The Big Knockover / Dashiel Hammett (Cover Art by Tom Adams)

by Dashiell Hammett

Book Overview

Short, thick-bodied, mulishly stubborn, and indifferent to physical pain, Dashiell Hammett's Continental Op was the prototype for generations of tough-guy detectives. He is also the hero of most of... This description may be from another edition of this product.

• Format: Paperback
• ISBN: B001CELJFS
• Release Date: January 1967
• Publisher: Dell Publishing Company New York
• Weight: 0.30 lbs.

Customer Reviews

Classic Adventures of the Indomitable Continental Op.

"The Big Knockover" is a collection of 10 short stories, 9 of which originally appeared in "Black Mask" or "Mystery Stories" magazines, 1923-1929, and feature Dashiell Hammett's famous hard-nosed, always unnamed Continental Op detective. Several of these stories find the Continental Op out of his usual element in far-flung or exotic locales. "The King Business" takes place in a fictional Balkan nation of Muravia, of all places, and involves a political coup. "Corkscrew" is so named after an Arizona desert town, complete with cowboys, where the Op has been sent to break up an illegal immigration operation. The Op's adventures with the customary mode of transportation -horses- provides some comic relief. "Dead Yellow Women" takes place in San Francisco's Chinatown, where the mysteries of this immigrant culture prove confusing for the very American detective. I was surprised to see a Hammett detective in these unusual environments, but was entertained to find that there are thugs and grifters everywhere in Hammett's stories. The Op is never really out of sorts. He may not speak the language, but he's always at home in the criminal underworld. "The Gutting of Couffignal", "Fly Paper", "The Scorched Face", and "The Gatewood Caper" are more conventional Hammett, revolving around the debauchery of lowlifes and the dirty laundry of the wealthy. "The Big Knockover", after which the book is named, and "$106,000 Blood Money" are a two-parter about a spectacular caper in which an army of 150 crooks hold up an entire San Francisco city block and its aftermath. "Tulip" is the odd story out. It is the beginning of an unfinished novel that Hammett started late in life. It is unlike any work that Hammett published. The story concerns two older men, both educated and literate, both with criminal pasts. One is a writer who is working on a book. The other consciously rejected the literate lifestyle many years before, but is always anxious to tell his own story. It isn't very good. The style is tortuous and difficult to follow, the opposite of Hammett's typical lean, direct prose. "Tulip" appears to be an almost ridiculously overt allegory of the author's inner struggles with the value of words versus actions and the meaning of telling stories. "The Big Knockover" was edited by Dashiell Hammett's longtime companion, the playwright Lillian Hellman, who wrote the introduction to the book in 1965, 5 years after Hammett died. She affectionately describes how they met, their relationship, how he died, and provides some insight into Hammett's personality from someone who knew him well. It's worth reading. "The Big Knockover" is a solid collection of Hammett stories featuring the wry, indomitable Continental Op. Dashiell Hammett was one of the 20th century's best short story writers, and, apart from "Tulip", which is a curiosity, this is classic Hammett and well worth reading whether you are new to Hammett or already a fan.

