Richard Condon

Richard Thomas Condon (March 18, 1915, New York, New York – April 9, 1996, Dallas, Texas), was a prolific and popular American political novelist whose satiric works were generally presented in the form of thrillers or semi-thrillers. More than being particularly clever genre works, however, they were written in a style nearly always instantly recognizable as Condon's, while their focus was almost always obsessively directed at monetary greed and political corruption. Fast-moving and easily accessible, they generally combined elements of political satire, bare-knuckled outrage at the greed and corruption of those in power, and were written with extravagant characterizations and a uniquely sparkling and frequently humorous style. Condon himself once said: "Every book I've ever written has been about abuse of power. I feel very strongly about that. I'd like people to know how deeply their politicians wrong them." Condon occasionally achieved bestseller status, and many of his books were made into films, but today he is primarily remembered for two of his works: an early book, The Manchurian Candidate of 1959, and, many years later, for four novels about a family of New York gangsters named Prizzi.

Although not perhaps actually originated by Condon himself, his use of "the Manchurian Candidate" made that phrase a part of the English language. Frank Rich, for example, in his column in the "Sunday Opinion" of The New York Times of August 17, 2008, writes about Barack Obama with a reference to both a well-known actress and a well-known plot element in the first movie version of Condon's 1959 book:

"[Obama's] been done in by that ad with Britney [Spears] and Paris [Hilton] and a new international crisis that allows [John] McCain to again flex his Manchurian Candidate military cred. Let the neocoms identify a new battleground for igniting World War III... and McCain gets with the program as if Angela Lansbury has just dealt him the Queen of Hearts".

Condon's works are difficult to precisely categorize: A 1971 Time magazine review declared that, "Condon was never a satirist: he was a riot in a satire factory. He raged at Western civilization and every last one of its works. He decorticated the Third Reich, cheese fanciers, gossip columnists and the Hollywood star system with equal and total frenzy." The headline of his obituary in The New York Times called him a "political novelist". It went on to say that "Novelist is too limited a word to encompass the world of Mr. Condon. He was also a visionary, a darkly comic conjurer, a student of American mythology and a master of conspiracy theories, as vividly demonstrated in 'The Manchurian Candidate.'" Although his books combined many different elements, including occasional outright fantasy and science fiction, they were, above all, written to entertain the general public. He had, however, a genuine disdain, outrage, and even hatred, for many of the mainstream political corruptions that he found so prevalent in American life. In a 1977 quotation, he said that:

"...people are being manipulated, exploited, murdered by their servants, who have convinced these savage, simple-minded populations that they are their masters, and that it hurts the head, if one thinks. People accept servants as masters. My novels are merely entertaining persuasions to get the people to think in other categories."

Condon attacked his targets wholeheartedly but with a uniquely original style and wit that made almost any paragraph from one of his books instantly recognizable. Reviewing one of his works in the International Herald Tribune, the well-known playwright George Axelrod (The Seven-Year Itch, Will Success Spoil Rock Hunter), who had collaborated with Condon on the screenplay for the film adaptation of The Manchurian Candidate, wrote:

"The arrival of a new novel by Richard Condon is like an invitation to a party.... the sheer gusto of the prose, the madness of his similies, the lunacy of his metaphors, his infectious, almost child-like joy in composing complex sentences that go bang at the end in the manner of exploding cigars is both exhilarating and as exhausting as any good party ought to be."

From his 1975 novel, Money Is Love, comes a fine example of the "lunacy of his metaphors": "Mason took in enough cannabis smoke to allow a Lipan Apache manipulating a blanket over it to transmit the complete works of Tennyson." The Manchurian Candidate offers:

"The effects of the narcotics, techniques, and suggestions... achieved a result that approximated the impact an entire twenty-five-cent jar of F. W. Woolworth vanishing cream might have on vanishing an aircraft carrier of the Forrestal class when rubbed into the armor plate."

For many years a Hollywood publicity man for Walt Disney and other studios, Condon took up writing relatively late in life and his first novel, The Oldest Confession, was not published until he was 43. The demands of his career with United Artists—promoting dreadful movies such as The Pride and the Passion and A King and Four Queens—led to a series of bleeding ulcers and a determination to do something else.

