Another great Norman Saunders cover graces this issue of F.B.I. DETECTIVE STORIES, a very late G-Man pulp. Inside are stories by some well-known authors: John D. MacDonald, Bruce Cassiday, Paul W. Fairman, Roe Richmond, Hank Searls, and Tedd Thomey. Richmond was best known for Westerns, of course. I don't think I've read anything by him in any other genre. Hank Searls was a bestseller for a while with mainstream novels like THE CROWDED SKY and THE PILGRIM PROJECT. Tedd Thomey wrote some celebrity biographies as well as a few hardboiled crime novels for Gold Medal, Signet, and Ace. I think it's safe to say Paul Fairman is best known for editing and writing science fiction, but probably his most successful novels in terms of sales were the historical romances he wrote late in life as Paula Fairman. (He died after doing a couple of these, but the pseudonym lived on in a bunch of books ghostwritten by a friend of mine.) Cassidy wrote for the mystery digests and did some paperbacks. Then there's John D. MacDonald, and I think we all know what he went on to do after the pulp market dried up. That's a pretty impressive line-up all the way around.
This is a pulp I own and read recently. I've read only a few
issues of ALL WESTERN, Dell's main entry into the Western field, but they's all
been good. The July 1942 issue is no exception.
It gets underway with a novella by Ed Earl Repp, "Too Tough to Kill".
Repp was notorious for farming out his work to other writers (find a copy of
the essay "Tarzana Nights" by Frank Bonham if you don't believe me),
so there's no telling who wrote at least the first draft of this one. Repp
supposedly revised those ghosted tales to varying degrees, and this story
sounds to me like what I think of as a typical Ed Earl Repp yarn. The plot is
an old one: a youngster raised by a gang of outlaws, all the while unaware that
the boss owlhoot is responsible for the murder of the rest of his family.
There's a slightly unusual aspect to the plot in that one character winds up
with amnesia. And there's a character unfortunately named Lobo Maverick, which
is too over-the-top and corny even for an Ed Earl Repp story. The prose is really
purple in the action scenes and the resolution borders on maudlin. But here's
the thing (and you knew I was getting around to this), I still had a great time
reading this story. For some reason, Repp can always make me buy into all that
gun-blazing melodrama. The late Jon Tuska speculated that Repp never actually
wrote anything, that all his stories were ghosted. I can't bring myself to believe
that. I think he had a hand in most, if not all, of them, because they
demonstrate a consistent sincerity that I don't think would be there if they
were solely the work of ghost writers. Repp's stories, if you stop and think
about them, are mostly ridiculous, but he believed in them, by God, and that
feeling makes me believe in—and enjoy—them, too.
Fredric Sinclair is an author who's unfamiliar to me. A check of the
Fictionmags Index reveals that he published a couple of dozen stories in the
Western and detective pulps from the late Thirties to the late Forties. His
short story "Night Boat" in this issue is a riverboat yarn, about a
gambler who encounters the son of an old friend who is out for vengeance and
has to choose whether to help him or mind his own business. This is a good
story with some emotional complexity to it. No real action, but that's okay now
and then. I'd read more stories by Sinclair if I came across them.
Frank Carl Young is as unknown to me as Fredric Sinclair, but he appears to
have published dozens of Westerns stories in many different pulps during the
Thirties, Forties, and early Fifties. "No Man Escapes" is also a
vengeance yarn, of sorts, as a gunsmith who was fast on the draw in his early
days goes looking for a marshal to clean up a lawless town and encounters
something he didn't expect. Although there's a bit of action at the end, for
the most part this is a character-driven story. It's well written but decidedly
"Silver Dust Assay" is a rather bland title for what is a pretty good
story. The protagonist is an assayer, an offbeat job for a Western pulp hero.
When there's a silver strike near the town where he does business, it looks
good for him, but there's more to the strike than meets the eye, and
discovering the truth may put the assayer in deadly danger. This is a well
written yarn with some nice action, and I also enjoyed it because it's by one
of the few pulp authors I've met, David Lavender, who was at the Western
Writers of America convention in Oklahoma City in 1991. Unfortunately, at that
time I knew him only as an award-winning historian and had no idea he had
written for the pulps, or else I might have been bending his ear about those
days for the entire convention.
Next up is a novella by a very familiar author, Philip Ketchum, who was a
prolific pulpster, turning out Westerns, mysteries, and historical yarns, and
then followed that up with a long career writing paperback original Westerns.
