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Like Hammett, there is that spare, dispassionate tone in Cain's work, which narrates events in a flat, unemotional manner. The detective is cold and unemotional, a lean, mean detecting machine, who gets involved in gang disputes in "Black", and plays both sides against each other, just like The Continental Op in Red Harvest. As with all Cain's stories, they're masterpiece of a "stripped-down prose style thast makes...Ernest Hemingway look flowery and...Andrew Vachss seem somehow overblown." (Jack Adrian, Hard-Boiled). In his short literary career, Cain (real name: George Sims... maybe) only wrote 17 or so short stories, all for Black Mask. Five of them were combined to make his one novel, Fast One, pretty much a hard-boiled classic, and seven of them were collected for his one collection, Seven Slayers. In that small but powerful body of work were even a few private eye tales, most notably the two featuring Black. As George Ruric he worked as a production assistant and as Peter Ruric as a screenwriter in the thirties and forties, scripting Gambling Ship (allegedly "derived" from his one and only novel Fast One), The Black Cat, Affairs of a Gentleman, Dark Sands, Twelve Crowded Hours , The Night of January 16, Alias A Gentleman, Mademoiselle Fiji and Grand Central Murder. And if that's not enough trivia, it turns out that Cain may have been the one who suggested that actress Myrna Adele Williams change her name to Myrna Loy, apparently drawing his inspiration from a modernist poet named Mina Loy. SHORT STORIES
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