TO TALK about Erle Stanley Gardner, it is inevitable that large numbers come into play. Here are a few:
*86—Number of Perry Mason books; eighty-two novels, four short story collections.
*130—Number of mystery novels written by Gardner.
*1,200,000—The number of words that Gardner wrote annually during most of the 1920s and 1930s. That is a novel a month, plus a stack of short stories, for a fifteen-year stretch.
*2,400,000—The number of words Gardner wrote in his most productive year, 1932.
*300,000,000—The number of books Gardner has sold in the United States alone, making him the best-selling writer in the history of American literature.
What cannot be quantified is what magic resided in that indefatigable brain that made so many millions of readers come back, book after book, for more of the same. Not that it was the same.
The Perry Mason series had a template, a model, a formula, if you like. But the series changed dramatically over the years. Gardner started his career as a writer for the pulp magazines that flourished in the 1920s and 1930s. Authors were famously paid a penny a word by most of the pulps, but the top writers in the top magazines managed to get all the way up to three cents a word. This munificent fee was reserved for the best of the best of their time, some of whom remain popular and successful to the present day (Dashiell Hammett, Raymond Chandler, Cornell Woolrich), some of whom are remembered and read mostly by the modest coterie that avidly reads and collects pulp fiction (Carroll John Daly, Arthur Leo Zagat, Arthur J. Burks). One who earned the big bucks regularly, especially when he wrote for Black Mask, the greatest of the pulps, was Erle Stanley Gardner.
Gardner had learned and honed his craft in the pulps, so it is not surprising that the earliest Perry Mason novels were hard-boiled, tough-guy books, with Mason as a fearless, two-fisted battler, rather than the calm self-possessed figure that most readers remember today. Reading the first Mason novels, The Case of the Velvet Claws, published in 1933, and The Case of the Careless Kitten, published twenty years later, it is difficult to remember that they were written by the same author. Both styles, by the way, were first-rate, just different.
Gardner was born in Malden, Massachusetts, in 1889. Because his father was a mining engineer, he traveled often as a child. As a teenager, he participated in professional boxing as well as promoting unlicensed matches, placing himself at risk of criminal prosecution, which gave him an interest in the law. He took a job as a typist at a California law firm and after reading law for fifty hours a week for three years, he was admitted to the California bar. He practiced in Oxnard from 1911 to 1918, gaining a reputation as a champion of the underdog through his defense of poor Mexican and Chinese clients.
He left to become a tire salesman in order to earn more money but he missed the courtroom and joined another law firm in 1921. It is then that he started to write fiction, hoping that he could augment his modest income. He worked a full day at court, followed that with several hours of research in the law library, then went home to write fiction into the small hours, setting a goal of at least 4,000 words a day. He sold two stories in 1921, none in 1922, and only one in 1923, but it was to the prestigious Black Mask. The following year, thirteen of his stories saw print, five of them in Black Mask. Over the next decade he wrote nearly fifteen million words and sold hundreds of stories, many pseudonymously so that he could have multiple stories in a single magazine, each under a different name.
In 1932, he finally took a vacation, an extended trip to China, since he had become so financially successful. That is also the year in which he began to submit his first novel, The Case of the Velvet Claws. It was rejected by several publishers before William Morrow took it, and Gardner published every mystery with that house for the rest of his life. Thayer Hobson, then the president of Morrow, suggested that the protagonist of that book, Perry Mason, should become a series character and Gardner agreed.
The Mason novels became an immediate success so Gardner resigned from his law practice to devote full time to writing. He was eager to have privacy so acquired parcels of land in the Southwest and eventually settled into the “Gardner Fiction Factory” on a thousand-acre ranch in Temecula, California. The ranch had a dozen guest cottages and trailers to house his support staff of twenty employees, all of whom are reported to have called him “Uncle Erle.” Among them were six secretaries, all working full time, transcribing his dictated novels, non-fiction books and articles, and correspondence.
He was intensely interested in prison conditions and was a strong advocate of reform. In 1948, he formed the Court of Last Resort, a private organization dedicated to helping those believed to have been unfairly incarcerated. The group succeeded in freeing many unjustly convicted men and Gardner wrote a book, The Court of Last Resort, describing the group’s work; it won an Edgar for the best fact crime book of the year.
In the 1960s, Gardner became alarmed at some changes in American literature. He told the New York Times, “I have always aimed my fiction at the masses who constitute the solid backbone of America, I have tried to keep faith with the American family. In a day when the prevailing mystery story trends are towards sex, sadism, and seduction, I try to base my stories on speed, situation, and suspense.”
While Gardner wrote prolifically about a wide variety of characters under many pseudonyms, most notably thirty novels about Bertha Cook and Donald Lam under the nom de plume A.A. Fair, all his books give evidence of clearly identifiable characteristics. There is a minimum of description and a maximum of dialogue. This was carried to a logical conclusion in the lengthy courtroom interrogations of the Perry Mason series. Mason and Gardner’s other heroes are not averse to breaking the exact letter of the law in order to secure what they consider to be justice. They share contempt for pomposity. Villains or deserving victims are often self-important, wealthy individuals who can usually be identified because Gardner has given them two last names (such as Harrington Faulkner).
Mason’s clients usually have something to hide and, although they are ultimately proven innocent, their secretiveness makes them appear suspect.
Clues often take a back seat in the Perry Mason books, with crisp dialogue and hectic action taking the forefront—a structure clearly adopted from his days as a pulp writer. Crime and motivation are not paragons of originality as Gardner wanted readers to identify with his characters.
Much like the Sherlock Holmes and Nero Wolfe stories, the Perry Mason novels also feature certain other characters on a regular basis. The most prominent is Della Street, Mason’s secretary and the love of his life. Knowing that Mason would not allow her to work, she has refused his marriage proposals on five separate occasions. She has, however, remained steadfastly loyal, risking her life and freedom on his behalf; she has been arrested five times while performing her job.
Also present at all times is Paul Drake, the private detective who handles the lawyer’s investigative work. He is invariably at Mason’s side in times of stress, though he frequently complains that the work is bad for his digestion.
Hamilton Burger is the district attorney whose office has never successfully prosecuted one of Mason’s clients. In a large percentage of those cases, the client was arrested through the efforts of the attorney’s implacable (albeit friendly) foe, Lieutenant Arthur Tragg.
Although Mason is invariably well-prepared, he is so skilled at courtroom procedure that he can think on his feet and ask just the right question to befuddle a witness, embarrass a prosecutor, and exonerate a client.
The staggering popularity of the Perry Mason novels inevitably led to him being portrayed in other media, including six motion pictures in the 1930s, a successful radio series in the 1940s, and a top-rated television series starring Raymond Burr that began in 1957 and ran for a decade. More than a half-century later, it is still a staple of late-night television re-runs.
—OTTO PENZLER