"Stampede on Spanish Valley" suffers a little from having a very
stereotypical plot—bad guy trying to take over all the land in a valley for
some mysterious reason (that turns out not to be mysterious at all to anybody
who's read many Westerns)—but Ketchum's excellent prose lifts it above average,
as do his well-rounded and emotionally complex characters: a gunman out for
revenge on his former partner, a gambler and his unfaithful wife, a woman
married to her brother's murderer, and others who make this tale seem fresher
than it had any right to be. Not in the top rank of Ketchum's work but still
I haven't read much by George Cory Franklin, but he seems to be a pretty good
writer. "Smoky Goes to War" has an animal as the protagonist, a type
of story I usually don't like much, but this yarn won me over. It's also a
contemporary Western, set in the early days of World War II. Smoky is a mule
owned by a cowboy on a ranch in the Southwest which is near an army training
camp. The cowboy, unable to enlist because of his physical condition, offers
Smoky in his place to help the war effort. The mule is used for practice in
packing supplies at the training camp, but along the way he sniffs out a Fifth
Columnist bent on murder and sabotage. This is a really entertaining and
Quite a few pulp authors wrote fictionalizations of the Battle of the Little
Big Horn, usually by adding fictional characters who go along with Custer and
the Seventh Cavalry. Wes Fargo does that in the novella "The Glory
Trail", but while Custer does play a part early on, the massacre itself
takes place off-screen while the action follows Dave Howell, a former riverboat
pilot/trapper/army scout who is framed for running guns to the Indians. He
winds up with Reno and Benteen and then on the steamer Far West, the first riverboat to reach the scene of the battle. Wes
Fargo was really E.B. Mann, a prolific and well-regarded pulpster, and it's easy
to see why he was popular. His writing is very smooth and effective, and he
seems to get his historical details right in this one. This is only the second
story I've read by Mann, but I liked both of them quite a bit and need to read
some of his novels.
C. William Harrison wrote more than a hundred stories for the Western pulps
(and some detective pulps as well) from the mid-Thirties to the mid-Fifties,
then went on to a career as a paperback Western author under the names Will
Hickok and Coe Williams. Oddly enough, he wrote one novel each in the Jim
Hatfield, Rio Kid, Masked Rider, and Range Riders series. I've read quite a bit
of his work and usually liked it. His prose has a nice hardboiled tone. That's
true in "When Wolves Fall Out", which finds two outlaws vying for the
leadership of a gang following a raid on a town and the kidnapping of a young
woman. There's also a third mysterious owlhoot horning in on things. This
reminded me of a Walt Coburn yarn because it has a lot of back-story and secrets
to be revealed. I found it very entertaining.
John C. Colohan was a stalwart of the Western pulps from the late Twenties
through the mid-Fifties. He was especially prolific for the Popular
Publications pulps but his work appeared in many magazines from other
publishers. His story "The Man on the Yellow Horse" wraps up this
issue of ALL WESTERN. The rancher protagonist, who is in town picking up
supplies, catches an outlaw fleeing from a botched robbery and a shooting, but
when he takes off the fugitive's mask, he gets a surprise that causes him to turn
detective and risk his life catching a killer. It's not much of a mystery, but
Colohan tries and his writing is nice and smooth. There's a good supporting
character, too, a hired gun who would probably be played by Jack Elam if this
was a movie.
Overall, there's not a bad story in the bunch. No real stand-outs, but they're
all good to very good, just solid pulp stories that make for some fine reading.
As usual when I can manage it, the scan is from the actual issue I read,
complete with some writing on it by a previous owner.
Good guy outlaws Kid Calvert and Calvert's Horde are
back in the pages of WESTERN ACES with the February 1935 issue, in the novel
(more like a novella) "Horde of Hated Men". There's a new author as
well, with a little-known pulpster named Phil Richards replacing Lawrence A.
Keating, who wrote the first Kid Calvert novel published the previous November. This installment opens with the Horde racing to rescue one of their
own, gambler Dandy McLain, who has been framed for murder and is about to be
strung up by a lynch mob. Needless to say, the Kid and his friends are able to
save Dandy, and then they plunge into trying to solve the mystery of who is
killing miners in the boomtown of Beaver Creek. While this is going on, the Kid
also has to deal with his doomed romance with Terry Reynolds, the beautiful
young woman who has taken over as sheriff from her late father.
