> Well, I agree with those who thought that the
Flitcraft but was
> the central portion of TMF.
Yes, literally; and some would argue, figuratively too.
> There is definitely padding in some of the
OP
> stories, but when _Glass Key_ came out Hammett is
pretty well at the top of
> his earning power, with guaranteed hardcover sale and
major reviewer
> attention.
I think this is actually the point at which Hammett's peak
earning
period begins, reaching full fruition in the mid-late
thirties (ie after
publication of the _Thin Man_) with several stints in
Hollywood; film
deals for the various Maltese Falcon and Thin Man films; and
various
radio spin-offs.
Like Hammett's previous novels, _The Glass Key_ was
serialised in _Black
Mask_ (and it was the last one to be printed in _BM_). Joe
Shaw must
have realised Hammett was growing away from the magazine; the
puffs in
_Black Mask_ announcing _Maltese Falcon_ and _Glass Key_ show
an
awareness of Hammett's growing reputation as the leading
writer in the
genre.
> The days of hanging out on the cheap at Nathanial
West's hotel
> were history, so I doubt that he still was thinking
in terms of 55 extra
> words paying for a couple more drinks.
Not history yet: Hammett didn't move to West's dive until
late in 1932.
It was there that Hammett finished _The Thin Man_ having done
a bunk
from a NY hotel because he couldn't pay the bill! Nor had
Hammett yet
're-borrowed' the $500 loan just returned to Albert Samuels
because he
didn't have enough money to get from SF to Hollywood.
As well as reaching his earning peak in the thirties, Hammett
was also
well into his spending peak, hanging out with the literati
while the
hotel, limo and booze bills piled up.
ED
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