Status
Available
Genres
Publication
The Feminist Press at CUNY (2005), Edition: 1st Feminist Press Ed, 256 pages
Description
In the doorway of an elegant New York apartment, blood seeps over silk negligee, over polished wood floors and plush carpet: a beautiful young woman lies dead, her face disfigured by a single gun shot. But who was Laura? What power did she hold over the very different men in her life? How does her portrait bewitch even Mark McPherson, the hard-bitten detective assigned to find her murderer? One stormy night, Mark's investigation takes an unexpected turn...
User reviews
LibraryThing member Bookmarque
Unlike many reviewers, I haven’t seen the famous Otto Preminger movie although I had heard of it so I went in blind and that’s the best way to experience this book because of an unexpected event that happens relatively early on. I won’t call it a twist because I don’t think it is, but it
The story is set up by Waldo Lydecker, a scathingly witty writer who is Laura’s mentor and a fabulously fussy queen. If you don’t believe me, behold - “...I unscrewed the carnelian cap of the silver box in which I keep my saccharine tablets. Although I spread butter lavishly on my brioches, I cling religiously to the belief that the substitution of saccharine for sugar in coffee will make me slender and fascinating.”
In this scene he’s indulging Detective Mark McPherson who has been assigned to investigate Laura’s murder. Mark questions, Waldo answers, but Waldo seems to feel that he is the one controlling the conversation. They meet several times and the popular subject of their talk is Shelby Carpenter; Laura’s fiancee. Those three men and their question, lies and subterfuges make up the first part of the book. Then there’s Laura’s diary which I have to say had some of the best lines and passages about her relationship with Shelby.
“I had used him as women use men to complete the design of a full life, playing at love for the gratification of my vanity, wearing him proudly as a successful prostitute wears her silver foxes to tell the world she owns a man. Going on thirty and unmarried, I had become alarmed. Pretending to love him and playing the mother game, I bought him an extravagant cigarette case, fourteen-karat gold, as a man might buy his wife an orchid or a diamond to expiate infidelity.
And now that tragedy has wiped away all the glib excuses, I see that our love was as bare of real passion as the mating of two choice vegetables which are to be combined for the purpose of producing a profitable new item for the markets. It was like love in the movies; contrived and opportune. And now it was over.
Two strangers sat at opposite ends of the couch. We tried to find words that had the same meaning for both of us.”
It’s a pretty wonderful summation of the illusion of having it all. Laura is a successful career woman and already she is inadequate and incomplete. A man in her position, for example her fiance, wouldn’t be thought of the same way. His remaining a bachelor would make him seems sensible, desirable and mysterious. But when a woman does it, she’s made to feel small and defective.
That cigarette case is a pivotal prop in the story although it’s not used in a way many crime writers would use it. To say more would be to give away too much. In the end the manipulator becomes the manipulated and there’s a pretty nice take-down scene. Just prior there is a terrific moment where a seemingly kind and gentle character turns sinister in just a few paragraphs. It’s a light touch and it works beautifully to make you feel unease. Bravo!
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mirrors events in the book and we are deceived. The story is set up by Waldo Lydecker, a scathingly witty writer who is Laura’s mentor and a fabulously fussy queen. If you don’t believe me, behold - “...I unscrewed the carnelian cap of the silver box in which I keep my saccharine tablets. Although I spread butter lavishly on my brioches, I cling religiously to the belief that the substitution of saccharine for sugar in coffee will make me slender and fascinating.”
In this scene he’s indulging Detective Mark McPherson who has been assigned to investigate Laura’s murder. Mark questions, Waldo answers, but Waldo seems to feel that he is the one controlling the conversation. They meet several times and the popular subject of their talk is Shelby Carpenter; Laura’s fiancee. Those three men and their question, lies and subterfuges make up the first part of the book. Then there’s Laura’s diary which I have to say had some of the best lines and passages about her relationship with Shelby.
