Richard Stark’s Parker: The Martini Edition by Darwyn Cooke. IDW, 2011. 9781600109805. 360pp.
Contains the previously published adaptations of The Hunter and The Outfit, as well as the short “The Man with the Getaway Face,” and a new short, O. Henry-esque adaptation for this volume, “The Seventh”, and lots of extras.
I was having a crappy day yesterday, and somewhere in the back of my mind I must have remembered that this book was about a crook having a few bad days of his own.
The Hunter opens in 1962 as Parker is walking back into New York City. His wife shot him at the end of a recent heist, and then she took off with his partner on the job, Mal Resnick. They assumed Parker was dead. He tracks her down. Then he interrogates the man bringing her an envelope of cash to find out where that’s coming from. Then he tracks that guy down and keeps working his way up the chain of command. Resnick used the money from their heist to buy his way back into the mob. But the mob, instead of protecting Resnick, wants to see him deal with the problem he’s created: Parker.
I won’t tell you how it resolves, but I will say it’s the first in a long line of Parker novels, and at the end of The Hunter Parker needs a new face to hide from the mob (they prefer to be called The Outfit). That’s all covered in “The Man with the Getaway Face.” Then in The Outfit, after Parker survives getting fingered by an informant, he heads out to make peace with the mob by making things tough for them when he and his friends start hitting their operations. It’s beautiful. And all three of those books form one long story.
This is a deluxe, oversized collection of these previously published books. The duotone art looks fabulous on the thick, cream paper, and the larger pages really let the art sing. (Plus I didn’t need glasses to read the print.) There’s a conversation at the front of the book between Tom Spurgeon, crime writer Ed Brubaker, and Cooke, and a ton of extra art by Cooke that includes portraits of Parker, Westlake, and a portfolio of images inspired by the Parker films and others. There’s a drawing of Michael Caine in Get Carter (based on the excellent novel by Ted Lewis) that I just may have to cut out and frame.
These graphic novel adaptations have lead me to track down some of the original novels by Stark (a pen name of Donald Westlake). The original prose is spare, no nonsense, and tough, without the over-description and sentimentality that ruins too many modern mysteries for me. Parker isn’t ever nice or easy, and he doesn’t flinch from difficult and dangerous work, but he’s not stupid. No one could draw a 60s tough guy like Cooke, and the cinematic quality of his art makes this a better adaptation than any of the films — it enhances and clarifies the novels without changing them. (If, like me, you read this and want to see Parker on film, try Point Blank starring Lee Marvin or The Split starring Jim Brown (with Donald Sutherland, Gene Hackman, and Ernest Borgnine). Both Marvin and Brown feel like Parker. But don’t even bother with the latest film adaptation starring Jason Statham — it’s unforgivable even for a Statham fan like me.)