About this title:
Mildred Pierce had gorgeous legs, a way with a skillet, and a bone-deep core of toughness. She used those attributes to survive a divorce and poverty and to claw her way out of the lower middle class. But Mildred also had two weaknesses: a yen for shiftless men, and an unreasoning devotion to a monstrous daughter.
About the Author:
Out of these elements, Cain creates a novel of acute social observation and devastating emotional violence, with a heroine whose ambitions and sufferings are never less than recognizable.
James Mallahan Cain (1892 - 1977) was a first-rate writer of American hard-boiled crime fiction. Born in Baltimore, the son of the president of Washington College, Cain began his career as a reporter, serving in the American Expeditionary Force in World War I and writing for The Cross of Lorraine, the newspaper of the 79th Division. He returned from the war to embark on a literay career that included a professorship at St. John’s College in Annapolis and a stint at The New Yorker as managing editor before he went to Hollywood as a script writer. Cain’s famous first novel, The Postman Always Rings Twice, was published in 1934 when he was forty-two, and became an instant sensation. It was tried for obscenity in Boston and was said by Albert Camus to have inspired his own book, The Stranger. The infamous novel was staged in 1936, and filmed in 1946 and 1981. The story of a young hobo who has an affair with a married woman and plots with her to murder her husband and collect his insurance, The Postman Always Rings Twice is a benchmark of classic crime fiction and film noir. Two of Cain’s other novels, Mildred Pierce (1941) and Double Indemnity (1943), were also made into film noir classics. In 1974, James M. Cain was awarded the Grand Master Award by the Mystery Writers of America. Cain published eighteen books in all and was working on his autobiography at the time of his death.
Excerpt. © Reprinted by permission. All rights reserved.:
In the spring of 1931, on a lawn in Glendale, California, a man was bracing trees. It was a tedious job, for he had first to prune dead twigs, then wrap canvas buffers around weak branches, then wind rope slings over the buffers and tie them to the trunks, to hold the weight of the avocados that would ripen in the fall. Yet, although it was a hot afternoon, he took his time about it, and was conscientiously thorough, and whistled. He was a smallish man, in his middle thirties, but in spite of the stains on his trousers, he wore them with an air. His name was Herbert Pierce. When he had finished with the trees, he raked the twigs and dead branches into a pile, carried them back to the garage, and dropped them in a kindling box. Then he got out a mower and mowed the lawn. It was a lawn like thousands of others in southern California: a patch of grass in which grew avocado, lemon, and mimosa trees, with circles of spaded earth around them. The house, too, was like others of its kind: a Spanish bungalow, with white walls and red-tile roof. Now, Spanish houses are a little outmoded, but at the time they were considered high-toned, and this one was as good as the next, and perhaps a little better.
The mowing over, he got out a coil of hose, screwed it to a spigot, and proceeded to water. He was painstaking about this too, shooting water all over the trees, down on the spaded circles of earth, over the tiled walk, and finally on the grass. When the whole place was damp and smelled like rain, he turned off the water, pulled the hose through his hand to drain it, coiled it, and put it in the garage. Then he went around front and examined his trees, to make sure the water hadn't drawn the slings too tight. Then he went into the house.
The living room he stepped into corresponded to the lawn he left. It was indeed the standard living room sent out by department stores as suitable for a Spanish bungalow, and consisted of a crimson velvet coat of arms, displayed against the wall; crimson velvet drapes, hung on iron spears; a crimson rug, with figured border; a settee in front of the fireplace, flanked by two chairs, all of these having straight backs and beaded seats; a long oak table holding a lamp with stained-glass shade; two floor lamps of iron, to match the overhead spears, and having crimson silk shades; on table, in a corner, in the Grand Rapids style, and one radio, on this table, in the Bakelite style. On the tinted walls, in addition to the coat of arms, were three paintings: one of a butte at sunset, with cow skeletons in the foreground; one of a cowboy, herding cattle through snow, and one of a covered-wagon train, plodding through an alkali flat. On the long table was one book, called Cyclopedia of Useful Knowledge, stamped in gilt and placed on an interesting diagonal. One might object that this living room achieved the remarkable feat of being cold and at the same time stuffy, and that it would be quite oppressive to live in. But the man was vaguely proud of it, especially the pictures, which he had convinced himself were "pretty good." As for living in it, it had never once occurred to him.
Today, he gave it neither a glance nor a thought. He hurried through, whistling, and went back to a bedroom, which was filled with a seven-piece suite in bright green, and showed feminine touches. He dropped off his work clothes, hung them in a closet, and stepped naked into the bathroom, where he turned on water for a bath. Here again was reflected the civilization in which he lived, but with a sharp difference. For whereas it was, and still is, a civilization somewhat naïve as to lawns, living rooms, pictures, and other things of an aesthetic nature, it is genius itself, and has forgotten more than all other civilizations ever knew, in the realm of practicality. The bathroom that he now whistled in was a utile jewel: it was in green tile and white tile; it was as clean as an operating room; everything was in its proper place and everything worked. Twenty seconds after the man tweaked the spigots, he stepped into a bath of exactly the temperature he wanted, washed himself clean, tweaked the drain, stepped out, dried himself on a clean towel, and stepped into the bedroom again, without once missing a bar of the tune he was whistling, or thinking there was anything remarkable about it.