A great writer flexes his muscles

There are some great stories here. Let's discuss some of them in a minute. First, however . . .During most of the 1920s and early 1930s, Dashiell Hammett was a compulsive writer and storyteller, possibly due to a personal need to make sense of his world and experiences. Later, he lost that compulsion. Following a brief prison term in the early 1950s (for his refusal to take part in the McCarthy-era witchhunts), he began to rediscover that earlier compulsion. Hence, the fragment of "Tulip," which he apparently intended as an semi-autobiographical novel. One wishes he could have lived long enough to complete more of it, at least.Now to the meat of this short-story collection from his earlier days.Hammett's most enduring character, the anonymous first-person narrating Continental Op, is the protagonist throughout. The stories vary widely, from the old-west (but not that old at the time of its writing) atmosphere of "Corkscrew" -- which would later serve as theme material for the novel "Red Harvest" -- to the comedy of "The Gatewood Caper"; there's the sinister undertones, interspersed with more comedic touches and a superb punchline at the end, of "Dead Yellow Women" as well as the total 'shaggy dog story' feel of "The Gutting of Couffignal" (in which everything apparently is intended to lead up to yet another punchline). And then there's the title story itself, "The Big Knockover," perhaps the pre-eminent 'caper story' of all time: a carefully planned and executed bank robbery which falls awry in a trail of double-cross and deduction, yet which leaves its protagonist at the end to wryly remark (perhaps echoing Hammett's sentiments?): "What a life!"Note: Subsequent editions of this collection sometimes include "$106,000 Blood Money," which Hammett ill-advisedly wrote as a sequel to "The Big Knockover." Good as this second tale may be, I believe it could have been written just as easily -- and to better effect -- as an independent story. (There is some evidence that Hammett at one point thought of combining the two as a novel.) I much prefer to leave "Knockover" on its own and let it end there, without the more-than-slightly unsatisfactory resolution of "$106,000 Blood Money."Each story in this collection shines on its own and reveals facets of Hammett's innate genius.Oh, yeah: There's also a reminiscince by playwright Lillian Hellman, which may or may not have any bearing upon the actual Dashiell Hammett. Decide for yourself.

best hard-boiled collection

Dashiell Hammett's _The Big Knockover_ is a wonderful collection of stories by the master of the crime novel himself. The introduction by Lillian Hellman gives the reader excellent insight into her relationship with Hammett, as well as a glimpse of the author. For Hammett fans, the book is nearly worth the price for Hellman's introduction alone.This collection is better than his Maltese Falcon, all the Sam Spade, and the Thin Man stories. Among Hammett's writings, the only novel to equal this collection, in my mind, is _Red Harvest_. Stories in this book range from short to near-novella length. Topics range from the very typical Hammett plot (young woman is missing, wealthy dad pays for her return)of "The Gatewood Caper" to the offbeat noir-Western "Corkscrew" to the looting of an entire island ("The Looting of Couffignal"). The one "straight" story in the bunch, not a crime story at all, is "Tulip," published as a fragment. As it is, it doesn't pull much weight. To call the plot meandering would be generous. The title story is a classic. A big bank-robbery caper starts looking bizarre when, days later, roomsful of America's highest profile crooks start turning up dead.One bad story doesn't ruin the whole bunch. If you're a fan of Hammett's other books, give _The Big Knockover_ a chance. ken32

Hammett's Best Stories Collected in a Posthumous Selection

Irresistible stories, expertly selected & introduced by Lillian Hellman. More compelling even than the other Hammett short stories collection, "The Continental Op" - which features a more conventional foreword & introductory remarks. Stories here are of a great variety, also of a wide timespan; and one of the best, I think, is the one "straight" story in the volume, 'Tulip': this is less hard-boiled than fascinating (if left in a fragmented form). All in all, one of the 20th century classics - not just in terms of classic mysteries, but of world literature; it can certainly compete with Hammett's finest novels such as "The Glass Key" or the similarly offbeat (since humorous) "The Thin Man".

Clint Eastwood fans, take note

The Continental Op stories are classics in the genre, and not as well known as the Maltese Falcon or the Thin Man. In fact, read them carefully, lurking in here you'll see the plotline originally 'borrowed' by Kurosawa for the movie Yojimbo, Kurosawa's plot was later 'borrowed' for Eastwoods 'A Fistful of Dollars', and most American's think it was 'an original'. It's since been remade as 'Millers Crossing' by the Coen brothers, and Bruce Willis did it as 'Last Man Standing'. Anytime a short story about playing 2 sets of bad guys against each other winds up being made into this many good shoot-em-up movies (or slice-em-up movies, in the case of Yojimbo) well, you know the story was the real thing from the get-go. There's some of the sincerest form of flattery going on here. This also reminds us how hard it is to come up with an original idea in Hollywood. If you want to see why they all copied the original, dive into these Op stories. Join those seedy grifters, tong axmen, and gunsels. Don't fall for the snappy patter from these smooth talking dames, you just know that they're all poison. Don't unload your gat, the party may turn nasty yet.