?

Additionally, ‘Murder in Wax’ (1935) is a wonderfully twisted mystery in which a woman tries to save her husband from his conviction for the murder of his mistress not necessarily because the marriage they had sounds anything worth saving…

The coffee [he threw] in my face wasn’t hot enough to scald me luckily, and I didn’t even mind hitting the floor over in the corner of the dining nook.

…but almost just to prove to herself that she can after years of being told “I didn’t have a thing inside my head” by her far-from-a-catch of a man. Not all Woolrich’s relationships are messed up — witness the father-son bond in the inverted ‘The Corpse and the Kid’, a.k.a. ‘Blind Date’ (1935), wherein the latter seeks to cover up the former’s crime out of nothing more than love — but the overriding themes of generally unhappy or compromised existences and of the easy, casual, brutal violence that goes hand in hand with them makes for a fascinating dual thread throughout.

Woolrich’s cops are, as a rule, poorly-educated lunks who resort to using their fists far more often than their heads, with a casual disdain for anyone not in a uniform who tries to help out (“Drop around sometime and we’ll be glad to give you a job — scrubbing the floor”) and an easy, inevitable resorting to violence that the denizens of these stories who come into contact with the bastions of law and order accept with the indifference of a trifling occupational hazard. Even when written from the perspective of a sympathetic policeman, as in the two Detective Jimmy Galbraith stories ‘Preview of Death’ and ‘The Body Upstairs’, there’s a sense of the expected about him holding the husband of a woman found murdered in her bath under the blood-stained water dripping through the ceiling to force a confession from him. It is at once brutal and, in the world Woolrich creates here, entirely sensible.

The violence, too, is…quite something at times. Obviously we fall considerably short of pornographically lingering over ruined flesh or beaten suspects, but the crime which launches the amateur investigation in ‘Walls That Hear You’ (1934) will live with me for a long time, and the central event that powers the plot of ‘The Death of Me’ (1935) — a story which opens with our narrator unsympathetically preparing to commit suicide, and gets only darker from there — is bracingly relayed, let me tell you. Woolrich’s men and women are made durable by a life that knocks them around — perhaps resigned to their lives in a way, but living them with an indissoluble spirit that views triumph and tragedy as destinations with barely any discernable gap between them. When it goes wrong for them, and sometimes it really does, there’s no lachrymosity; when it goes right — and one story in particular has a sting in the tail that made me hoot with delight — you really do feel the relief that seemed so unobtainable only moments before.

Not all the stories herein are of equal quality, of course. ‘Kiss of the Cobra’ (1935) is little more than a sensationalist, tawdry Yellow Peril affair, and the voodoo gang at the centre of ‘Dark Melody of Madness’ (1935) contribute to an Othering of foreigners that sits uneasily against the humanity and brilliance showing up elsewhere. At times Woolrich has legitimate sympathy for his non-American brethren — pointing out that a man speaking broken English would be unlikely to dream up the false name of Jones because “[f]amiliar as it is, it would have been as foreign to him as his own name was to me” — but then he has the narrator of the none-more-hardboiled ‘Hot Water’ (1935) declare that there’s no sense in calling in the Mexican police to engage a suspect in a vehicular chase because “what could they do, chase the kidnap-car on donkeys?” and I found myself recoiling a little from the pages.

And while Woolrich doesn’t quite have the mind for subtle clewing — all that talk bout black hair-pins in ‘The Body Upstairs’ goes precisely nowhere — he gets the essential construction of criminous schemes magnificently: building one alibi and then pointing out flaws in another in ‘The Corpse and the Kid’, say, or talking us through the subterfuge in ‘Walls that Hear You’ with an almost John Rhode-ian scientific delight in precision. And, good god, the prose is simply terrific at times, with every single story offering up striking lines of either magnificent simplicity:

He was alone in the house now with the body of a murdered woman.

…glorious unease:

He speaks, and if the unburied dead ever spoke, this is the voice they’d use.

…delightful contrast:

Twenty-one years of energy pulled forty-two years of apathy to its feet by the shoulders.

