Rendezvous in Black edition by Cornell Woolrich Literature Fiction eBooks
Download As PDF : Rendezvous in Black edition by Cornell Woolrich Literature Fiction eBooks 
“Along with Raymond Chandler, Cornell Woolrich practically invented the genre of noir.”
—Newsday
This novel, written in 1948 is the last installment of the so-called Black Series which includes "The Bride Wore Black", "The Black Path of Fear", "The Black Angel", "Black Curtain" and "Black Alibi". At one time, Woolrich wrote in a letter to a devoted fan by the name of William Thailing that "Rendezvous in Black" and "The Black Angel" were his two favorite novels.
Some scholars agree that "Rendezvous in Black" could easily be considered Woolrich's last piece of work created during his major writing period published under his own name. He had one other major work published under William Irish, "I Married a Dead Man".
On a mild midwestern night in the early 1940s, Johnny Marr leans against a drugstore wall. He’s waiting for Dorothy, his fiancée, and tonight is the last night they’ll be meeting here, for it’s May 31st, and June 1st marks their wedding day. But she’s late, and Johnny soon learns of a horrible accident—an accident involving a group of drunken men, a low-flying charter plane, and an empty liquor bottle. In one short moment Johnny loses all that matters to him and his life is shattered. He vows to take from these men exactly what they took from him. After years of planning, Johnny begins his quest for revenge, and on May 31st of each year—always on May 31st—wives, lovers, and daughters are suddenly no longer safe.
"'Rendezvous in Black', the greatest suspense novel from the greatest suspense writer of all time, Cornell Woolrich, is back in print..... Do not pass up this chance to encounter one of the most startling, emotionally rattling, and beautifully written pieces of noir in American literature. 'Rendezvous in Black' is nothing short of a masterpiece strange, horrifying, sometimes illogical, stark, achingly poetic, and ultimately devastating. - Claude Avary, Reviews
Cornell George Hopley-Woolrich (4 December 1903 – 25 September 1968) is one of America's best crime and noir writers who sometimes wrote under the pseudonyms William Irish and George Hopley. He's often compared to other celebrated crime writers of his day, Dashiell Hammett, Erle Stanley Gardner and Raymond Chandler.
He attended New York's Columbia University but left school in 1926 without graduating when his first novel, "Cover Charge", was published. "Cover Charge" was one of six of his novels that he credits as inspired by the work of F. Scott Fitzgerald. Woolrich soon turned to pulp and detective fiction, often published under his pseudonyms. His best known story today is his 1942 "It Had to Be Murder" for the simple reason that it was adapted into the 1954 Alfred Hitchcock movie"Rear Window"starring James Stewart and Grace Kelly. It was remade as a television film by Christopher Reeve in 1998.
He's considered by many to be the inventor of the noir genre and many screenplays have been based on his mysteries, including "Night Has a Thousand Eyes" and "The Leopard Man".
Rendezvous in Black edition by Cornell Woolrich Literature Fiction eBooks
This book is raw every which way. The sentences are ungrammatical, compound words invented by Woolrich pop out at you. Rendezvous in Black is a masterful anarchy of both structure and language. And it all works together as a suspenseful, surreal narrative.The main guy, Johnny Marr is the everyman become unhinged. At the outset we are introduced to him as one of those faces in the crowd, an unremarkable man, what they used to call in 1940s parlance an "Ordinary Joe." He thinks he's got it pretty much figured out, he's staked out his claim-- he's got his girl, and has a little money in his pocket. But security is an illusion.
A nightmarish accident kills his longtime sweetheart. Her battered body is displayed in death as a gory sideshow attraction on a nighttime street crowded with the sensation seeking public.
The freakish and the unforeseen have just sent Johnny an express message straight from Woolrich's parallel universe. Fate has stepped up with a lesson: a cosmic smack in the face that knocks him back and sends him reeling. Now Johnny is compelled to take a detour from familiar and commonplace reality and ditch Main Street for a road of biblical wrath and revenge. This average guy is now on a fantastically contrived mission to make the "killers" pay for the death of his lost love and the end of all his hope for the future--by making them suffer the excruciating pain he suffers.
Both Cornell Woolrich and Jim Thompson are masters of grit, the keynote of the noir genre. Woolrich could have been a celebrity name like Raymond Chandler, Dashiell Hammett and James M. Cain. He wasn't however a self-promoter. He was reclusive, tortured by personal demons and called seedy New York City hotel rooms his home.
This book is an unremitting dark ride; the best of it's kind.