His next book, The Manchurian Candidate, which combined all the elements that defined his works for the next 30 years—nefarious conspiracies, satire, black humor, outrage at political and financial corruption in the American scene, breath-taking elements from thrillers and spy fiction, horrific and grotesque violence, and an obsession with the minutiae of food, drink, and fast living—quickly made him, for a few years at least, the center of a cult devoted to his works. As he quickly produced more and more books with the same central themes, however, his cult following fell away and his critical reputation diminished. But over the next three decades Condon continued to pull occasional surprises from his literary hat with books such as Mile High, Winter Kills, and the first of the Prizzi books, Prizzi's Honor, that returned him to favor, both with the critics and the book-buying public.

Of his numerous books that were turned into Hollywood movies, The Manchurian Candidate was filmed twice. The first version, in 1962, which starred Frank Sinatra and Angela Lansbury, followed the book with great fidelity, and is now generally recognized as one of the greatest films of all time. At the time, however, because of its perceived parallels with the 1963 assassination of John F. Kennedy, it was quickly removed from circulation and it was not until its re-release in 1998 that it began to garner a general but belated acclaim. Janet Maslin, writing in 1996 in The New York Times, said that it was "arguably the most chilling piece of cold war paranoia ever committed to film, yet by now it has developed a kind of innocence."

Beginning with The Manchurian Candidate, Condon occasionally prefaced his novels with excerpts of verse from a so-called Keener's Manual; they foreshadowed the theme of the book or, in at least four cases, gave the book its title. The Keener's Manual, however, was a fictional invention by Condon and does not actually exist. A "keen" is a "lamentation for the dead uttered in a loud wailing voice or sometimes in a wordless cry" and a "keener" is a professional mourner, usually a woman in Ireland, who "utters the keen... at a wake or funeral."

In The Manchurian Candidate we have: "I am you and you are me /and what have we done to each other?" The last line of "The riches I bring you /Crowding and shoving, /Are the envy of princes: /A talent for loving." is the title of Condon's third novel. His fourth and fifth novels, An Infinity of Mirrors and Any God Will Do, also derive their titles from excerpts of the fictional manual.

Plagiarism charge

In 1998 a California software engineer noticed several paragraphs in The Manchurian Candidate that appeared nearly identical to portions of the celebrated 1934 novel I, Claudius by the English writer Robert Graves. She wrote about the apparent plagiarism on her website but her discovery went unnoticed by most of the world until Adair Lara, a longtime San Francisco Chronicle staff writer, wrote a lengthy article about the accusation in 2003. Reprinting the paragraphs in question, she also solicited the opinion of a British "forensic linguist", who concluded that Condon had unquestionably plagiarized at least two paragraphs of Graves's work. By this time, however, more than seven years had passed since Condon's death and Lara's article also failed to generate any literary interest outside the Chronicle.

Curiously enough, in Some Angry Angel, the book that followed The Manchurian Candidate, Condon makes a direct reference to Graves. In a long, convoluted passage on page 25 Condon reflects on "mistresses" and their, apparently peripheral relationship, at least to the reader, to Graves's writings about "Major Male" Deities and "Major Female" Deities. As Angel was published only a year after Candidate, there is no question, therefore, about Condon's familiarity with the works of Robert Graves.

Works, all novels except as noted

• The Oldest Confession, Appleton-Century-Crofts, New York, 1958; Longman, London, 1959, as The Happy Thieves
• The Manchurian Candidate, McGraw-Hill, New York, 1959
• Some Angry Angel: A Mid-Century Faerie Tale, McGraw-Hill, New York, 1960, Library of Congress Catalog Card Number: 60-8826
• A Talent for Loving: or, The Great Cowboy Race (1961)
• An Infinity of Mirrors (1965)
• Any God Will Do (1966)
• The Ecstasy Business (1967)
• Mile High (1969)
• The Vertical Smile (1971)
• Arigato (1972)
• The Mexican Stove (1973)—cookbook co-written with his daughter Wendy Bennett
• And Then We Moved to Rossenarra: or, The Art of Emigrating, The Dial Press, New York, 1973—memoir
• Winter Kills (1974)
• The Star-Spangled Crunch (1974)
• Money Is Love (1975)
• The Whisper of the Axe (1976)
• The Abandoned Woman (1977)
• Death of a Politician (1978)
• Bandicoot (1979)
• The Entwining (1981)
• Prizzi's Honor (1982)
• A Trembling upon Rome (1983)
• Prizzi's Family (1986)
• Prizzi's Glory (1988)
• Emperor of America (1990)
• The Final Addiction (1991)
• The Venerable Bead (1992)
• Prizzi's Money (1993)