ROSS MACDONALD and MARGARET MILLAR
Ross Macdonald was the pseudonym of Kenneth Millar (December 13, 1915 - July 11, 1983), California-born, Canada-raised, eventually returning to California to work hard and slowly to become a preeminent mystery/detective novelist so good, so accomplished that he is now considered a significant voice in 20th Century American literature. Although influenced by the great detective writers in the generation before him, Dashiell Hammett and Raymond Chandler, Macdonald forged a style of his own out of the postwar pulps. His awareness and sophisticated understanding of literary history and tropes (he had a doctorate in literature) and his interest in psychology provided a firm foundation for his use of the detective form to investigate human relationships, conflicts, and tragedies. He wrote stand-alone novels (we have three here), but his great and lasting creation was Lew Archer, a man whose perspective and voice sustains the reader through 18 novels and many short stories. Macdonald is also a keen observer of Californian (and American) culture, documenting in good style a time and place and people.
His wife, Margaret Millar (1915-1994), wrote many fine novels of psychological suspense, and I include her work here as a measure of their marriage, their partnership, and their mutual influence. Of interest also is Macdonald’s deep friendship with Eudora Welty, another master of a region and a people. A volume of their letters is included here.
Trouble Follows Me
Trouble Follows Me
In the last days of World War II, a sailor discovers a transcontinental conspiracy
It is February 1945, and the war in the Pacific is nearing its climax. In Hawaii on his way to a new post, US Navy ensign Sam Drake stumbles across the girl of his dreams. Mary is a disc jockey, with a voice that’s famous across the islands for playing late-night jazz that no young lover can resist. Before he can follow this modern siren home, they go to check on Mary’s coworker Sue—but that lovely young lady will never spin another record. They find her strung up and dangling outside the window of a bathroom, her face twisted into an ugly mask. The police call it suicide, but Sam is not so sure. Few beautiful women, even suicidal ones, are willing to be so hideous in death. Looking into Sue’s past, he finds another corpse—and a dangerous conspiracy that stretches all the way back to his Motor City home.