This is about as slam-bang a Western pulp yarn as you'd ever want to read, full
of shootouts, fistfights, narrow escapes, and races with death. There's also a
fairly clever murder method. I spotted the real killer, but it took me a while.
Richards, who wrote a couple of hundred Western, detective, and sports stories
for the pulps between the mid-Twenties and the mid-Fifties without ever
attracting much notice, has a really breathless, breakneck style that reminded
me a little of Leslie Scott's work, although not as heavily descriptive.
The Masked Rider was sometimes referred to as The Robin Hood Outlaw, but that
description actually fits Kid Calvert quite a bit better. The Masked Rider had
only his Yaqui sidekick Blue Hawk. The Kid's got his whole Horde, a band of Old
West merry men that includes Giant Anderson (aptly named since he's a really
big guy), dour gunslinger Nate Willstock, the above-mentioned Dandy McClain,
soft-spoken oldster Grama Sinton, and boozehound cook Peel Rogers.
Characterization never goes much beyond those shorthand descriptions, but
they're all likable galoots.
All five novels in the Kid Calvert series have been reprinted in a single
volume by Altus Press, and if you're a fan of the Western pulps, especially the
more action-packed variety, I think they're worth reading. At least the first
two have been, and I'll be getting to the others in due time as well.
By the way, the great cover on that issue of WESTERN ACES is by Rafael DeSoto.
The Copper Kings of Montana are at war—and Kate and J.D. Blaze are caught in the middle! Hired to get to the bottom of the sabotage and murder plaguing the mines, the Old West's only team of husband-and-wife gunfighters tackle crooked lawmen and a band of vicious outlaws known as the Lion Gang, only to find themselves trapped on a runaway train loaded with dynamite, a bomb on wheels that threatens to blow the Blazes sky-high!
Acclaimed thriller author Brian Drake (THE TERMINATION PROTOCOL) joins the Blaze! team with a novel packed with excitement and mile-a-minute action. COPPER MOUNTAIN KILL is Western adventure at its finest.
I guess I've heard of Deanna Durbin about as far back
as I can remember, but I've never seen one of her movies until now. It's not a
musical like most of the other films she made, although there are several
musical numbers since part of the story is set in a nightclub. Rather, it's a
mystery comedy, with Durbin playing a rich young woman from San Francisco who's
come to New York to visit her aunt over the Christmas holiday. While her train
is stopped on the outskirts of the city, she happens to witness what appears to
be a murder in a building alongside the tracks. She's also a fan of mystery
novels and is reading one called THE CASE OF THE HEADLESS BLONDE (sounds like a
Perry Mason novel to me).
But no, the book is actually by a writer named Wayne Morgan (played by David
Bruce), who happens to live in New York City, and when the body disappears and
the cops don't believe Durbin, she hunts him up and demands that he help her
solve the crime. Then she realizes the man she saw murdered is really a wealthy
shipping magnate, and a clandestine visit to his estate in the country results
in Durbin being mistaken for the man's mistress, a nightclub singer involved
with gangsters, and during that same excursion she also meets the members of
the murdered man's family, which include the sinister Dan Duryea and ever
stalwart and boring Ralph Bellamy. She keeps investigating, continues to pose
as the nightclub singer, and makes life miserable but interesting for the
mystery novelist before they work together, fall in love, and uncover the
murderer's identity. (It probably won't come as much of a surprise to most of
This is lightweight fluff, but boy, is it entertaining lightweight fluff! The
script hardly ever slows down to take a breath, and since one of the characters
is a writer, there are some funny bits about the publishing business. Leslie
Charteris provided the original story, and it has his usual breeziness to it.
The supporting cast, which includes William Frawley, Edward Everett Horton,
Allen Jenkins, and George Couloris, is very good. Durbin is cute as can be as
the spoiled but spunky society gal who's determined to solve a murder. We have
a couple more of her movies and I'm sure we'll watch them fairly soon.
By the way, this movie is set at Christmas, as I mentioned above, but other
than a quick glimpse of a Christmas tree here and there, the holiday doesn't
play any real part in what's going on. Otherwise I might have saved this post
S.A. Bailey's debut novel AND THE RAIN CAME DOWN was
as good a traditional private eye yarn as I've read in recent years, and the
second book in the Jeb Shaw series, THE LINES WE CROSS, was just as strong. Now
Jeb is back in EDGE OF THE CITY, which blends the hardboiled detective elements
with pure action/adventure to create an epic tale of corruption and violence.
