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The Baby in the Icebox
And Other Short Fiction
James M. Cain
Edited by Roy Hoopes
Contents
Introduction
Sketches and Dialogues
The Robbery
Vanishing Act
Dreamland
Joy Ride
Queen of Love and Beauty
Santa Claus, M.D.
Gold Letters Hand Painted
It Breathed
The Hero
Theological Interlude
Short Stories
Pastorale
The Taking of Montfaucon
The Baby in the Icebox
The Birthday Party
Dead Man
Brush Fire
Coal Black
The Girl in the Storm
Joy Ride to Glory
Serial
Money and the Woman (The Embezzler)
INTRODUCTION
JAMES M. CAIN, CONCEDED by many writers and critics to be one of the most influential of America’s popular authors, is remembered primarily for his four controversial novels of the 1930s and ’40s—The Postman Always Rings Twice, Double Indemnity, Serenade, and Mildred Pierce. However, Cain was essentially a writer of short fiction. This is confirmed when we recall that two of the above stories—Postman and Double Indemnity, which Ross Macdonald described as “a pair of American masterpieces—are really novellas, barely qualifying as full-length works of fiction. In fact, when Cain sent the manuscript of the story later published as The Postman Always Rings Twice to Alfred A. Knopf, the publisher maintained that at 35,000 words it was too short to qualify as a novel and refused, at first, to pay Cain the $500 advance called for under an option clause in an earlier contract. Double Indemnity, which has only 29,000 words, was first published as an eight-part serial in Liberty magazine, and Serenade has only 44,000 words. Even Cain’s two biggest hardcover sellers—Past All Dishonor and The Butterfly—are slim little books, more accurately described as novellas. (The Butterfly hardly looks like a conventional novel, even with the twelve-page “preface” Cain added, in part, to give it additional heft in the bookstores.) His longest novel, The Moth, published in 1948, never achieved the impact or the sales of his earlier shorter books, and in a letter to a friend Cain offered one explanation for the book’s limited success: “If you ask me, a simple tale, told briefly, is what most people really like.”
In addition to writing eighteen novels (six of which were originally written as magazine serials), Cain was a prolific producer of sketches and dialogues, as well as dozens of conventional short stories, seventeen of which were published. The short-story form appealed to Cain and, as he wrote in the introduction to For Men Only, an anthology of stories he edited in 1944, “In one respect…it is greatly superior to the novel, or at any rate, the American novel. It is one kind of fiction that need not, to please the American taste, deal with heroes. Our national curse, if so perfect a land can have such a thing, is the ‘sympathetic’ character…. I take exception to this idealism, as the Duke of Wellington is said to have taken exception to a lady’s idealism when he told her: ‘Madam, the Battle of Waterloo was won by the worst set of blackguards ever assembled in one spot on this earth.’ The world’s greatest literature is peopled by thorough-going heels”—as are many of Cain’s stories.
Cain was born in Annapolis, Maryland, in 1892. When he was eleven, his family moved across the Chesapeake Bay to Chestertown, where his father became president of Washington College. Cain graduated from the college at the age of seventeen, after four miserable years in which he said he felt like a “midget among giants.” Then, at an age when most intellectual kids still are in college, Cain spent four years in Maryland and Washington, D.C., drifting from one job to another before finally deciding what he wanted to do with his life. That decision came one day in 1914, when he was sitting on a bench in Lafayette Park, across Pennsylvania Avenue from the White House. He had abandoned his ambition to become an opera singer and had just quit a job selling records at Kann’s department store, when suddenly, from nowhere, he heard his own voice say: “You’re going to be a writer.”
It came to him, “just like that, out of the blue,” he later said. “I’ve thought about it a thousand times, trying to figure out why that voice said what it did—without success. There must have been something that had been gnawing at me from inside. But if there was, I have no recollection of it, nor did I have any realization that the decision I’d made wasn’t mine to make…. [It] would not be settled by me, but by God.”
Having decided to become a writer, Cain was faced with the problems of what to write and how to support himself until he became an established author. He went back to Chestertown, where his family welcomed his decision. His father found him a job teaching English and grammar at the college, after which Jamie, as his family and everyone around the little college town called him, settled down to try his hand at his new trade. “In the afternoons,” he said, “I played the typewriter, on which I was becoming a virtuoso, writing short stories in secret, sending them off to magazines, and getting all of them back. In a year or more of trying, I didn’t make one sale, until the thing became ridiculous and I was horribly self-conscious about it, to the point where self-respect, if nothing else, demanded that I quit.”
So Cain abandoned the typewriter, temporarily discouraged and wondering whether he had the talent for fiction. But those early, drifting months had not been completely wasted. While teaching at the college, he became a walking encyclopedia of grammar and punctuation, which he always maintained was at the root of good writing. There are no copies of his early stories in existence, but we can assume he had taken the first step in developing the famous James M. Cain style. And the four years he had spent drifting around the Eastern Shore in a variety of jobs, even an aborted singing career, provided abundant material for his later stories.
