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Devil's Garden, by Ace Atkins
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San Francisco, September 1921: Silent-screen comedy star Roscoe "Fatty" Arbuckle is throwing a wild party in his suite at the St. Francis Hotel: girls, jazz, bootleg hooch . . . and a dead actress named Virginia Rappe. The D.A. says it was Arbuckle who killed her – crushing her under his weight – and brings him up on manslaughter charges. William Randolph Hearst’s newspapers stir up the public and demand a guilty verdict. But what really happened? Why do so many people at the party seem to have stories that conflict? Why is the prosecution hiding witnesses? Why are there body parts missing from the autopsied corpse? Why is Hearst so determined to see Arbuckle convicted? In desperation, Arbuckle’s defense team hires a Pinkerton agent to do an investigation of his own and, they hope, discover the truth. The agent’s name is Dashiell Hammett, the book’s narrator. What he discovers will change American legal history – and his own life – forever.
- Sales Rank: #1508534 in Books
- Published on: 2009-04-02
- Released on: 2009-04-02
- Original language: English
- Number of items: 1
- Dimensions: 9.32" h x 1.38" w x 6.32" l, 1.25 pounds
- Binding: Hardcover
- 368 pages
Amazon.com Review
Amazon Exclusive: Megan Abbott Reviews Devil's Garden
Megan Abbott is the Edgar®-winning author of the crime novels Queenpin, The Song is You and Die a Little. Her new novel, Bury Me Deep, which is loosely based on the Winnie Ruth Judd "Trunk Murderess" scandal of the 1930s, comes out in July 2009. She lives in Queens, New York.
One might call it bold or even arrogant. An author takes on not only one of the most storied scandals of the 20th century as his subject of his new novel but, at the same time, deploys one of America's most celebrated writers as one of its central characters. That is precisely what Ace Atkins does in his new novel, Devil's Garden, a giddy, swaggering take on the Fatty Arbuckle trial, with a young detective named Dashiell Hammett navigating the scandal’s heady convolutions. But you need only get through the dreamy, haunted prologue—based on Hammett's famous account of being offered money to murder a union leader—to realize that Atkins’s choices are not driven by arrogance at all. Devil's Garden is an act of love.
From frothy show girls to sly-eyed grifters, from machinating hangers-on to Arbuckle himself, so shocked by the speed and cruelty of his descent he can barely lift his head up—all of Atkins' characters are treated with wit, understanding and, frequently, clear-eyed affection. While we see repeated glimmers of the Hammett to come, Atkins never lets the story, or the prose, slip into hardboiled kitsch or winking parody. Nor does he let any reverence cloud his vision. Many of characters that populate Devil's Garden feel like they could emerge, gin-clouded and blood-simple, in Hammett's Red Harvest or The Glass Key, but we can see why: they are so clearly the figures that inspired him. While it tips its hat to Hammett’s world, Devil's Garden caroms along with a style and velocity all its own.
A marvelous extension of Atkins' fascination (White Shadow, Wicked City) with the cunning and often cruel ways that hustlers high and low, board room and back alley, manipulate power, Devil's Garden revels in contradictions—it is both sprawling and intimate, rollicking and poignant. The novel begins on Labor Day weekend, 1921, when beloved screen comic Roscoe "Fatty" Arbuckle threw a wild party in a suite at San Francisco’s St. Francis Hotel. One of his guests, a young woman named Virginia Rappe, fell ill and died shortly after from peritonitis brought on by a ruptured bladder. As the story took on momentum and news headlines screamed, Arbuckle himself faced criminal indictment. Newspaper tycoon William Randolph Hearst reputedly boasted that the scandal sold more papers than the sinking of the Lusitania.
The fact that pre-Maltese Falcon Dashiell Hammett was one of the Pinkerton detectives assigned to the Arbuckle case is pure literary gold and Atkins’s mines it with great care. His Hammett feels real, a raw-boned young man with a sharp eye and a writer’s gimlet eye and beating heart. He is our trusty guide through a seamy tour through the worlds of yellow journalism, backroom politics and the merry band of hucksters, thieves and B girls who circle around Arbuckle’s downfall, picking pockets along the way. As big as the scandal grows, and as larger-than-life as Atkins’s characters (William Randolph Heart, Marion Davies, Arbuckle himself) are, they never feel anything less than human, petty, troubled, heartbroken, real. It’s quite an achievement.
Late in the novel, Atkins gives us a scene of Arbuckle and his wife, actress Minta Durfee, at the piano playing old songs from their journeymen showbiz days, singing as loud as they can until the windows of their soon-to-be-lost mansion shake. It’s the kind of moment that lingers. You have the feeling, as you do so often when you’re reading Devil’s Garden, of watching some shuddery lost Jazz-Age film. It's as glittery and jubilant as New Year's Eve noisemaker one minute, but the next, one of those haunting silent-movie faces loom out at us, telling us their whole, sad stories with just a twitch of the mouth, a flicker in the eye.