Jeb is hired to find out who's trying to kill a Dallas politician who has a
long history of graft, infidelity, and racial rabble-rousing. This ties in a
young gang member Jeb was forced to shoot during an armed robbery, a
politically powerful mega-church, a couple of former professional football
players, a kidnapping, a rape, an international business deal gone bad, and
assorted other motives for murder and mayhem. Jeb sorts through it all in fine
private eye style, but then the final section of book deals with his
efforts—along with some friends and associates—to deliver a witness who will
break the case wide open to the Feds, even though they're outnumbered by
enemies who are willing to turn Dallas into a war zone.
The plot of EDGE OF THE CITY is complex and well put together, and the action
scenes have a gritty authenticity that elevates them from standard shootouts.
Bailey really nails the political and criminal landscape of Dallas, as well.
But what sets this book apart, as it did the others in the series, is Jeb
himself and the distinctive voice that Bailey gives him as narrator and
protagonist. Jeb has his flaws and plenty of them, but he also manages to be
thoroughly sympathetic, a guy you can't help but root for even while he's
messing up his life. And there's certainly no one else better to have on your
side if you're in trouble. EDGE OF THE CITY is bloody, profane, tragic, and all
kinds of politically incorrect. But it's also smart and funny and poignant when
it needs to be. Highly recommended.
Walker Martin mentioned this short-lived pulp in the comments on last Sunday's post, so I thought, why not feature the cover he was talking about, another that features a decapitated head? It is indeed a gruesome cover, and none of the authors in this issue are familiar to me except for Franklin H. Martin. The covers of the other issues of ALIBI aren't all that appealing, either. I can see why the magazine didn't last very long. But it's still an interesting oddity.
The last few
years of its existence, STAR WESTERN rather blatantly went after the RANCH
ROMANCES readers. Not only do all the covers prominently feature female
characters, most of the story titles do, too, such as this issue from January
1950. You've got "The Strip's Too Hot for Blondes!" by Leslie
Ernenwein, "Girl Strike in Jubilee" by Joseph Chadwick, "Bride
of the Killer Legion" by Talmage Powell, "The Queen, the Wench, and
the Devil" by Ray Townsend, "Two Roses for Dead Man's Range" by
Dean Owen (Dudley Dean McGaughey), "Girl for a Fighting Man" by
Everett M. Webber, and "Brand Her Señorita Killer!" by John Jo
Carpenter (John Reese). With those authors, I'll bet most of those stories are
published as a paperback original by Ace Books in 1975, appears to have been
the final novel in L.P. Holmes' fifty year career. It's certainly not a bad way
to go out. The protagonist, Cleve Ellerson, is a down-on-his-luck hired gun who
wants to put that way of life behind him. Recuperating from a wound suffered in
a gunfight with a crooked gambler, he heads for the mining boomtown of Rawhide
Creek, figuring it might be a good place to start over. An accident leaves the
stagecoach without a driver, so Ellerson takes over the reins, meets a
good-looking young woman who's also on her way to Rawhide Creek, and comes upon
another stagecoach, headed the other way, that's been held up. Driver and
shotgun guard are both dead.
When he gets to the settlement, Ellerson winds up taking a job with the stage
line and discovers that Rawhide Creek is teeming with claim jumpers and gunmen,
all of them working for saloon owner Duke Ackerman. Ellerson sticks up
for the honest folks of the town, which sets up an inevitable violent showdown
between the forces of good and evil.
You've probably guessed by now that there's nothing in RAWHIDE CREEK that
hasn't been done hundreds of times before, by Holmes and many other Western
authors who were prolific pulpsters and then moved into novels with the demise
of the pulps. And if you're a regular reader of this blog, you also know that I
don't care. Holmes was such a good writer that he made these old plots fresh
and entertaining, at least as far as I'm concerned. Cleve Ellerson is a very likable
hero, his new friends (the stage line owner and an old drunk) provide fine
support, the villains are numerous and suitably despicable, and the low-key romance
between Ellerson and the girl from the stage (the sister of the local café owner)
is sweet without being syrupy. There are a few continuity glitches that a good
editor should have fixed, but other than that RAWHIDE CREEK is the same sort of
top-notch work Holmes did for five decades. I had a very good time reading it.
(And the scan above is the copy I read, apparently owned at some point in its
life by somebody named Moats.)
