Interview With Robert Parker

Richard J. Golsan & James Golsan (R.G. & J. G.):

What was your original conception behind Spenser, and how did it evolve over the course of the novels? Did you always plan for him to be the "superman" he became? Was he influenced by the iconic detectives of noir fiction—the Marlowes, the Spades, the Hammers, or did you want to take the genre in an entirely new direction?

Robert Parker (R.P.):

I was trying, at the beginning, to recreate Philip Marlowe. I had no larger ambition, and, as you'll discover in my answers, I have never had a master plan. I set it in Boston because that's where I live, and it saves a lot of research.

R.G. & J.G.:

Have you ever considered exploring Spenser's moral center more thoroughly? He remains almost astoundingly principled throughout the cannon; the only serious war I can remember him having with himself (correct me if I'm wrong) is when he murders a man in "Mortal Stakes." Do you think a character as unique as Spenser merits or requires explanation beyond the way he's simply put on the page?

R.P.:

I think the books are the exploration (remember Henry James' self admonition: Dramatize, dramatize). Spenser is what he appears to be.

R.G. & J.G.:

When you write a character into one of your novels, how much of their fate is planned in advance? When Hawk first appears in "Promised Land," for example, did you have in mind that he would become a series regular (which obviously brings up whether you envisioned the Spenser novels running as long as they did)?

R.P.:

When Hawk appeared he was just another worthy adversary, later I found it helpful to return to him. I never introduce a character in hopes of future availability. As in, ah, real life we meet someone and later might want to revisit him or her. When I began writing, it simply didn't occur to me that I would stop before I was required to. And so far I haven't.

R.G. & J.G.:

Several of the recent Spenser novels have a "reunion" feel to them; characters like the Grey Man, Cholo, etc, are returning. Do you think in terms of providing a final fait for these characters, like you did with April Kyle in "Hundred Dollar Baby"? Most importantly, do you ever see yourself "wrapping" Spenser; giving a definitive end to his tale?

R.P.:

I don't think like that (I warned you). See answer 3 above. When I start a book I don't know where it's going. I don't outline, or plan ahead. When I began Hundred Dollar Baby, I don't think I expected her to die. But at the end it seemed like the right thing to do. I do not plan to wrap Spenser.

R.G. & J.G.:

Do you have a favorite amongst the Spenser novels, or perhaps a favorite period in the PI's history?

R.P.:

I have no favorite. My experience with the novels is quite different than the readers. You may consume one in a few hours or certainly in a few days. I'm making them for three or four months. I finish one. I start another. They tend more to form a long single evolving saga in my head.

R.G. & J.G.:

Both Jesse Stone and Sunny Randall are recent creations. (We understand that Sunny Randall was created at the behest of the actress Helen Hunt). Can you tell us where the character of Jesse Stone came from? Because Jesse suffers from flaws that do not plague Spenser (Jesse's alcoholism, his tortured passion for an unfaithful former wife) is he a kind flawed, ultimately more "human" double of Spenser. Finally, on this topic, over the last few years you have tended to alternate, the Spenser, Stone, and Randall novels. Is it ever difficult to move from one narrative voice to the other, or does the alternation keep things fresh for you?

R.P.:

Sunny originated as a project for Helen...