“I had used him as women use men to complete the design of a full life, playing at love for the gratification of my vanity, wearing him proudly as a successful prostitute wears her silver foxes to tell the world she owns a man. Going on thirty and unmarried, I had become alarmed. Pretending to love him and playing the mother game, I bought him an extravagant cigarette case, fourteen-karat gold, as a man might buy his wife an orchid or a diamond to expiate infidelity.
And now that tragedy has wiped away all the glib excuses, I see that our love was as bare of real passion as the mating of two choice vegetables which are to be combined for the purpose of producing a profitable new item for the markets. It was like love in the movies; contrived and opportune. And now it was over.
Two strangers sat at opposite ends of the couch. We tried to find words that had the same meaning for both of us.”
It’s a pretty wonderful summation of the illusion of having it all. Laura is a successful career woman and already she is inadequate and incomplete. A man in her position, for example her fiance, wouldn’t be thought of the same way. His remaining a bachelor would make him seems sensible, desirable and mysterious. But when a woman does it, she’s made to feel small and defective.
That cigarette case is a pivotal prop in the story although it’s not used in a way many crime writers would use it. To say more would be to give away too much. In the end the manipulator becomes the manipulated and there’s a pretty nice take-down scene. Just prior there is a terrific moment where a seemingly kind and gentle character turns sinister in just a few paragraphs. It’s a light touch and it works beautifully to make you feel unease. Bravo!
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LibraryThing member fuzzi
I was introduced to "Laura" at an early age...not in book form, but through the magic of cinema. It has remained a favorite of mine.
So when I discovered "Laura" in paper format, I looked forward to a good read, based upon my acquaintance with the film. I was not disappointed.
A woman is murdered,
Different from and yet similar to the movie of the same name, this mystery held my attention to the end. I especially and thoroughly enjoyed the verbal altercations between the characters. Recommended.
So when I discovered "Laura" in paper format, I looked forward to a good read, based upon my acquaintance with the film. I was not disappointed.
A woman is murdered,
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shot in the face at close range, thus bringing a detective into the realm of and amongst the people she knew and loved. As detective Mark McPherson digs deeper into the life of this tragically murdered woman, he finds himself drawn to who she was...and suddenly finds himself in love, with Laura.Different from and yet similar to the movie of the same name, this mystery held my attention to the end. I especially and thoroughly enjoyed the verbal altercations between the characters. Recommended.
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LibraryThing member cogitno
Source for the great film Noir classic of the same name; but it is not Noir. A hardboiled detective in the central role; but he treads softly. A femme fatale central to the plot; but played by an portly and acerbic elderly man. A fortune hunting 'doxy' to sow the seeds of confusion; but in the
Vera Caspary has taken all the elements of the classic Noir tale and turned them upside down. The result is an innovative and subtle mystery. The plot has some minor annoyances, but they are subjugated by a brilliant story.
Writing the novel in first person narrative form, from three separate viewpoints, was an ambitious undertaking. It did not fully succeed. The language too often gets in the way of the narrative: it is just a little off centre. The author's grasp improves with each chapter so that by the final third, it comes fully into focus.
Laura is not masterpiece of writing. It is a masterpiece of story telling.
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guise of a young southern gentleman. And the hero is a heroine. Vera Caspary has taken all the elements of the classic Noir tale and turned them upside down. The result is an innovative and subtle mystery. The plot has some minor annoyances, but they are subjugated by a brilliant story.
Writing the novel in first person narrative form, from three separate viewpoints, was an ambitious undertaking. It did not fully succeed. The language too often gets in the way of the narrative: it is just a little off centre. The author's grasp improves with each chapter so that by the final third, it comes fully into focus.
Laura is not masterpiece of writing. It is a masterpiece of story telling.
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LibraryThing member Beezie
Yikes! I'm not sure what put me further off, its casual racism, the un-ironic misogyny or the incredibly obvious ending.