After Don Knotts left THE ANDY GRIFFITH SHOW (which we never
missed in my house, by the way), he made several movies that I saw at the local
drive-in, like THE GHOST AND MR. CHICKEN and THE INCREDIBLE MR. LIMPET. But
somehow I never saw THE SHAKIEST GUN IN THE WEST, which is a remake of the Bob
Hope movie THE PALEFACE (which I have seen and liked). Watching THE SHAKIEST
GUN IN THE WEST for the first time now is kind of an odd experience. We've
watched quite a few episodes of THE ANDY GRIFFITH SHOW on MeTV lately, and
Knotts is really good as Barney Fife, especially when the scripts give him
something to do other than bluster. On the other hand, he's the second banana
in that show, which is a lot different from having to carry a movie. In other
words, a little of that typical Don Knotts schtick goes a long way.
However, there's more to THE SHAKIEST GUN IN THE WEST than that, and Knotts is
good in the more restrained moments. It also has statuesque redhead Barbara
Rhoades in it, and while she might not have been a great actress, she was one
hell of a statuesque redhead. Elsewhere in the cast, Don "Red" Barry
and Jackie Coogan are the villains running guns to the Indians, who are
supposed to be Comanches but look more like Heckawi to me. (Bonus points if you
remember the Heckawi Indians.) Several other Sixties sitcom supporting actors
are on hand, and in fact the whole movie has a very sitcom-ish feel, not
surprising considering that the script is by two of the regular writers from
THE ANDY GRIFFITH SHOW and the movie was directed by Alan Rafkin, who directed
a ton of sitcom episodes. Also showing up briefly is poor old Ed Faulkner, who
appeared what seems like hundreds of Westerns, usually getting killed after two
or three minutes of screen time and half a dozen lines of dialogue.
Clearly, Don Knotts is no Bob Hope and THE SHAKIEST GUN IN THE WEST is nowhere
near as good as THE PALEFACE, but I still had fun watching it and am glad I
finally saw it. I probably would have enjoyed it more, though, if I'd seen it
at the Eagle Drive-In in 1968.
A couple of years have passed since the events that
took place in BLOODY ARIZONA, the first of a quartet of related novels
featuring Yakima Henry, the popular Western adventure character created by
Frank Leslie (who we all know is really our old friend Mean Pete Brandvold).
The town of Apache Springs has been rebuilt after much of it was burned down by
outlaws, and in fact the settlement is booming. Yakima has settled into the
marshal's job, and his deputy is still the old outlaw known as the Rio Grande
Kid. He's also settled into a relationship with Julia Taggart, the beautiful
widow of the former marshal and the daughter of mining magnate Hugh Kosgrove.
Julia isn't Kosgrove's only daughter, however. Julia has a younger sister, Emma
(the wildcat of the title), who has also been romantically involved with Yakima
in the past and clearly would like to be again. She plays a part in it when
Yakima discovers an ancient mission hidden in the badlands that contains a
treasure which may be cursed. There's also a potential robbery complicating
things, as well as various shootouts and domestic problems.
Yakima Henry is a fine protagonist, and once again Brandvold's gritty,
superlative action sequences dominate the book. There's just nobody better at
it in the business today. Fast-paced and highly entertaining, WILDCAT OF THE
SIERRA ESTRADA is another winner and gets a definite recommendation from me.
Okay, now that's a gruesome cover. I actually had this issue years ago and I'm pretty sure I read the Park Avenue Hunt Club story because I really liked that series by Judson Philips, but I don't remember any of the others. There are plenty of good authors in this issue, too: H. Bedford-Jones, Fred MacIsaac, Richard Sale, Anthony Rud, and George A. Starbird. Mostly, though, I remember that gory cover.
That's a pretty good cover, and the complete book in this issue of COMPLETE WESTERN BOOK MAGAZINE is "The Morgan Trail", a Hashknife Hartley novel by W.C. Tuttle, so you know you can't go wrong with that. Plus a couple of back-up short stories by Samuel Taylor and Lemuel de Bra. I think I have the book version of THE MORGAN TRAIL somewhere around here. Maybe I'll hunt it up.
During the mid-to-late Forties, Erle Stanley Gardner wrote
three short novels about Sheriff Bill Eldon, whose bailiwick is the small
California city of Rockville. These stories originally appeared in the slick
magazine THE COUNTRY GENTLEMAN. The first two, "The Clue of the Runaway
Blonde" and "The Clue of the Hungry Horse", were collected in a
volume entitled TWO CLUES and then later reprinted in paperback. The third and final story in the series, "The Clue of
the Screaming Woman", has been reprinted only in an Ellery Queen
anthology, as far as I can determine.
