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Too Nice A Day To Die — Cornell Woolrich
"Nothing beats a tale of fatalistic dread by the supreme master of suspense, Cornell Woolrich. His novels and hundreds of short stories define the essence of noir nihilism." - Marilyn Stasio, The New York Times Book Review
Cornell Woolrich is "our greatest writer of Suspense Fiction." - Frances Nevins, Woolrich Biographer
Classic films like Hitchcock's Rear Window and Truffaut's The Bride Wore Black and novels like Night has a Thousand Eyes and Rendezvous in Black earned Woolrich epithets like "the twentieth century's Edgar Allen Poe" and "the father of noir."
"Too Nice a Day to Die" was originally published in Bizarre Mystery Magazine in January, 1966 making it one of the last stories of his career and quite a gem as it's a terrific example of the noir style - almost faultless, in fact. Lonely and depressed Laurel Hammond has chosen to take her own life and turns the gas on in her New York apartment. As noir chance happens, the phone rings and as Laurel takes the call, she habitually opens the window, thus, saving her life. The craziness of the circumstance instills a new light in Laurel and she decides life is worth living for, at least, one more day and she decides to take a walk. Even more coincidentally she meets a man in Rockefeller Plaza which seems to be "Mr. Right" and life is now certainly worth living. But, as noir story-telling goes, not all turns out lively for Laurel.
Cornell George Hopley-Woolrich (4 December 1903 â€" 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. Woolrich is considered the godfather of film noir and is often referred to as the Edgar Allen Poe of the 20th century, writing well over 250 works including novels, novelettes, novellas and short stories. Film noir is a familiar genre, with deep shadows, half-lit profiles, femme fatales, fedoras and trench coats. But Woolrich's works are more than that â€" they are about flawed, but sympathetic characters who are caught up in a moral dilemma that is greater than themselves. Woolrich's touch can be found in modern day film and television adaptations, from "Fatal Attraction" to "The Wire" - because after all, this is a world where characters are caught between doing the wrong thing for the right reason. 88 feature films and television series episodes have used Woolrich as source material, including Hitchcock's "Rear Window", Francois Truffaut's "The Bride Wore Black" and "Mississippi Mermaid", and three different adaptations of “I Married a Dead Man”, most recently as "Mrs. Winterbourne".
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.
Check out the countless other Woolrich Novels, Novellas and Short Stories, also available as EBooks, from the Estate of Cornell Woolrich and Renaissance Literary & Talent!
Cornell Woolrich is "our greatest writer of Suspense Fiction." - Frances Nevins, Woolrich Biographer
Classic films like Hitchcock's Rear Window and Truffaut's The Bride Wore Black and novels like Night has a Thousand Eyes and Rendezvous in Black earned Woolrich epithets like "the twentieth century's Edgar Allen Poe" and "the father of noir."
"Too Nice a Day to Die" was originally published in Bizarre Mystery Magazine in January, 1966 making it one of the last stories of his career and quite a gem as it's a terrific example of the noir style - almost faultless, in fact. Lonely and depressed Laurel Hammond has chosen to take her own life and turns the gas on in her New York apartment. As noir chance happens, the phone rings and as Laurel takes the call, she habitually opens the window, thus, saving her life. The craziness of the circumstance instills a new light in Laurel and she decides life is worth living for, at least, one more day and she decides to take a walk. Even more coincidentally she meets a man in Rockefeller Plaza which seems to be "Mr. Right" and life is now certainly worth living. But, as noir story-telling goes, not all turns out lively for Laurel.
Cornell George Hopley-Woolrich (4 December 1903 â€" 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. Woolrich is considered the godfather of film noir and is often referred to as the Edgar Allen Poe of the 20th century, writing well over 250 works including novels, novelettes, novellas and short stories. Film noir is a familiar genre, with deep shadows, half-lit profiles, femme fatales, fedoras and trench coats. But Woolrich's works are more than that â€" they are about flawed, but sympathetic characters who are caught up in a moral dilemma that is greater than themselves. Woolrich's touch can be found in modern day film and television adaptations, from "Fatal Attraction" to "The Wire" - because after all, this is a world where characters are caught between doing the wrong thing for the right reason. 88 feature films and television series episodes have used Woolrich as source material, including Hitchcock's "Rear Window", Francois Truffaut's "The Bride Wore Black" and "Mississippi Mermaid", and three different adaptations of “I Married a Dead Man”, most recently as "Mrs. Winterbourne".
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.
Check out the countless other Woolrich Novels, Novellas and Short Stories, also available as EBooks, from the Estate of Cornell Woolrich and Renaissance Literary & Talent!
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