(Photo © Joshua Gaylord)
From Publishers Weekly
Starred Review. The 1921 rape/manslaughter trial of silent film star Roscoe Fatty Arbuckle provides the gritty backdrop for Atkins's outstanding crime novel, in which Dashiell Hammett, then a Pinkerton operative living in San Francisco, plays a significant role. A wild party Arbuckle throws at San Francisco's posh St. Francis Hotel results in tragedy after an actress, Virginia Rappe, is mysteriously injured and later dies. As the author explains in a behind the story introduction, the future creator of Sam Spade was actually assigned to help the defense on the Arbuckle case. With enviable ease, Atkins (Wicked City) brings to life Hammett, Arbuckle, William Randolph Hearst and other real figures of the period. Those familiar with the historical case will be impressed by how well the book meshes fact and fiction. Genre fans who enjoy the grim realism of James Ellroy's post-WWII Los Angeles will find a lot to like in Atkins's Prohibition-era San Francisco. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Atkins follows White Shadow (2006) and Wicked City (2008), both based on real-life murders in the 1950s, with another historical thriller, but this time he turns the clock back to 1920s San Francisco and perhaps the city’s most famous scandal: the death of minor actress Virgina Rappe and the subsequent murder trial of Hollywood star Fatty Arbuckle. One of the Pinkerton detectives hired by Arbuckle’s lawyer to investigate the case was a tubercular World War I vet and would-be writer named Dashiell Hammett. Atkins makes Hammett the hero of his Arbuckle story, and the strategy works superbly, allowing him to incorporate speculation on Arbuckle’s role in Rappe’s death into the ever-fascinating story of Hammett’s career as a real-life detective. As in his earlier historical novels, Atkins again proves a meticulous researcher, but here he does an even better job of melding that research into a lively, atmospheric narrative. Both Hammett and Arbuckle emerge as multidimensional, appealing characters, and Atkins’ version of what happened at Fatty’s wild party in the St. Francis Hotel has the ring of truth. --Bill Ott
Most helpful customer reviews
0 of 0 people found the following review helpful.
great read, the power of the press - in ...
By Phil Scales
great read, the power of the press - in this day and age anybody can destroy another or be destroyed the digital way.
0 of 0 people found the following review helpful.
Ace at early best.
By G-dub
Well researched and a great read.
21 of 22 people found the following review helpful.
Literary, historical detective fiction
By MadLibsAreFun
Dashiell Hammett investigating the first-ever celebrity murder trial on the foggy streets of San Francisco, a silent-film star hounded in the newspapers by William Randolph Hearst himself -- Ace Atkins knows how to make historical fiction out of a hard-boiled detective story.
Roscoe "Fatty" Arbuckle was roaring through the '20s with plenty of showgirls and hooch when he pajama-partied a little too much and a starlet got dead. At the time, Hammett was a Pinkerton operative hired to find witnesses whom prosecutors were hiding. Hearst, of course, deployed his yellow-journalism reporters to crucify the "portly beast" Arbuckle. (Chris Farley wanted to play Fatty in a movie, and it would have been a match, because Arbuckle was a self-loathing porker with a gift for making people laugh and no desire ever to grow up.)
Ace Atkins -- yeah, that's really his name -- writes cinematically: Short scenes with clever "buttons" alternate with long swaths of snappy dialogue. One flimflam man, for example, describes another as "a phony bird. That's halfway between crazy and a con man, and that's the middle of the road, brother."
Hammett -- he was "Sam" then, back before his Dashiell days -- tails tricksters and crooks into ornate hotel lobbies and up San Francisco's hills, wheezing with the effort and pausing to spit blood into his handkerchief. While some good-hearted folks appear -- Sam's first wife, one of the Pinkertons, a snitch named Pete the Fink -- the speakeasies and courtrooms of The City are filled by people with their hands out, thumbing their noses at what passes for an upright legal system.
Atkins works too hard at blackening Hearst's character in the epilogue, but Devil's Garden still rises far beyond pulp fiction to a much higher level. The three central characters -- Sam, Fatty and W.R. -- are all blameworthy, all filled with shame but unwilling to do much about it. In Atkins' world, prudes are really grifters, a power broker is just a little boy, a legal case is like a melodrama and a scalawag can be a stand-up guy. There aren't many moralistic blacks and whites in Devil's Garden -- just a lot of grays, melting off into that San Francisco fog.
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