Of particular relevance to what follows here, however, were his various discussions with local artists on creativity in absolute terms which is to say, aesthetics as a vastly misunderstood branch of philosophy. Those familiar with his final statement on the matter, Art, will recall mention of those discussions as when, I used to buy breakfasts for Greenwich Village artists (which they ate hungrily, only stopping between bites to deplore my commercialism and bastardizing my talents for the gold that bought their breakfasts)... Yet only passingly remarked upon is all that immediately followed from that line of inquiry, including a deepening and broadening of the L. Ron Hubbard story, and, in consequence, his steady ascension to the forefront of popular American fiction.
Critics would later speak in terms of a great pulp drama, replete with wonderfully complex characters in perfectly enticing settings: brooding traders in steamy Caribbean ports, embittered expatriots from the French Foreign Legion, and dark knights of the urban sprawl all stuff of the LRH adventure through this period. Then, too, with his tale of a hapless passenger attempting to save the life of a girl who perished ten years earlier, we come upon the first of his supernatural mysteries in the 1936, Death Flyer.
Rons Greenwich Village digs