Helen Hayes: Will Live Forever

I was delighted to learn that Helen Hayes, arguably the finest American actress of the Twentieth Century, recently got honored by being pictured on the latest “anytime”U.S. postage stamp, now on sale nationwide for 44 cents and usable for first-class postage at any future rate from now on. Miss Hayes, dubbed “The First Lady of the American Theater,” died in 1993 at 92. She was the only performer to win the show business “grand slam” of Oscar, Tony, Emmy, and Grammy. 

She became the first stage actress to win an Oscar, for her role in “The Sin of Madelon Claudet” in 1932. She won her second Oscar 38 years later for her supporting role in the 1970 film “Airport.” 

What particularly pleases me about this recent honor is that Helen Hayes appeared in my first “Snap Malek” Chicago historical mystery novel, “Three Strikes You’re Dead,” from Echelon Press. I set that story in 1938 and found in my research that Miss Hayes happened to be in Chicago that year in the long-running stage drama “Victoria Regina,” in which she portrayed QueenVictoria over a half-century span. Every evening, the actress aged fifty years over the duration of the performance. 

In my book, I had Malek, a Chicago Tribune police reporter, introduce himself to Miss Hayes in a restaurant, and the two of them ended up talking about the newspaper business, a natural topic since the actress was married to journalist Charles MacArthur, who with Ben Hecht co-wrote the famous newspaper stage play “The Front Page.” 

That fictional meeting between Malek and Helen Hayes remains my favorite scene in the book. And the great actress will be in my thoughts once more later this month, when I attend a revival performance of “The Front Page” at a theater inChicago.

Joe Gores: A Noir Master

I regret I never met mystery writer Joe Gores, who died at 79 in January 2011 in California. Gores, who wrote the kind of hard-boiled short stories and novels that harkened to mystery literature’s “golden age,” lived a life that itself was the stuff of fiction.

Although he was a college graduate, Gores also spent plenty of time experiencing a world far removed from cloistered academia. He worked as a logger in Alaska, an automobile repo man, a truck driver, the manager of a hot-pillow motel, a teacher at a boy’s school in Kenya, and a private investigator in San Francisco. All undoubtedly provided fodder for his spare, crackling prose and his taut, noir plots.

Although Gores won three Edgar Awards for his mystery writing, his last major work, “Spade & Archer” (2009) stands as my personal favorite. This prequel to Dashiell Hammett’s 1929 classic, “The Maltese Falcon,” faithfully captures Hammett’s gritty, lean style.

Hammett’s daughter had liked his work so much that she gave her blessings to “Spade & Archer,” the storyline of which ends at the moment “The Maltese Falcon” begins. (Personal note: In both The New York Times and The Wall Street Journal, reviewers of “Spade & Archer” were kind enough to also mention my continuation of the Nero Wolfe adventures after the death of Rex Stout.)

Gores arrived on the scene in the late ‘50s, when the era of pulp magazines such as “The Black Mask” was coming to a close. But he was very much a part of that tradition, which had its origins in the 1920s and ’30s, when Hammett, Raymond Chandler, Carroll John Daly and other classic crime novelists of the hard-boiled school were honing their craft. Joe Gores very much belongs in their ranks.

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