

One of the reasons for not using his real name, he claims, was that, “in America the writing of detective novels is not yet considered a wholly respectable occupation.” I wallowed in it.“ According to the essay, the idea of writing a detective novel took hold of him and he outlined a series of novels, creating his sleuth and working out plots for three books. “For two years I did little else (than reading detective fiction). He claims that he began reading detective fiction during a long illness, recovering from a nervous breakdown. In a wonderful essay, from 1928, “I Used to Be a Highbrow but Look at Me Now,“ Van Dine explains how he came to writing mysteries. Van Dine, his true identity remained a secret at first. When Wright turned to crime fiction, under the nom de plume S.S. Earlier, in 1913, he had also published a collection of poetry, later saying, in a private letter: “Having repented of my early indiscretions, I have (suppressed) the entire edition, and if by any hook or crook you manage to get a copy of it, it will be because my plans for confiscation were incomplete.“ Among his non-fiction books are Modern Painting (191) and The Future of Painting (1923). He also reviewed books, being the literary editor of The Los Angeles Times, and published several books under his real name, including a novel, The Man of Promise (1916). Van Dine was born Willard Huntington Wright in 1888 and initially made his name as an art critic. With his Van Dyke beard and pearl-handled cane, he was a striking (if enigmatic) figure in New York Society …“ In his “lavish years, Willard could have been a character in a Fitzgerald short story… In his prime, Willard was one of the most interviewed writers in America, and one of the most affluent.“ His detective novels, translated into eleven languages, had sold more than a million copies by the end of the decade. Van Dine) had been one of Scribners‘ best-selling authors. Van Dine, “Throughout the late twenties, Willard Huntington Wright (S.S.

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