Comprehensive biography delivers everything you wanted to know about the rise and fall of an influential writer.
Despite being well respected in France and attaining cult status in America, Ted Lewis is largely forgotten in his native Britain. Author of nine novels, his legacy today largely rests on the move adaptation of Jack’s Return Home, filmed as Get Carter.
Fusing techniques borrowed from the hard-boiled American crime fiction with social realism he founded a new school of British crime writing. Continuing to exert a strong influence on contemporary fiction, echoes of his most famous work can be found in Jake Arnott’s underworld novels, Stuart Neville’s The Ghosts of Belfast, David Peace’s Red Riding trilogy, and Shane Meadows’ film Dead Man Shoes. Notable fans of the author include Derek Raymond, James Sallis, Max Allan Collins, Ben Myers, and Cathi Unsworth.
In life and death, the author drifted into relative obscurity and his most famous work has been obscured by the better-known Michael Caine starring film version. Despite being championed by a small but dedicated group of admirers greater acclaim continues to elude Lewis and his work. Currently, most of his novels are out of print in print in the UK. For decades Ted Lewis was one of the most significant British crime authors most people had never read.
Nick Triplow’s meticulously researched biography is the definitive account of Lewis’ life and his work’s continued relevance. The book is a nuanced study of a tortured soul that is as compelling and rich as anything written by Lewis.
Equal parts social document and crime fiction, the best of Lewis’ novels attempted to stretch the parameters of what it was possible to achieve within the confines of British crime fiction. Defined in the popular consciousness by the Mike Hodges directed film Get Carter, Triplow reveals that the adaptation was largely ignored or misunderstood until undergoing rediscovery and rehabilitation in the 1990s courtesy of Loaded magazine’s aborted attempt to publish a comic-strip version. Triplow suggests that Crime Time‘s publication of a Lewis retrospective issue in 1997 alongside the screening of a restored Get Carter at the National Film Theatre momentarily placed the author, or more specifically his most commercially successful work, in the new laddism zeitgeist. It was particularly apt that the book and film were reappraised in the dying days of Britpop having previously been recognised as signalling the end of the 1960s.
Interviewing school friends, university classmates, work colleagues, drinking pals, and fellow writers Triplow examines possible causes of Lewis’ self-destructive behaviour and his excessive drinking. Discussing Lewis’ literary output in relation to his life Triplow reveals that the author frequently transposed real events, people, and places into his work. The experience of being tormented by a sadistic headmaster was retold in Lewis’ 1975 novel The Rabbit. Gangsters met in Soho drinking clubs inspired characters and events in Get Carter and subsequently written crime novels and TV scripts.
Getting Carter is an impressive study that shatters numerous half-truths and myths about Lewis that have circulated since his death. Triplow skilfully recreates a long lost era enabling the reader to momentarily walk in Lewis’ path and understand why he stood apart from other crime writers.