Sheriff Bill Eldon is getting on in age (he's 70) and has been in office for a
long time. He has some political enemies in the county, including the district
attorney and other prominent citizens of Rockville, who would like to ease him
out of his job and make a younger man sheriff. Their candidate is Undersheriff
George Quinlan, and it's pretty obvious they believe Quinlan will be more
easily controlled than Eldon, who's pretty set in his ways. Eldon doesn't know
much about scientific criminal investigation, but he's a keen observer of human
nature and relies on that to solve crimes.
In "The Clue of the Runaway Blonde", he's confronted with what seems
like an impossible murder. A young woman has been stabbed to death, and her
body is discovered in the middle of a freshly plowed field with no footprints
around her. Eldon has to figure out not only who killed her but how her body
got there and how the murderer got away without leaving any prints. That
investigation is complicated by the above-mentioned political enemies, domestic
turmoil in George Quinlan's family, the arrival of an arrogant "consulting
criminologist" brought in by the district attorney, and a visit from
Eldon's meddling, acid-tongued sister-in-law. Throw in evidence tampering,
young love, and a secret that goes back into the past. Eldon shrewdly deals
with all of it before coming up with a logical, fairly clued solution that
proves he was one step ahead of the other characters and two steps ahead of the
reader all along.
"The Clue of the Hungry Horse" finds Eldon investigating the death of
a mysterious young woman who appears to have been kicked fatally by a horse. Of
course we know it's not going to turn out to be an accident at all, but murder.
Eldon is still under pressure from his political enemies, and this time he has
a rich businessman from Los Angeles against him, too. There's a romantic
triangle to sort out, too, along with planted evidence and a situation that
makes it look very much like Eldon helped a suspected murderer to escape. But
once again he gets to the bottom of everything against seemingly insurmountable
odds. I don't think the solution to this one hangs together quite as well as in
the other story, but it's still a good solid puzzle mystery.
I really enjoyed these two yarns, and one of the biggest reasons I did is
Gardner's simple, straight-ahead prose. He's a little more descriptive in these
than he is in most of the Perry Mason novels, but still, no one's ever going to
accuse him of being a fancy writer. But man, can he tell a story. Sometimes
that's just what you want. Now I have to hunt up that third Bill Eldon novella!
Six months after a catastrophic solar flare cracks the
sky and bathes Earth in high radiation, killing much of the population and
destroying most of humanity’s technology, the starving crew of the USS
Colorado, a fleet ballistic missile submarine, is forced to surface and send a
party ashore to forage for food. But instead of food, the sailors find a town
in shambles, home after home filled with death, disease, high radiation, and
bands of evil, violent men. Instead of food, the sailors discover the last thing
they thought they would find—forbidden love.
Struggling with his Christian values and his desire to obey Navy regulations
about fraternizing, Walter Jacks is blindsided by his own heart when he
realizes he is falling deeply in love with smart and extraordinarily beautiful
Seaman Sharon Parkers. The shore party’s mission, and Jacks’s grasp of reality,
are further complicated when they find a mysterious young girl amoung the
ruins—an adorable child with astonishing supernatural abilities.
While fighting to protect his shipmates, as well as his spiritual survival, in
a dying world, Jacks is forced to face the question: Is the Bible true? If
God’s Word is true, then where in the prophesy does His reality appear?
IN A FLASH: UP FROM THE DEEP is a riveting post-apocalyptic military thriller,
the first in a series of truly epic scope from acclaimed author David L.
Full disclosure: I edited this novel, Livia published it, and the author is her cousin. But you know how I love a book with a distinctive voice, and this one sure has it. A credible post-apocalyptic scenario, accurate military background, tons of gritty, well-written firefights, very human characters, a little bit of sex, and thought-provoking theological discussions. Where else are you going to find all that? Plus there's enough groundwork laid to indicate that this is just the beginning of a much bigger story, and I'm eager to read the sequels. So yes, I'm involved with this one professionally, but it's also still one of the best books I've read so far this year.