…or sublime economy:

The trial opened in the middle of a freak heat wave that had got its dates mixed up. At 90 in the shade, with a perspiring jury ready to convict the Angel Gabriel if they could only get out of there and into a shower bath and a cranky judge who hated his own mother, he didn’t have a chance.

Certain phrases from this collection — heavy breathing sounding “like sandpaper on concrete”, or a rented room so small that “I didn’t even smoke; there wasn’t room enough for two kinds of air in the place” — really hit the mark, and discovering just how damn fine a stylist Woolrich can be is a real delight. He’s always written well even in the small coverage I’ve managed to date, but to see story after story turn up striking images, palpable emotions, and tellingly limned characters is a real delight. Mind you, the moment the narrator of one story, in a fit of panic, describes himself as “quivering inside like a vibrator”…answers on a postcard for that one, please.

So, my reading of Woolrich is limited at present, but on this evidence I think I’m going to be a fan. He has the fatality of Jim Thompson, but the interest in justice that informed so much of the Golden Age; he has the cynicism of Dashiell Hammett, but the belief in people’s essential decency and loyalty that makes his protagonists act with often the best (occasionally misguided) intentions; and he has the lyrical power of Ross Thomas matched with an eye for sudden developments that would make Erle Stanley Gardner proud. “Who says the innocent don’t run as great a risk as the guilty?” one of his narrators asks early on and, in essence, that’s the heart of Woolrich’s darkness right there. Expect developments, because he and I are going to investigate this philosophy further together.


Cornell Woolrich on The Invisible Event


Short story collections:

Individual stories/novellas:

15 thoughts on “#766: Little Fictions – Darkness at Dawn [ss] (1988) by Cornell Woolrich

  1. Sounds like an interesting collection – certainly there are a few stories you describe that caught my attention. I have several Woolrich stories now in my TBR pile so I am hoping to get to those soon but this is definitely going onto that list as Woolrich seems like a writer ideally suited to the punchy short story format.
    I look forward to seeing which Woolrich you go for next!


    • The American Mystery Classics range contains two Woolrich novels — Waltz into Darkness and The Bride Wore Black — and I own the first so will doubtless head there next. I’m annoyed now that I passed up about eight Woolrich books in a secondhandbookshop over a year ago, but how was I to know?! After buying twelve Peter Robinson books yeeaaaaars ago and giving up after eight or nine of them, I’ve been a little gun-shy jumping in on completely untested authors.


  2. Count me in for the “maybe I shouldn’t have passed up all of those vintage Woolrich editions” camp, apparently. I’ve been trying to find a collection with Mystery in Room 913 based on your review a year or so ago, but haven’t had much luck so far.

    Liked by 1 person

      • You can find “Mystery in Room 913” under the “The Room with Something Wrong” in Douglas Greene’s anthology Death Locked In. In my opinion, it’s a first-rate locked room mystery, but had no idea that the few Woolrich stories I’ve read were not exceptions to the rule. So this collection has now been added to my wishlist. Thanks! 🙂

        Liked by 1 person

  3. Given his reputation and feature-film representation, the amount of Woolrich’s straight-mystery content is indeed surprising. After fairly recently coming across a healthy cache of his titles at fadedpage, I’ve had my breath taken away by the experience of rereading the opening chapters of Deadline at Dawn, which I can definitely recommend.

    Like a brilliant jazz soloist, he keeps a constant flow of the sort of felicities you spotlight—and if the chord changes get a little wild, he sweeps you along like no one else while still grounding everything with that incredible sense of lived physical detail. Line by line, no other mystery writer can really touch him.

    Looking forward to any upcoming Waltzes into Darkness!

    Liked by 2 people

  4. Southern Illinois University Press also released Buffet for Unwelcome Guests by Christianna Brand and Exeunt Murders by Anthony Boucher. I’m guessing that Nevins taught there in the 80s, although I was lazy in my search.


    • Or maybe they just had an interest in short story collections by famous names in the genre, much like Crippen & Landru today. If Nevins got a reputation as being able to pull these things together — the Tony Medawar of his day, say — I’m sure such a publisher would return to that well multiple times…


  5. Pingback: My Book Notes: Darkness at Dawn: Early Suspense Classics (1985) a collection of s.s., by Cornell Woolrich – A Crime is Afoot

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