I know, I know we're supposed to treat this sort of out-moded racist backdrop like hate-speak comments made by elderly people. "Don't be offended, she's from another era..." Yep,
As a detective story? I don't know, I suppose I'm not sufficiently fond of the genre to give an opinion. It was an easy plot to follow.
I know, I know we're supposed to treat this sort of out-moded racist backdrop like hate-speak comments made by elderly people. "Don't be offended, she's from another era..." Yep,
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an unpleasant, hateful era. One for which I'm not terribly nostalgic. As a detective story? I don't know, I suppose I'm not sufficiently fond of the genre to give an opinion. It was an easy plot to follow.
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LibraryThing member DeltaQueen50
Laura by Vera Caspary is a great murder mystery which unfolds through the viewpoint of four of the main characters. This novel has elements of mystery, psychological drama and romance mixed together in a very readable story. Unfortunately it has been overshadowed by the 1944 film that remains a
I readily admit that I have trouble separating the novel from the movie as I am a huge fan of the Otto Preminger film. The differences between the film and the book lies mostly in the way Laura is portrayed. Caspary describes Laura Hunt as a “modern” woman, a career orientated, ambitious woman in her early thirties who has great charm and vulnerability when it comes to men and love. Preminger’s Laura was younger, more seductive, elusive and mysterious. I was surprised that although the film is considered a prime example of film noir, the book really has none of the noir elements in it’s structure.
Nevertheless, I still found Laura to be a spell bounding read and the author’s homage to The Woman in White shines through each page, from the four character narration to Waldo Lydecker, who bears not a small resemblance in either features or character to Count Fosco, and of course, to the use of the name Laura.
Overall, I recommend that one indulges in both the book and the film of Laura, as each are classics and well worth the time spent investigating.
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classic.I readily admit that I have trouble separating the novel from the movie as I am a huge fan of the Otto Preminger film. The differences between the film and the book lies mostly in the way Laura is portrayed. Caspary describes Laura Hunt as a “modern” woman, a career orientated, ambitious woman in her early thirties who has great charm and vulnerability when it comes to men and love. Preminger’s Laura was younger, more seductive, elusive and mysterious. I was surprised that although the film is considered a prime example of film noir, the book really has none of the noir elements in it’s structure.
Nevertheless, I still found Laura to be a spell bounding read and the author’s homage to The Woman in White shines through each page, from the four character narration to Waldo Lydecker, who bears not a small resemblance in either features or character to Count Fosco, and of course, to the use of the name Laura.
Overall, I recommend that one indulges in both the book and the film of Laura, as each are classics and well worth the time spent investigating.
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LibraryThing member DesertIslandia
As another reviewer mentioned when comparing novel and film versions, Waldo is originally described as fat (I wish I could see version of Woman in White featuring Sydney Greenstreet--maybe that's one reason he was not available to appear in film of Laura?
Book version is told in different writing
These familiar depictions of handsome young men also probably were the types that made Mark McPhearson think he had seen Shelby Carpenter somewhere before. For interesting discussion of the influence of magazines shaping American ideals, see non-fiction book THE GIRL ON THE MAGAZINE COVER
By the way, Caspary's autobiography, "Secrets of Grown-ups" describes her experiences as a less glamorous "career girl" which must have been one reason she created in Laura a strong woman alternative to typical detective noir femme fatales. See related comments on review of novel TWENTIES GIRL--and follow the clues!
Book version is told in different writing
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styles of different characters--I think film only retains the "voice" of Waldo. By the way, Waldo's last name was likely inspired by name of illustrator most famous for his creation of "The Arrow Shirt man" featured in magazine advertisements. These familiar depictions of handsome young men also probably were the types that made Mark McPhearson think he had seen Shelby Carpenter somewhere before. For interesting discussion of the influence of magazines shaping American ideals, see non-fiction book THE GIRL ON THE MAGAZINE COVER
By the way, Caspary's autobiography, "Secrets of Grown-ups" describes her experiences as a less glamorous "career girl" which must have been one reason she created in Laura a strong woman alternative to typical detective noir femme fatales. See related comments on review of novel TWENTIES GIRL--and follow the clues!