What to do next? He decided that a newspaper career might be a good way for an aspiring writer to make a living, so in 1918 he went to work as a cub reporter for the Baltimore American, then later, the Sun. But his newspaper career ended even quicker than his fiction-writing career when America entered World War I and Cain soon found himself in France with the American Expeditionary Force. After seeing action in the Meuse-Argonne offensive, he built something of a reputation as an editor of the 79th Division newspaper, the Lorraine Cross.
Returning to the States, Cain spent three postwar years as a reporter for the Baltimore Sun, and soon he felt ready to resume his efforts to write fiction. He was sent down to West Virginia in 1922 to cover the treason trial of William Blizzard, a young man who had led an armed insurrection against the coal mine operators, and after the trial, encouraged by H. L. Mencken, who was also on the Sun, Cain took a three-month leave to go back to West Virginia and try to write a novel about life in the coal mining communities. He wrote three drafts, but threw them all in the wastebasket. “The last one,” he said, “I wouldn’t have written at all if I hadn’t squirmed at the idea of facing my friends with the news that my great American novel was a pipe dream.”
There are no copies of these early Cain efforts so we cannot assess Cain’s first attempt at a novel, but Cain did say later that part of the problem was his journalistic approach: “I was so preoccupied with background, authenticity and verisimilitude, that I had time for little else.” There were also quest
ions of style and structure. “I didn’t seem to have the slightest idea where I was going with it,” he said, “or even which paragraph should follow which.” His people “faltered and stumbled.” They were homely characters, who spoke a “gnarled and grotesque jargon that didn’t seem quite adopted to long fiction; it seemed to me that after fifty pages of ain’ts, brungs, and fittens, the reader would want to throw the book at me.”
So once again, James M. Cain had failed to write successful fiction. However, his reporting of the treason trial for the Sun and articles he subsequently wrote about the coal mines for the Atlantic Monthly and the Nation attracted considerable attention in the literary community. H. L. Mencken was especially impressed, and the two men became good friends. Later, after Cain quit the Sun and joined the faculty of St. John’s College in Annapolis, as a professor of English and journalism, he began writing for Mencken’s new magazine, the American Mercury.
Cain’s first contribution to the Mercury was a series of iconoclastic articles attacking some of Mencken’s favorite targets—labor leaders, academicians, editorial writers, do-gooders, and politicians, especially female politicians. Then, in 1925, Cain turned his typewriter loose on county and town commissioners—with a significant change of approach. Instead of ridiculing his subjects in a conventional essay, he satirized them in fictional dialogues, which were, in effect, one-act plays. Many of them have been performed over the years by theater groups.
By 1925 Cain had resigned from St. John’s, spent a summer in a tuberculosis sanitarium, and, at his doctor’s urging, gone to New York in search of a job that would be less strenuous than newspaper reporting. Through an introduction from Mencken, Cain met and impressed Walter Lippmann, then the editorial-page editor for the New York World. Cain spent six years, from late 1924 until early 1931, writing editorials for Lippmann, and in 1928, in an effort to earn more money to help pay for a divorce from his first wife, Mary Clough, Cain started writing a column for the “Metropolitan” section of the Sunday World. Most of his columns consisted of sketches about New Yorkers and, eventually, people on the Eastern Shore—the same kinds of down-home country rubes he ridiculed in his Mercury dialogues.
During this period, Cain also wrote his first two conventional short stories for American Mercury (“Pastorale” and “The Taking of Montfaucon”) as well as articles for the Bookman and the Saturday Evening Post, all of which contributed to his growing reputation as a biting social satirist and master of dialogue. His Mercury pieces were especially popular, and Cain told Mencken that he hoped to write enough of them to eventually make up a collection. When Mencken mentioned this to his friend Alfred A. Knopf, also an early Cain admirer, Knopf urged Cain to contact him first whenever he was ready to do such a book. Cain eventually did write enough sketches, and the result was Our Government, published in 1930, which consisted of most of his Mercury dialogues, the short story “The Taking of Montfaucon,” and four additional dialogues done especially for the book.
Not only did the publication of Our Government further enhance Cain’s reputation, it also helped bring his name to the attention of Hollywood producers. His New York agent, James Geller, obtained offers from a few studios, and soon Geller started pressing Cain to take a job in California. Cain was not interested at first, but then, in 1931, after the World folded and Cain spent nine months at The New Yorker learning, among other things, that he could not get along with Harold Ross, he decided to take his agent’s advice. He went to Hollywood, where Geller found him a $400-a-week job at Paramount Pictures—twice what he was getting at The New Yorker.
Cain’s first assignment at Paramount was to work on a new script for The Ten Commandments. The project ended in failure, and within six months of his arrival in Hollywood, Cain was out of a job in the middle of the Depression, forty years old, and supporting a second wife (a Finn named Elina Tyszecka) and her two young children (Leo and Henrietta). Although broke and discouraged, Cain was sickened by the thought of returning to New York, and going back to a Baltimore paper appealed to him even less. As he wrote Mencken: “I have always disliked Baltimore with a venomous unreasoning dislike that goes beyond anything that can really be said against it. So here I stay for a while.” In Hollywood (“as good a place to find out where I am at as any”) at least the living was cheap.
