David Goodis (1917-1967) is acknowledged as one of the principal definers of noir crime fiction and a master of the style. His eighteen published novels have impressed and inspired countless contemporary authors, and are the basis of an annual GoodisCon devoted to the study and appreciation of his work. Now readers can either discover or relive Goodis in this trio of novels from the 1940s, ’50s, and early ’60s, in a Stark House Press edition.

In NIGHTFALL (1947), Jim Vanning is a man on the run. He knows he killed a man and made off with a huge amount of stolen cash. But he is not sure if it is the cops or the criminals who stole the money that will catch up with him first. All he knows is he has to keep moving.

Jim Cassidy, in CASSIDY’S GIRL (1951) used to be an airline pilot until he was blamed for a fatal crash. Now he drives a bus, drinks with his friends, and constantly argues with his domineering wife, Mildred. When Mildred finds a new man, Cassidy thinks he has found his redemption in a girl named Doris. But Cassidy must first tempt Doris away from her first love, the bottle. And Corey Bradford in NIGHT SQUAD (1961) used to be cop until he was caught on the take and bounced from the force. Then a man named Grogan, who runs local high-stakes poker games, enlists Bradford to find the ones who tried to steal Grogan’s money. And in an ironic twist, Bradford is offered his badge back if he agrees to bring down Grogan.

All three of Goodis’s protagonists go from bad to worse. Past events altered their promising careers and now define their lives. They desperately long for a way out, but each opportunity drags them deeper into trouble and seemingly endless despair.

Goodis’s style is moody and ominous. All it takes is a few opening sentences in the first chapter of each novel to fully immerse us into the dark lives of the central characters. But as each story progresses, Goodis’s prose often takes interior detours from the main events and delves deeper into his character’s psyches. Such moments – often described as “jazzy” or “expressionistic” – contain some of Goodis’s most poetic and memorable passages. They may seem like distractions, but they ultimately provide deeper understanding of the protagonists and their downward spirals.

Fistfights, gun battles, and other forms of violence occur often in these stories. Yet for all the suspense the violence provides, our fascination remains with the plight of the main characters as they search for an escape from their increasingly worried lives.

Goodis is often associated with Philadelphia, where he was born and spent the latter portion of his life and career. But NIGHTFALL takes place in New York City, where Goodis moved after the publication of his first novel. CASSIDY’S GIRL and NIGHT SQUAD finds his characters roaming the seedier streets and neighborhoods of Philadelphia.

Rick Ollerman provides an excellent introduction to the three novels, examining Goodis’s style, dominant themes, and his twisted and destructive personal life that may have influenced his writing. Ollerman details Goodis’s brief fling with Hollywood, after the success of his 1941 novel DARK PASSAGE and the movie adaptation starring Humphrey Bogart and Lauren Bacall. But Goodis became frustrated with Hollywood and returned to his parents’ house in Philadelphia.

A bibliography of Goodis’s novels and screenplays concludes the collection.

Noir continues to grow and captivate both readers and crime fiction authors. And as it grows, so do the popularity, fascination with and devotion to David Goodis and his work. These three novels aptly demonstrate why Goodis holds such a prominent position in the pantheon of noir masters. This new edition, enhanced by Ollerman’s insight, is highly recommended to noir fans and all devotees of crime fiction. —Alan Cranis

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