Bright Orange for the Shroud

Suspense fiction trades on surprising and unexpected twists. Like this one: A boy named John Dann MacDonald was born in 1916 in Sharon, Pennsylvania, into the kind of quiet and comfortable middle-class prosperity that became common in America forty or fifty years later but which was still relatively rare early in the century. Sharon was a satellite town near Pittsburgh, dominated by precision metalworking, and John’s father was a mild-mannered and upstanding citizen with secure and prestigious salaried employment as a senior financial executive with a local manufacturer. Young John was called Jack as a child, and wore sailor suits, and grew up in a substantial suburban house on a tree-lined block. He read books, played with his dog, and teased his little sister and his cousin. When he was eighteen, his father funded a long European grand tour for him, advising him by letter “to make the best of it … to eat and function regularly … to be sure and
attend a religious service at least once on each Sunday … to keep a record of your expenditures as a training for your college days.”

Safely returned, young Jack went on to two decent East Coast schools, and married a fellow student, and went to Harvard for an MBA, and volunteered for the army in 1940, and finished World War II as a lieutenant colonel, after thoroughly satisfactory service as a serious, earnest, bespectacled, rear-echelon staff officer.

So what does such a fellow do next? Does he join General Motors? IBM? Work for the Pentagon?

In John D. MacDonald’s case, he becomes an impoverished writer of pulp fiction.

During his first four postwar months, he lost twenty pounds by sitting at a table and hammering out 800,000 unsold words. Then in his fifth month he sold a story for twenty-five bucks. Then another for forty bucks, and eventually more than five hundred. Sometimes entire issues of pulp magazines were all his own work, disguised under dozens of different pen names. Then in 1950 he watched the contemporary boom in paperback novels and jumped in with his first full-length work, which was followed by sixty-six more, including some really seminal crime fiction and one of history’s greatest suspense series.

Why? Why did a middle-class Harvard MBA with extensive corporate connections and a gold-plated recommendation from the army turn his back on everything apparently predestined, to sit at a battered table and type, with an anxious wife at his side? No one knows. He never explained. It’s a mystery.

But we can speculate. Perhaps he never wanted a quiet and
comfortable middle-class life. Perhaps, after finding himself amid the chaos of war, he felt able to liberate himself from the crushing filial expectations he had previously followed so obediently. As an eighteen-year-old, it’s hard to say no to the father who just paid for a trip to Europe. Eleven years later, as a lieutenant colonel, it’s easier.

And we know from what he wrote that he felt he had something to say to the world. His early stuff was whatever put food on that battered table—detective stories, westerns, adventure stories, sports stories, and even some science fiction—but soon enough his long-form fiction began to develop some enduring and intertwined themes. From
A Deadly Shade of Gold
, a Travis McGee title: “The only thing in the world worth a damn is the strange, touching, pathetic, awesome nobility of the individual human spirit.” From the stand-alone thriller
Where Is Janice Gantry?
: “Somebody has to be tireless, or the fast-buck operators would asphalt the entire coast, fill every bay, and slay every living thing incapable of carrying a wallet.”

These two angles show up everywhere in his novels: the need to—maybe reluctantly, possibly even grumpily—stand up and be counted on behalf of the weak, helpless, and downtrodden, which included people, animals, and what we now call
the environment
—which was in itself a very early and very prescient concern:
Janice Gantry
, for instance, predated Rachel Carson’s groundbreaking
Silent Spring
by a whole year.

But the good knight’s armor was always tarnished and rusted. The fight was never easy and, one feels, never actually winnable. But it had to be waged. This strange, weary blend of nobility and cynicism is MacDonald’s signature emotion.
Where did it come from? Not, presumably, the leafy block where he was raised in quiet and comfort. The war must have changed him, like it changed a generation and the world.

Probably the best of his nonseries novels is
The Executioners
, which became
Cape Fear
as a movie (twice). It’s an acute psychological study of base instinct, terror, mistakes, and raw emotion. It’s about a man—possibly a man like MacDonald’s father, or like MacDonald himself—who moves out of his quiet and comfort into more primeval terrain. And those twin poles are the theme of the sensationally good Travis McGee series, which is a canon equaled for enduring quality and maturity by very little else. McGee is a quiet man, internally bewildered by and raging at what passes for modern progress, externally happy merely to be varnishing the decks of his houseboat and polishing its brass, but always ready to saddle up and ride off in the service of those who need and deserve his help. Again, not the product of the privileged youth enjoyed by the salaried executive’s son.

So where did McGee and MacDonald’s other heroes come from? Why Florida? Why the jaundiced concerns? We will never know. But maybe we can work it out, by mining the millions of words written with such haste and urgency and passion between 1945 and 1986.

L
EE
C
HILD
New York
2012

Another season was ending. The mid-May sun had a tropic sting against my bare shoulders. Sweat ran into my eyes. I had discovered an ugly little pocket of dry rot in the windshield corner of the panel of the topside controls on my houseboat, and after trying not to think about it for a week, I had dug out the tools, picked up some pieces of prime mahogany, and excised the area of infection with a saber saw.

Cutting and sanding the new pieces to fit was a finicky chore. Sawdust stuck to my sweaty chest and arms. I was sustained by an awareness of the cool dark bottles of Dos Equis beer in the stainless steel box below, and by the anticipation of trudging from Bahia Mar over to the public beach where a mild wind from the east was capping the deep blue swells with white.

Also I was sustained by the determination that this would be a slob summer for McGee. It wouldn’t be a gaudy summer.
There wasn’t enough bread for that. But a careful husbanding of funds would see me through, leaving the emergency fund untapped, ready to finance some kind of an operation in the fall.

I needed a slob summer. The machine was abused. Softness at the waist. Tremor of the hands. Bad tastes in the morning. A heaviness of muscle and bone, a tendency to sigh. Each time you wonder, Can you get it back? The good toughness and bounce and tirelessness, the weight down to a rawhide two oh five, a nasty tendency to sing during the morning shower, the conviction each day will contain wondrous things?

And I wanted it to be a loner summer. There’d been too much damned yat-a-ta-yak, fervid conversations, midnight plots and dirty little violences for which I had been all too unprepared. The pink weal six inches below my armpit was a reminder of luck. If my foot hadn’t slipped exactly when it did.…