The Cains moved from their two apartments in Hollywood’s Montecito Hotel to a little house in Burbank, and Cain settled down to try to make a living as a free-lance writer. But whenever he began to think about articles, he became depressed at being in the West, three thousand miles from his usual coordinates, ideas, and sources of information. Then he began to think: “Unconsciously,” he wrote later, “I assumed that the East was the only good seat for the show that started in 1642, and the white man began his reduction of the continent. But actually, if the Atlantic was the starting line of the great trek, the Pacific was the goal, and just as valid a place to study it from as the other side of the country.”
Cain began to study the West, especially California, and decided he had been making false assumptions. “I had supposed the West to be a bit naïve, a bit recent, a bit wild, wooly and absurd. When I examined these facts, however, I found them rather different. Actually the country is the heir to a prodigious, rich, colorful civilization that sprang into being with the first gold strike on the American River in 1848 and, indeed, back years before that, for the life that was led by the Spanish ranchers, to say nothing of the contribution of the Russians, was wholly charming.”
Gradually, as Cain continued his research, he gained more and more respect for the West, an appreciation which would soon work its way into his magazine articles. But first, he wanted to try fiction again, having been encouraged by favorable responses to the two short stories he had written for the Mercury.
Even as early as 1932, one of the principal forms of recreation in California was driving around in an automobile—through the canyons, out into the valleys, or down to the beaches. Cain loved to drive, and he took hundreds of such trips, alone, with Elina and the kids, or with friends. As he drove around in his 1932 Ford roadster, he began to feel more and more that California and its people provided a natural milieu for his writing. And there was one gas station, where he regularly stopped, that provided a spark that would eventually ignite Cain’s phenomenal career as a writer of controversial best-sellers. “Always this bosomy-looking thing comes out—commonplace, but sexy, the kind you have ideas about,” he later told an interviewer. “We always talked while she filled up my tank. One day I read in the paper where a woman who runs a filling station knocked off her husband. Can it be this bosomy thing? I go by and sure enough the place is closed. I inquire. Yes, she’s the one—this appetizing but utterly commonplace woman.”
He began to think: What about a novel in which a woman and a typical California automobile tramp kill the woman’s husband to get his gas station and car? Cain and Elina discussed the idea for months, but he was still not ready for a long story. At the same time, he only felt comfortable in his writing when he pretended to be someone else, telling his story in the first person, in the manner of Ring Lardner. He preferred to write about Eastern Shore rubes who spoke the dialect of the common man, and was most comfortable when he could pretend to be one of them.
Although critics later would say that James M. Cain was a disciple of the “Hemingway school,” the two men who had the greatest impact on the development of his literary style were Ike Newton and Ring Lardner. Newton was a bricklayer who had put a walk on the campus of Washington College while twelve-year-old Jamie Cain sat fascinated for hours, listening to Newton talk. “Later,” Cain wrote, “my dialogue would be praised off and on by critics, and I would save myself argument by acknowledging debts to various experts on the ‘vulgate,’ as H. L. Mencken called it. But actually, if a writer owes a debt to what his ears pick up, mine would be to Ike.”
Cain had become a fan of Ring Lardner just before World War I, when Lardner’s stories about a fictional ba
seball player named Jack Keefe were appearing in the Saturday Evening Post. In France, Cain wrote letters to his brother, Boydie, a young Marine pilot destined to die in a tragic accident after the Armistice. In these letters, Cain imitated Lardner’s style, and he later said it was the “only time I consciously imitated anybody.” Lardner obviously had an impact on his early dialogues and short stories written for the World and Mercury, but as Cain found out when he tried to write his novel in 1922, the colloquial dialect invariably became tedious in a long story.
So Cain put his idea for a novel in the back of his mind and decided to try another short story. The result was “The Baby in the Icebox,” and, like “Pastorale” and “Montfaucon,” it was written in the first person, Ring Lardner style. But unlike his earlier stories, “The Baby in the Icebox” was set in the West and had characters who were western in origin. Suddenly Cain found something happening in his fiction. When he wrote about the western roughneck—“the boy who is just as elemental inside as his eastern colleague, but who has been to high school, completes his sentences and uses reasonably good grammar”—the first-person technique did not begin to grate after fifty pages and he did not have to drive the reader crazy with all the “ain’ts,” “brungs,” and “fittens.” Maybe now he was ready for long fiction—at least longer than he had been writing, if not a full-length novel. In fact, James M. Cain did not really need to write a full-length novel; he had developed a style which enabled him to tell a story in about half the space required by the average novelist.
Cain sent “The Baby in the Icebox” to Mencken, who liked it and wrote back that it was “one of the best things you have ever done.” The story attracted considerable attention when it was published in the Mercury in 1933, and Cain’s agent immediately sold it to Paramount for $1,000. The studio gave it to screenwriters Casey Robinson and Frank Adams, who turned it into Cain’s first movie—She Made Her Bed, starring Richard Arlen, Sally Eilers, and Robert Armstrong. Paramount had wanted to cast Baby Le Roy as the baby who ends up in the icebox, but he had outgrown the part, so they gave it to Richard Arlen, Jr., instead.