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Rendezvous in Black edition by Cornell Woolrich Literature Fiction eBooks Reviews
On a mild midwestern night in the early 1940s, Johnny Marr leans against a drugstore wall. He's waiting for Dorothy, his fiancée, and tonight is the last night they'll be meeting here, for it's May 31st, and June 1st marks their wedding day. But she's late, and Johnny soon learns of a horrible accident - an accident involving a group of drunken men, a low-flying charter plane, and an empty liquor bottle. In one short moment Johnny loses all that matters to him and his life is shattered. He vows to take from these men exactly what they took from him. After years of planning, Johnny begins his quest for revenge, and on May 31st of each year - always on May 31st - wives, lovers, and daughters are suddenly no longer safe ... Cornell Woolrich's most justly famous novel is one of the true masterpieces of suspense. Johnny exacts his revenge in five meticulously planned and utterly unpredictable murders that Woolrich unfolds with an almost demonic fatalism while the marvellously unheroic police officer MacLain Cameron is in accelerating pursuit. Woolrich's prose is unique. His style is strongly visual - we'd now call it cinematic even though it prefigured much of the film-noir effects that render it, today, almost cliché. His syntax is occasionally tortured, his word choices odd. Yet as his biographer Francis Nevins has noted, Woolrich's imperfections are a happy marriage of form and function. Without the sentences rushing out of control across the page like his hunted characters across the nightscape, without the maniacal emotionalism and indifference to grammatical niceties, the form and content of the Woolrich world would be at odds. Between his style and substance, Woolrich achieved the perfect union. There are moments when the melodrama builds to such an intensity that it tumbles over into a kind of empathy, e.g. Cameron's late visit to Dorothy's childhood home. You know it's ridiculous, but you feel something all the same. As monstrous as Johnny Marr's revenge is, few readers will be able to damn him completely. This kind of amoral centre is the dark sun around which much of the noir world turns, and Woolrich gives us one of the genre's finest examples. The Modern Library's 20th Century Rediscoveries edition is particularly valuable for its Reading Group Guide, and for Richard Dooling's fine introduction which points to further reading and finds the origins of the novel in Woolrich's own startlingly sad biography. Strongly recommended.
Oh, the deliciousness of Woolrich's mind...If 'Rear Window' (first published as, "It had to be Murder") is a testament to his imagination and creativity, then 'Rendezvous in Black' is testament to his pure genius. This is as perfect a book as ever was written.
A guy whose fiance is killed by liquor bottles falling from a low-flying private plane seeks revenge but in an unusual and most methodical manner. On the anniversary of his true love's death he sets out to kill -- not one of the merry-makers involved in her demise -- but someone important to each of them. By the third killing, police are on to him and the struggle to prevent murders four and five begins. Interesting background on the lives of the victims of his deadly project, presented with descriptive and rich writing. It was the creation of Cornell Woolrich, author of the story on which "Rear Window" was based. It would have made a wonderful movie.
This book is raw every which way. The sentences are ungrammatical, compound words invented by Woolrich pop out at you. Rendezvous in Black is a masterful anarchy of both structure and language. And it all works together as a suspenseful, surreal narrative.
The main guy, Johnny Marr is the everyman become unhinged. At the outset we are introduced to him as one of those faces in the crowd, an unremarkable man, what they used to call in 1940s parlance an "Ordinary Joe." He thinks he's got it pretty much figured out, he's staked out his claim-- he's got his girl, and has a little money in his pocket. But security is an illusion.
A nightmarish accident kills his longtime sweetheart. Her battered body is displayed in death as a gory sideshow attraction on a nighttime street crowded with the sensation seeking public.
The freakish and the unforeseen have just sent Johnny an express message straight from Woolrich's parallel universe. Fate has stepped up with a lesson a cosmic smack in the face that knocks him back and sends him reeling. Now Johnny is compelled to take a detour from familiar and commonplace reality and ditch Main Street for a road of biblical wrath and revenge. This average guy is now on a fantastically contrived mission to make the "killers" pay for the death of his lost love and the end of all his hope for the future--by making them suffer the excruciating pain he suffers.
Both Cornell Woolrich and Jim Thompson are masters of grit, the keynote of the noir genre. Woolrich could have been a celebrity name like Raymond Chandler, Dashiell Hammett and James M. Cain. He wasn't however a self-promoter. He was reclusive, tortured by personal demons and called seedy New York City hotel rooms his home.
This book is an unremitting dark ride; the best of it's kind.
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