Sequel to Drive

Keith Rawson reveals James Sallis's sequel to Drive is coming out in April from Poisoned Press.

Drive, the film

James Sallis's Drive came out from a small publisher in 2005. It was picked by up for a reprint by a big publisher in 2006. I read it the same year and fell in love. Drive was translated in Finnish, due to my efforts, in 2009 under the title Kylmä kyyti. Already at that time, we knew there were plans of the movie based on the book (with Hugh Jackman starring), but we had to wait until this year to finally get the film.

And what a movie it is! Surely handled, with a very cool, detached style, directed by Nicolas Winding Refn, a Danish filmmaker whose Pusher trilogy is one of the great crime classics of the late 20th and early 21st century. This is his first Hollywood movie, and there's a sort of Nordic melancholy to it. The action scenes are great being somewhat elliptic, with something always left out. There are some very good actors in the film, with Albert Brooks and Ron Perlman rising above the others. Ryan Gosling who's replaced Jackman looks very neat in his scorpio jacket, well-fitting skinny jeans and driver's gloves. Visually the film's almost like the eighties blown to heaven, the feeling that's enhanced by the use of very cool eighties' kind of synth pop in the soundtrack. The driving scenes are really stylish, almost totally without a sound. 

Yet I was somewhat disappointed. Sallis's novel is a ballad of great beauty, love and sadness, yet Winding Refn really can't portray these feelings with quite the same verve as he does loneliness and compulsion. The results are too mild, too conventional. It's a serious drawback for the film. 

But I have to give credit to the screenwriter Hossein Amini making a clear narrative out of Sallis's non-chronological novel. I felt, though, the film lacked something when the story was made linear. I can't quite put my finger on it, but it might have something to do with the metafictional quality of Sallis's novel. The film also lacks what might be the most superficial aspect of Sallis's book, the dropping of the names of other writers, like Borges and Cervantes. They actually serve a purpose in the book that's more intellectual than the film (and is not ashamed to show it), but maybe luckily they were dropped out from the film. 

With those fell something else, though. I really love the novel's ending, the words with which it transforms into a ballad, a story of a heroic bandit who managed to right some wrongs and who, after that, rose to mythic heights, but still feels having a loss, missing something he once loved or cared for. Let me quote directly from Sallis himself (mind you, this is a spoiler, so if you haven't read the book or seen the film, beware!):

"Far from the end for Driver, this. In years to come, years before he went down at three a.m. on a clear, cool morning in a Tijuana bar, years before Manny Gilden turned his life into a movie, there'd be other killings, other bodies. 

Bernie Rose was the only one he ever mourned." 

(You know, Sallis is developing a sequel to Drive. Those are the words he can hang on to.) 

So maybe Winding Refn's film is the film Manny Gilden (a scriptwriter in the book, left out from the film) did? Then again, I was also a bit shocked to be reminded that there's a bond between Bernie Rose and Driver, the aspect that the film never mentions. Well, films based on books don't have to have the same things in them, but I thought this particular aspect is one of the things that makes Sallis's book so great.

How can someone write this beautifully?

"He is awake, with no idea what time it maybe, or whether, really, he has slept at all. He sleeps poorly these days. Strange, too, how time's become a blur. At first there's no reason to know the time of day, then days themselves give way, finally years. Till only the change of seasons marks another passage, another decline. To remember, he has to think back to where he lived, what rented room or cheap apartment in Gary, Gretna, Memphis, Seattle."

The first paragraph of James Sallis's A Killer Is Dying, not yet published.

James Sallis's Kylmä kyyti (aka Drive) out in Finnish!

James Sallis's Kylmä kyyti (Drive) is the latest book in the paperback series I edit for the Finnish publisher, Arktinen Banaani. The book is just fresh from the printers and I'm not sure if it's available in bookshops as yet, but it will be soon. The book tells about a Hollywood stunt driver who's engaged into criminal activity on the side. He's fallen into a trap and the book follows both his past and his future almost at the same time, in vivid non-chronological narration. The Finnish title means literally "Cold Ride".

I asked some questions from James Sallis, who's been writing from the late sixties on and has been getting more widely-known, perhaps mainly due to the fact that Drive is just an excellent novel, one that combines hard-hitting violence and ballad-like beauty. I'll translate the interview in Finnish later on.

The excellent cover is again by Ossi Hiekkala, who's done the cover art for the earlier Banaani paperbacks as well.

Drive is a very lean book - the Finnish edition is only 208 pages, with a loose layout. Why did you want to write such a short book?

My intention from the first was to write a contemporary equivalent of the old original paperback novels that came from Fawcett Gold Medal and such: short, hard-hitting, muscular, with great momentum.

Have you always been interested in the world of stunt car drivers? What interests you in them?

Actually, I knew very little about the subject. Drive began with the character, with Driver; to write him, and to know him, I had to learn about driving. Some of it is from books, and some of it is from a friend who test drives cars for a living.

Drive is also a very beautiful book. In the end, just in the last lines, it transforms into a ballad. Was this something you set out to do?

Thank you. I had no idea, and in fact was concerned all along with how I’d be able to bring the book to a suitable end. The end came to me in a rush – the character had to take on a greater presence, become mythlike. Those final lines dropped into my head as I was out for one of many walks, and I hurried home to get them down.

Drive has a very difficult narrative technique, speeding back and forth in time. Were you influenced by Quentin Tarantino or was this something you've been doing for a long time?

From the first. If you look at a Lew Griffin novels, you may find one chapter detailing what happened today, the next chapter skipping ahead three days, the chapter after that returning to “tomorrow.” The most blatant example of this would be the conclusion of the second Turner novel, Cripple Creek, where I skip ahead to the aftermath and then, in the final chapter, return to what occasioned the aftermath. Let me emphasize, though, that this is by no means trickery; these are solutions I’ve found to my desire to tell the story as fully as possible. In our minds, we do not live in straight lines.

What were some of your other influences? Walter Hill's film The Driver, perhaps? You also name some European, more artful writers, like Celan. What's behind that? It's not usual for a crime writer to drop names like that.

Incredible as it seems, I didn’t know the Walter Hill film until after Drive was written; I’ve still not seen it. As for European writers, I’ve a long, long engagement with them, beginning when I lived in London in the late Sixties – and especially with French writers. I did, for instance, the sole English-language translation of Raymond Queneau’s novel Saint Glinglin. I’ve translated poetry by Cendrars, Yves Bonnefoy, Neruda, Jacques Dupin, Pasternak, and many others. I am also profoundly influenced by science fiction, which is what I first wrote professionally; most of my oldest friends are science fiction writers.

You are better known for your longer and more complex novels, for example those featuring PI Lew Griffin. Will you be writing more in the vein of Drive?

Drive was meant (like Death Will Have Your Eyes before it) primarily as homage, and as a gift to myself. None of us had any suspicion that it would prove so popular. The novel I’m finishing up now began as – I thought – another muscular, fast-moving novel, but it promptly changed course. And at this point I’m just kind of following it along, seeing where it wants to go.

There are rumours of a movie based on Drive, with Hugh Jackman in the lead. Do you know anything about what state is that in?

The option has just been renewed. They have what I’m told is quite an outstanding script. We’ll see. The six Lew Griffin novels, by the way, are also in development.

Thank you for your time, Jim!