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LibraryThing member book58lover
Although I knew the outcome from the movie of the same name, it was delightful reading this book. Told in different sections from the point of view of the three principals you get a feeling for each character. The author entwines a mystery in a romance and each works equally well. Never stripped
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down like the film noir it seems to be, you are left to revel in the language. And the name Waldo Lydecker is just delicious. Of the period but still interesting. Show Less
LibraryThing member Dabble58
ust finished reading this fabulous book by Vera Caspary in a delightful reprint by Feminist Press. I quite like the old time pulp detective stories with the hard-boiled detectives, the dames, the guns. They feel like comic books.
This is not one of these. Though classified as pulp. this is a
I don't find many books that keep me up at night, reading through slitted eyes that want to close. Or, at least, not many that I am able to remember the plots as I doze in and out, struggling to keep reading. This book did. And bravo to Caspary for making Laura a complex, strong, stand-alone character, not just a hanger for clothing. She was one of the first who did in this genre, and she did it fantastically well. Now I have to get "Bedelia" by the same author. I can't wait.
This is not one of these. Though classified as pulp. this is a
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wonderful character study of a detective story. The plot is absorbing, the mystery is enchanting and I was kept guessing, but the real genius here is in Caspary's character development. Each character is given a voice, and their lives are detailed enough so that you feel as if you can see them. In every case, the interplay between the characters makes the story multi-dimensional, gripping, and beyond expectations.I don't find many books that keep me up at night, reading through slitted eyes that want to close. Or, at least, not many that I am able to remember the plots as I doze in and out, struggling to keep reading. This book did. And bravo to Caspary for making Laura a complex, strong, stand-alone character, not just a hanger for clothing. She was one of the first who did in this genre, and she did it fantastically well. Now I have to get "Bedelia" by the same author. I can't wait.
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LibraryThing member raizel
Even knowing what happens---and the movie is pretty close to the book---it's still worth reading. Multiple first-person narrators.
A quote:
"Reared in a world that honors only hundred per cents, he had learned in maturity what I knew as a miserable, obese adolescent, that the lame, the halt, and the
A quote:
"Reared in a world that honors only hundred per cents, he had learned in maturity what I knew as a miserable, obese adolescent, that the lame, the halt, and the
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blind have more malice in their souls, therefore more acumen." [p. 22] Waldo Lydecker describing Mark McPherson, who lives with the results of a bullet to his leg. Show Less
LibraryThing member lilithcat
Yup, that Laura, the one they made into a movie with Gene Tierney, Dana Andrews, Clifton Webb, Judith Anderson, and Vincent Price.
You know the story. Det. Mark McPherson is called in to solve the murder of Laura Hunt, beautiful, vivacious young career girl who is killed on the eve of her marriage
The beginning of the story is told by Waldo Lydecker, aesthete, man about town and well-known newspaper columnist, who is himself in love with Laura. The point of view then shifts to Mark, then Carpenter, Laura, and back to Mark. It's well done.
I'd seen the movie before I read the book, and for once I can say that, despite some changes, the movie is as good as the book. (Though from Caspary's description of Lydecker, the studio ought to have cast Sidney Greenstreet rather than Webb.) It's not great literature; it's not intended to be. But Caspary is good at what she does, describing the life of a woman like Laura and the society in which she moved.
If you liked the movie, read the book.
Quibble from a criminal lawyer: police officers, particularly a homicide detective and his superior, should know that corpus delicti does not mean "corpse"!