After combing his hair, he dressed. Slacks hadn't made their appearance then, but gray flannels had: he put on a fresh pair, with polo shirt and blue lounge coat. Then he strolled back to the kitchen, a counterpart of the bathroom, where his wife was icing a cake. She was a small woman, considerably younger than himself; but as there was a smear of chocolate on her face, and she wore a loose green smock, it was hard to tell what she looked like, except for a pair of rather voluptuous legs that showed between smock and shoes. She was studying a design, in a book of such designs, that showed a bird holding a scroll in its beak, and now attempted reproduction of it, with a pencil, on a piece of tablet paper. He watched for a few moments, glanced at the cake, said it looked swell. This was perhaps an understatement, for it was a gigantic affair, eighteen inches across the middle and four layers high, covered with a sheen like satin. But after his comment he yawned and said: "Well—don't see there's much else I can do around here. Guess I'll take a walk down the street."
"You going to be home for supper?"
"I'll try to make it, but if I'm not home by six don't wait for me. I may be tied up."
"I want to know."
"I told you, if I'm not home by six—"
"That doesn't do me any good at all. I'm making this cake for Mrs. Whitley, and she's going to pay me three dollars for it. Now if you're going to be home I'll spend part of that money on lamb chops for supper. If you're not, I'll buy something the children will like better."
"Then count me out."
"That's all I want to know."
There was a grim note in the scene that was obviously out of key with his humor. He stood around uncertainly, then made a bid for appreciation. "I fixed up those trees. Tied them up good, so the limbs won't bend down when the avocados get big, the way they did last year. Cut the grass. Looks pretty nice out there."
"You going to water the grass?"
"I did water it."
He said this with quiet complacency, for he had set a little trap for her, and she had fallen into it. But the silence that followed had a slightly ominous feel to it, as though he himself might have fallen into a trap that he wasn't aware of. Uneasily he added: "Gave it a good wetting down."
"Pretty early for watering the grass, isn't it?"
"Oh, one time's as good as another."
"Most people, when they water the grass, wait till later in the day, when the sun's not so hot, and it'll do some good, and not be a waste of good water that somebody else has to pay for."
"Who for instance?"
"I don't see anybody working around here but me."
"You see any work I can do that I don't do?"
"So you get done early."
"Come on, Mildred, what are you getting at?"
"She's waiting for you, so go on."
"Who's waiting for me?"
"I think you know."
"If you're talking about Maggie Biederhof, I haven't seen her for a week, and she never did mean a thing to me except somebody to play rummy with when I had nothing else to do."
"That's practically all the time, if you ask me."
"I wasn't asking you."
"What do you do with her? Play rummy with her a while, and then unbutton that red dress she's always wearing without any brassieres under it, and flop her on the bed? And then have yourself a nice sleep, and then get up and see if there's some cold chicken in her icebox, and then play rummy some more, and then flop her on the bed again? Gee, that must be swell. I can't imagine anything nicer than that."
His tightening face muscles showed his temper was rising, and he opened his mouth to say something. Then he thought better of it. Then presently he said: "Oh, all right," in what was intended to be a lofty, resigned way, and started out of the kitchen.
"Wouldn't you like to bring her something?"
"Bring her—? What do you mean?"
"Well there was some batter left over, and I made up some little cakes I was saving for the children. But fat as she is, she must like sweets, and—here, I'll wrap them up for her."
"How'd you like to go to hell?"
She laid aside the bird sketch and faced him. She started to talk. She had little to say about love, fidelity, or morals. She talked about money, and his failure to find work; and when she mentioned the lady of his choice, it was not as a siren who had stolen his love, but as the cause of the shiftlessness that had lately come over him. He broke in frequently, making excuses for himself, and repeating that there was no work, and insisting bitterly that if Mrs. Biederhof had come into his life, a guy was entitled to some peace, instead of constant nagging over thing that lay beyond his control. They spoke quickly, as though they were saying things that scalded their mouths, and had to be cooled with spit. Indeed, the whole scene had an ancient, almost classical ugliness to it, for they uttered the same recriminations that have been uttered since the beginning of marriage and added little to the originality to them and nothing of beauty. Presently they stopped, and he started out of the kitchen again, but she stopped him. "Where are you going?"
"Would I be telling you?"
"Are you going to Maggie Biederhof's?"
"Suppose I am?"
"Then you might as well pack right now, and leave for good, because if you go out of that door I'm not going to let you come back. If I have to take this cleaver to you, you're not coming back in this house."
She lifted the cleaver out of a drawer, held it up, put it back, while he watched contemptuously. "Keep on, Mildred, keep right on. If you...
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