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In this classic country noir, featuring a new introduction by Daniel Woodrell, a small town farmer takes a job at a roadhouse, where unbridled greed leads to a brutal murder
Jack McDonald is barely a farmer. Boll weevils have devoured his cotton crop, his chickens have stopped laying eggs, and everything he owns is mortgaged—even his cow. He has no money, no prospects, and nothing to do but hang around filling stations, wondering where his next drink will come from. As far as hooch goes, there’s no place like Smut Milligan’s, where Breath of Spring moonshine sells for a dollar a pint. A bootlegger with an entrepreneurial spirit, Milligan has plans to open a roadhouse, and he asks Jack to run the till. The music will be hot, the liquor cheap, and the clientele rough. But the only thing stronger than Milligan’s hooch is his greed, and Jack is slowly drawn into the middle of Smut’s dalliances with a married woman, the machinations of corrupt town officials—and a savage act of murder.
- Sales Rank: #605270 in eBooks
- Published on: 2013-04-16
- Released on: 2013-04-16
- Format: Kindle eBook
From Publishers Weekly
Starred Review. This newly reissued 1940 crime novel inevitably evokes James M. Cain's The Postman Always Rings Twice with its story of murder and adultery against the backdrop of a country roadhouse, but Ross's writing has an affectless, hard-boiled poetry all its own. In rural Corinth, N.C., farmer Jack McDonald has just had his land seized for back taxes when filling station owner Richard "Smut" Milligan offers him work in the soon-to-open River Bend Roadhouse. It will "take on all comers," from hardworking mill hands to corrupt politicos, and from his job's vantage point, Jack sees all of Corinth society coming to enjoy the dance floor, slot machines, and bootleg liquor. He also witnesses the slow-motion tragedy of Smut's increasing entanglement with the seductive Lola Fisher, wife of the richest man in town, and is himself drawn into the bloody results of his boss's greed. That Ross never published another novel may seem like a tragedy itself to any noir fan who reads this book, which emphasizes less the mechanics of plotting than the rich, profane flavor of its characters' voices. Daniel Woodrell provides an introduction. (Apr.)
Review
“A sleazy, corrupt but completely believable story of a North Carolina town.” —Raymond Chandler “A very fine book.” —Flannery O’Connor “[Ross] showed us that a writer can come out of the red-clay gulches of rural North Carolina during the Depression—that is, a writer can come out of absolutely anywhere at any time—and make high art without resorting to tricks, stylish ennui or pointless savagery.” —The Millions “Ross writes in classically laconic, wised-up American prose. His voice suits then and now and will still carry well tomorrow.” —Daniel Woodrell “As far as I’m concerned, this book is where dark Southern fiction began, and any writer who works in the field owes Ross a debt of gratitude, whether he or she has read They Don’t Dance Much or not.” —William Gay “In and out of print since it was first published in 1940, this blistering novel about a rural Carolina roadhouse with a dance floor is packed with enough desperate characters to make murder merely inevitable, but no less horrifying.” —Newsweek
About the Author
James Ross (1911–1990) was an author of noir fiction. Born in North Carolina, he worked as a reporter for the Daily News (Greensboro) for many years. He wrote his first and only novel, They Don’t Dance Much, in 1940. The book, considered “country noir,” was praised by the likes of Raymond Chandler and Flannery O’Connor. During the decade that followed, Ross published several short stories in literary journals such as Partisan Review, the Sewanee Review, Collier’s, and Argosy while he worked on another novel, In The Red, which was never published.
Most helpful customer reviews
19 of 19 people found the following review helpful.
Excellent writing and superb atmosphere
By A Customer
"They Don't Dance Much" was rescued from obscurity by Southern Illinois University's Lost Fiction Series. Author James Ross' style is similar to James M. Cain; this book resonates like a film noir screenplay. Judging from the popularity of the recent film "L.A. Confidential" someone in Hollywood should take notice. But "They Don't Dance Much" is more than a cheap thrill. It's true literature. Those fans of excellent writing out there need to take a look at this book. They won't be disappointed.
16 of 16 people found the following review helpful.
A great and obscure piece of pulp fiction.
By A Customer
Raymond Chandler mentioned this novel (along with THIEVES LIKE US) in a letter in his collected letters, so I grabbed a copy, and I can only say that Chandler knew one when he saw one. This completely amoral tale of roadhouse denizens in the depression era South is wonderfully atmospheric and gets under your skin in an unforgettalbe way. Deadpan violence, stark atmoshpere, and characters worthy of a pulp Faulkner. Don't miss it if rural American noir is your genre.
13 of 13 people found the following review helpful.
A superb novel, sadly forgotten
By Daniel Gunter
I first read this book almost 20 years ago and recently purchased a second copy of it. It is superb. The language is pitch-perfect throughout, and the story coils itself inexorably around the reader. For years I had told people that, if they really wanted to read a hard-as-nails novel, they should find "They Don't Dance Much." My rereading confirms my earlier opinion. The novel has scenes of extraordinary violence told in a spare, unadorned prose that makes the action all the more graphic.
The comparison to James M. Cain is probably fair enough--but I think that Ross is even better than Cain. Ross makes his characters' slide into night seem more gradual and more shocking for its gradualness. And Ross's universe is less moralistic than Cain's: in Ross's novels, evildoers are not necessarily punished.
Really, this novel should be republished by Penguin Classics or the New York Review of Books. It deserves recognition as one of the best novels of twentieth-century American literature.
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