You know the story. Det. Mark McPherson is called in to solve the murder of Laura Hunt, beautiful, vivacious young career girl who is killed on the eve of her marriage
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to Shelby Carpenter, a ne'er-do-well with a bit of the gigolo about him. He falls in love with the dead woman, and then she walks in the door. So who was the woman who took a shotgun blast in the face in Laura's apartment? And was she or Laura the intended victim?The beginning of the story is told by Waldo Lydecker, aesthete, man about town and well-known newspaper columnist, who is himself in love with Laura. The point of view then shifts to Mark, then Carpenter, Laura, and back to Mark. It's well done.
I'd seen the movie before I read the book, and for once I can say that, despite some changes, the movie is as good as the book. (Though from Caspary's description of Lydecker, the studio ought to have cast Sidney Greenstreet rather than Webb.) It's not great literature; it's not intended to be. But Caspary is good at what she does, describing the life of a woman like Laura and the society in which she moved.
If you liked the movie, read the book.
Quibble from a criminal lawyer: police officers, particularly a homicide detective and his superior, should know that corpus delicti does not mean "corpse"!
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LibraryThing member Sheila1957
Basis for the movie Laura, the book is written in three voices--Waldo, Mark McPherson, and Laura. Each has their own point of view on the people and actions that occur.
I enjoyed the book. It is different from the movie but the basics are there. Of course, you get a deeper feel for the people and
I enjoyed the book. It is different from the movie but the basics are there. Of course, you get a deeper feel for the people and
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the actions in the book because you get the thought processes that are not available in the book. Waldo is a piece of work. I'm glad Laura finally sees through him and Shelby, her fiancé. Mark finally figures it all out and comes to the rescue. This really give a sense of time and place. A piece of noir. Still worth reading. Show Less
LibraryThing member sweetiegherkin
Laura Hunt, a young socialite is gunned down in her own apartment one night just days before her planned wedding, causing her closest friend to despair, her fiancée to act squirrely, and the detective on the case to become obsessed with a woman he never knew in life.
After reading Vera Caspary's
Despite being from the 1940s and having occasional pop culture references or slang words that were specific to that era, this book felt surprisingly fresh and modern. Laura's issues of trying to make a successful career and to fit in with a popular crowd are still applicable and relatable as is her questioning of her life choices, particularly regarding her romantic relationships with men. (An afterword in the book describes Caspary's writing style as "[making] murder a context in which both male and female characters resolve their own mysterious lives, as though the crime itself were a metaphor for the conundrum of relationships versus independence.") And the myriads of crime shows on TV right now make it abundantly clear that a noir murder mystery like this one is still entertaining. There are several twists in the plot and some points are kept intentionally vague to keep the reader guessing. The final reveal was a surprise to me, which I always consider a good thing in a mystery novel, but it was not a conclusion too outrageous to be plausible (another bonus).
All in all, I'd highly recommend this title for those who like a compelling read, enjoy a good detective story, or prefer strong female leads in their books.
After reading Vera Caspary's
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Bedelia last year, I knew it was just a matter of time before I got to Laura. While the two books are actually vastly different, I enjoyed them both and it was a close call saying which one I liked better. Unlike Bedelia, Laura is written from a variety of perspectives, which was particularly unique for a noir/thriller type book from the 1940s. Each person had a distinct voice; my only qualm with this was that the first narrator, Laura's friend and patron Waldo Lydecker, was the most difficult one to enjoy reading with his pretentious airs and affectations. Starting the book with his narration made it a bit more difficult to get into the novel at the outset. Once the first switch was made to Detective MacPherson's point of view, I found the book much easier to get into and was eager to keep reading to see what would happen next. The characterizations were all vivid and realistic (even admittedly Lydecker's), and this was a definite bonus in addition to the intriguing plot. Despite being from the 1940s and having occasional pop culture references or slang words that were specific to that era, this book felt surprisingly fresh and modern. Laura's issues of trying to make a successful career and to fit in with a popular crowd are still applicable and relatable as is her questioning of her life choices, particularly regarding her romantic relationships with men. (An afterword in the book describes Caspary's writing style as "[making] murder a context in which both male and female characters resolve their own mysterious lives, as though the crime itself were a metaphor for the conundrum of relationships versus independence.") And the myriads of crime shows on TV right now make it abundantly clear that a noir murder mystery like this one is still entertaining. There are several twists in the plot and some points are kept intentionally vague to keep the reader guessing. The final reveal was a surprise to me, which I always consider a good thing in a mystery novel, but it was not a conclusion too outrageous to be plausible (another bonus).