Livia's on a Netflix quest to find comedies we haven't seen,
and this is one of 'em. I'm not sure how we missed it back in 1990, when we
watched almost everything that came out, but it was new to us and fairly
Dennis Hopper plays a Sixties radical who's been on the run from the law for
twenty years. When he's finally arrested, he's turned over to a young FBI agent
(Kiefer Sutherland, looking like he's about fifteen years old and playing
dress-up in his dad's suit) for transport from San Francisco to Spokane to
stand trial. Complications and hijinks ensue, unlikely friendships are formed,
secrets are revealed, and yes, everybody learns lessons. Along the way there
are some decent action scenes, a good supporting cast including Carol Kane, Michael McKean, and
Paul Dooley, and a good soundtrack of Sixties music. Oh, and the subtle and
not-so-subtle EASY RIDER jokes, can't forget them. (I actually like EASY RIDER
quite a bit, if only for the fact that it inspired those iconic issues of GREEN
LANTERN/GREEN ARROW by Denny O'Neil and Neal Adams.) Anyway, FLASHBACK is a
decent action/buddy/road comedy and I had an okay time watching it.
Another fine Norman Saunders cover graces this issue of SUPER SCIENCE STORIES. Inside are stories by Arthur C. Clarke, Ray Bradbury, A.E. van Vogt, John D. MacDonald, Raymond Z. Gallun, Robert Arthur, and Neil R. Jones. I've read and enjoyed stories by all of them, although I haven't read much by van Vogt, Gallun, or Jones. You don't hear that much about Popular Publications' SF pulps, but this looks like a very good issue.
Another excellent Tom Lovell cover featuring an angry, gun-totin' redhead on this issue of ACE-HIGH WESTERN MAGAZINE. And those story titles! "Wagon Train of the Damned". "A Gringo Rides to Hell". I want to read those right now. (If I actually owned this issue, I would.) A great line-up of authors, too: Luke Short, Walt Coburn, Harry F. Olmsted, Cliff Farrell, and John. G. Pearsol. Looks like a great issue all the way around.
I know Robert Turner's name as the author of scores of
stories (mostly mysteries) for the pulps and digests from the Forties through
the Seventies. He also wrote a couple of early Ace Double mystery novels, THE
TOBACCO AUCTION MURDERS and THE GIRL IN THE COP'S POCKET, copies of which I
used to have but never read. He was also an editor and literary agent at
various times in his career.
So when I came across a Kindle edition of this little book of Turner's from
1948, I grabbed it. I'm always interested in reading about the pulps
specifically and writing in general, and given Turner's career (which was
really just getting started good at this point), he knew what he was talking
His main point is that rules don't matter as much in writing as making your
stories entertaining, and you entertain your readers by making them feel an
emotional response. After establishing that, Turner discusses how to make plot,
characterization, setting, and dialogue all serve that end. PULP FICTION is not
a dry how-to book, though. Turner gets his arguments across in a fast, breezy,
often funny way, just like his fiction. This is a very entertaining book, as
well as educational.
There's also a section about how the editorial process of pulp magazines
worked. Not really anything there I didn't already know, but again, Turner
tells it in a light-hearted fashion that easily kept me reading.
Some of the advice in PULP FICTION would be considered old-fashioned and not
the way you'd want to do things today. I grew up reading the pulps and what are
now considered vintage paperbacks (they were just paperbacks then), many of
which were either reprints from the pulps or written by pulp authors who moved
into paperbacks when their original market dried up. So I'm pretty much in
agreement with most of what Turner has to say. I've always aimed to be more of
an entertaining storyteller than anything else. I like to think that I've never
stopped learning, so I read this book with great interest and believe I
picked up some useful things. I also had a great time reading it. Which is kind
of the point, isn't it?
(The material in this post originally appeared in somewhat different form on April 24, 2008 and May 27, 2008.)
I love the old Ace Doubles. The Westerns and the
science fiction doubles were fairly common in this area when I was a kid, and I
read a bunch of them. But for some reason I never saw any of the mystery
doubles until 1981, when I came across a couple of shelves of them in a junk
store. Needless to say, I grabbed them all.
There have been efforts to revive the Ace double novel format over the years,
but the Hard Case Crime release of Robert Bloch’s SHOOTING STAR and SPIDERWEB
may be the most successful yet. Of course, both of these novels were actually
first published as Ace Doubles, although not back to back with each other.
The narrator of SHOOTING STAR is Mark Clayburn, a Hollywood literary
agent/private eye. I don’t think I’ve ever come across that particular
combination before, and it makes Clayburn different from other private eyes who
specialize in cases involving the movie industry, such as W.T. Ballard’s Bill
Lennox and Robert Leslie Bellem’s Dan Turner. Bloch’s familiarity with the pulp
magazine markets gives this element of the novel a welcome touch of realism.
