“The Tin Man” by
Henry Slesar Ellery Queen’s Mystery Magazine June 1984 Henry Slesar is best remembered for his television
writing. He wrote episodes for Alfred Hitchcock Presents and The
Alfred Hitchcock Hour, The Man From U.N.C.L.E, and a bunch of
other programs from the late-1950s to the 1980s. He was a maestro of the ironic
twist ending so popular in 20th century television anthology
series, and short stories from every generation. Speaking of short stories, Slesar’s
output numbered in the hundreds. He primarily wrote science fiction and
mystery for, in the beginning, pulps like Manhunt and Amazing
Stories, before moving into digests like Alfred Hitchcock Mystery
Magazine, Mike Shayne Mystery Magazine, and Galaxy. His 1984
tale, “The Tin Man,” which I read recently, is an unabashed example of Henry Slesar
at his best. The henpecked Harry
Budnar is a clothing salesman by necessity—his wealthy wife, Jasmine, insists
he keep working—and a technology junkie by aspiration. When the unhappy
couple arrive at their friends’ home, Tom and Fleur Polanski, Harry is
astounded with the robot that answers the door. Rex, which is the robot’s name,
can speak—it responds to Harry’s greeting with, “Hello, Dummy!”—it can
traverse the Polanski’s cluttered house, and, once Tom has attached the arm,
it will be able to grasp and lift objects. Harry is instantly smitten with the
idea of building his own robot. A robot he is certain would be far superior to
Rex. But, of course, the domineering Jasmine steps in with her demands and
threats, which leaves Harry looking for a solution to his problem. It’s possible the well-read
mystery reader may see where, “The Tin Man,” is going early in the narrative
(or maybe not since there is a bastard of an ironic twist ending), but it is
told so well—with humor, suspense, and an almost tongue-in-cheek style—that
it doesn’t matter a whit. Harry as the downtrodden spouse is played perfectly
and the reader, by increments, finds himself rooting for the less than
perfect husband. The old school technology of the 1980s is fun, too. Did I
mention the ending? It may or may not surprise you, but I guarantee it will make
you smile. |
1 comment:
Slesar, who took home an Edgar for THE GRAY FLANNEL SHROUD, was also the head writer for the mystery-based soap opera EDGE OF NIGHT from 1968 to 1984; he was also head writer for soaps SOMERSET and SEARCH FOR TOMORROW. Because of his many television scripts and soap opera work, TV GUIDE once called him "the writer with the largest audience in America."
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