All in all, I'd highly recommend this title for those who like a compelling read, enjoy a good detective story, or prefer strong female leads in their books.
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LibraryThing member mahallett
this appeared first as a collier's serial. very clever. my last book jan 2014.
LibraryThing member leslie.98
Perhaps if I hadn't seen the wonderful 1944 movie adaptation, I would have given this the full 5*. Even knowing the solution, this is a great mystery novel.
LibraryThing member sturlington
If you are familiar with the film version of this novel, then you know the story. The film is pretty faithful, although the afterword of the Femmes Fatales publication provides an interesting account of how the author disagreed with the director on certain decisions he made. What interested me in
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reading this was the insight into Laura's character, particularly found in the section that is written in her voice, which was the best part of the novel, in my opinion. She is not a femme fatale as we may think of that stereotype, but rather a woman who believes in independence as achieved through work, and a woman who can take a frank look at herself and see her own flaws and mistakes, but also who knows what she wants from life and doesn't apologize for it. Her character was more in-depth and multilayered than I was expecting, and it elevates this novel above mere pulp noir. Show Less
LibraryThing member Chris.Wolak
Snappy with good one-liners. Enjoyed the multiple narrators and didn't really see Laura as the femme fatale she's said to be. She seemed more the modern working woman who wasn't afraid to use her brain and just happened to be beautiful. Will watch the 1944 movie adaptation asap.
LibraryThing member ChazziFrazz
A murder told from the viewpoints of the four main characters.
A woman is shot in the face when she answers the front door. She is identified as Laura, the woman who rents the apartment. The damage to her face is so extensive that some of the people have doubts.
Waldo Lydecker, a snide, self-centered
Shelby Carpenter, a smooth, southern gentleman, who is engaged to Laura. They were to married the day after the day she was murdered.
Mark McPherson, the detective assigned to the case, finds he is fascinated by Laura to the point that he is possibly falling for her. A distraction he doesn’t need to succumb to.
Lydecker and Carpenter each make good suspects. For McPherson either one would do, but he is a man for truth and not publicity. He takes his time and learns more about Laura than he expected. Each suspect has secrets regarding their friendship with Laura.
Obsession, guile, subterfuge, suspicion and sarcasm run throughout the book. Sifting through layers, the relationships separate to disclose the murderer.
A classic read, that was also a hit movie. Between the two, the book was better for mood and tension.
A woman is shot in the face when she answers the front door. She is identified as Laura, the woman who rents the apartment. The damage to her face is so extensive that some of the people have doubts.
Waldo Lydecker, a snide, self-centered
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gossip columnist claims to be a close friend of Laura, and also to have strong feelings for her.Shelby Carpenter, a smooth, southern gentleman, who is engaged to Laura. They were to married the day after the day she was murdered.
Mark McPherson, the detective assigned to the case, finds he is fascinated by Laura to the point that he is possibly falling for her. A distraction he doesn’t need to succumb to.
Lydecker and Carpenter each make good suspects. For McPherson either one would do, but he is a man for truth and not publicity. He takes his time and learns more about Laura than he expected. Each suspect has secrets regarding their friendship with Laura.
Obsession, guile, subterfuge, suspicion and sarcasm run throughout the book. Sifting through layers, the relationships separate to disclose the murderer.
A classic read, that was also a hit movie. Between the two, the book was better for mood and tension.
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Subjects
Awards
Language
Original language
English
Original publication date
1942 (serial)
1943 (book)
Physical description
256 p.; 5 inches
ISBN
1558615059 / 9781558615052