There’s also a little tuckerizing going on, for example an undertaker named
Hamilton Brackett. And the whole thing is told in an appealingly breezy,
Unfortunately the plot, which involves Clayburn trying to find out who murdered
a cowboy movie star so that the producer who hires him can sell the dead star’s
old movies to television (shades of Hopalong Cassidy), never develops into
anything more than a very generic private eye plot. I kept waiting for Bloch to
come up with a twist on a par with making his hero a literary agent as well as
a detective, but that never happens. The writing is smooth and Mark Clayburn is
a likable character, but the other characters never came alive for me. SHOOTING
STAR isn’t a bad book, and I enjoyed reading it, but it’s certainly a minor
entry among Bloch’s novels.
SPIDERWEB is the other half of the Robert Bloch double from Hard Case
Crime. I enjoyed SHOOTING STAR, but SPIDERWEB is a darker, better book,
The narrator is Eddie Haines, a radio announcer from the Midwest who heads to
Hollywood in the early Fifties with the intention of being a success as a TV
show producer, or an announcer if he can’t sell his pitch for a TV series. Of
course, neither of those goals works out, and he’s on the verge of killing
himself in despair when he meets Professor Otto Hermann, a “psychological
consultant” to the movie community who’s actually a swindler and conman.
Hermann recruits Eddie to join his group of henchmen and gives him a new
identity as the author of a successful self-help book. Eddie realizes that the
professor is a crook and that he’s turning into a crook himself, but everything
still goes along fine until the professor decides to target a state senator for
blackmail and use the senator’s niece as part of the plot. It just so happens
that Eddie has fallen in love with the niece . . .
In noirish fashion, things get worse from there, as Eddie tries to do the right
thing but it won’t quite seem to work out. Bloch keeps the story perking right
along, but under the smooth prose and snappy patter is a pretty bleak look at
Southern California and gullible humanity itself. SPIDERWEB is a fine novel,
and Hard Case Crime has done a good thing by bringing it back into print.
I'd never heard of this movie that came out a couple of
years ago until Livia came across it while looking for comedies. The premise is
pretty ridiculous: a top-secret, quasi-governmental program takes orphans and
trains them from childhood to be assassins and secret agents. One of these
agents, a teenage girl played by Hailee Steinfeld, fakes her own death during a
mission to get out of the program, adopts a new identity as a foreign exchange
student, and enrolls in a suburban high school, only to find that it's tougher
than the world of international espionage. In order to prepare for this, she
approaches it like a mission and "gathers intel", which consists of
watching a bunch of teen romantic comedy movies. Misunderstandings and hijinks
ensue, until her past eventually catches up to her in the form of a vicious
arms dealer (Jessica Alba) who wants to kill her.
So yeah, it's all pretty silly . . . but the movie plays it pretty straight,
and if you buy into the premise, BARELY LETHAL is a lightweight but fairly
entertaining little action comedy. We've watched a lot of teen romantic comedies over
the years, and this movie does a pretty good job of having fun with the
stereotypes. The cast, which includes Sophie Turner (Sansa Stark on GAME OF
THRONES) as a rival agent and Samuel L. Jackson as the head of the training
program, is okay. Not a great film, but I enjoyed watching it and stayed awake
the whole time, which says something for it.
I've read reprints of quite a few Phantom Detective novels but have owned only a few issues of the actual pulp over the years. This is one of them, although I don't have a copy at the moment. I'm not sure who the actual author of "The Phantom Hits Murder Steel" is, either, but I recall it being a pretty good story. Other authors in this issue are Ted Coughlan and Ray Cummings. This series isn't as highly regarded as some, and it can be inconsistent because so many different writers contributed Phantom novels, but I enjoyed the ones I've read.
The hat, the cowhide vest, and the pose of the cowboy on this cover all make me think of the great Yakima Canutt. I don't know who did the art, but I like it. Inside this issue of WESTERN STORY, Frank Richardson Pierce and Bennett Foster are the best-known authors. They're joined by James W. Routh, whose name I recognize from various issues of RANCH ROMANCES, Ray Humphreys, who wrote mostly humorous Westerns, and a few other authors whose names don't ring a bell at all. UPDATE: According to Walker Martin, the artwork on this cover is by Walter Haskell Hinton. Thanks, Walker!