A Rough Edges Rerun Review: The Dark Brand - H.A. DeRosso

H.A. DeRosso wasn’t prolific at novel-length works, turning out only a handful of books in a career cut short by a mysterious death that might have been suicide or an accident. He wrote a lot of short stories and novelettes for the pulps, though, some of which have been collected. Several of his novels have been reissued as well.

THE DARK BRAND is one of those novels. It opens with the hero, Dave Driscoll, in jail for rustling, but the fellow in the next cell has it even worse. He’s going to be hanged the next morning for killing a bank teller during a robbery. This doomed hombre is a hardscrabble rancher with a wife, a son, and a failing spread who became a bank robber to help his family. Because of that, he’s hidden the money he got away with and refuses to tell anyone where it is, including the brutal sheriff who wants the loot for himself.

However, when Driscoll gets out of prison three years later and returns to the same town, he finds that a lot of people believe the condemned man told him where the money was hidden, and now there are various factions who want to force him to lead them to the loot by any means necessary, including torture. Driscoll really doesn’t know where the money is, but he wants to find it to help the hanged man’s wife and son.

None of DeRosso’s heroes are actually very heroic, and Driscoll fits that mold. He’s a brooding, emotionally tormented man who’s sort of forced into doing the right thing most of the time. What he goes through in this book doesn’t make him any more cheerful, that’s for sure. The story takes place near a mountain range called the Sombras that figures in some of DeRosso’s other books. The name certainly fits because there’s a somber air that hangs over THE DARK BRAND. And the title itself is an indication of the mood here, of course. Actually, THE DARK BRAND is regarded as one of DeRosso’s less bleak books, which tells you how grim he can sometimes be.

Fittingly, DeRosso writes in a spare, fast-moving style, and there are some excellent twists in the plot here, the sort that I should have seen coming but didn’t. His work has echoes of Cornell Woolrich and David Goodis, but what his books most remind me of are the noir Westerns of Ed Gorman. If you like any of those writers, I highly recommend that you pick up THE DARK BRAND or any of DeRosso’s other novels or short story collections.

(This post originally appeared in a somewhat different form on June 13, 2008. THE DARK BRAND is still available on Amazon in an e-book edition and is well worth reading.)

Review: The Deadly Combo - Jack Webb

When I started reading hardboiled mysteries in junior high, I thought Jack Webb, author of the series featuring priest/detective duo Father Joseph Shanley and Sammy Golden, was the same guy as Jack Webb the star of DRAGNET (and some excellent movies like PETE KELLY’S BLUES and -30-, but I hadn’t seen those yet). It didn’t take long to figure out that Webb the novelist was a totally different person. I read a few of his novels, which were easy to find in those days in their Signet paperback reprint editions, and remember enjoying them. But I hadn’t read anything else by him, as far as I recall, in the 50+ years since then.

Until Stark House recently reprinted two of Webb’s stand-alone novels in a handsome double volume, THE DEADLY COMBO and ONE FOR MY DAME. I started with THE DEADLY COMBO, originally published as half of an Ace Double mystery under Webb’s John Farr pseudonym. The novel opens with the discovery of a corpse in the alley behind a Los Angeles jazz club. The victim is a former jazz musician named Dandy Mullens. The cop who catches the case is Mac Stewart, a big, ugly, former prizefighter who happens to be a jazz aficionado himself and a friend of the murdered man. Mac’s quest to catch Dandy’s killer reminded me a little of how Mike Hammer often set out to avenge the murder of a friend.

Mac’s investigation takes him through a series of jazz clubs, strip joints, and fancy apartments, from the sleazy and sordid to the high class (but perhaps no less sordid). It seems there’s a legend in the jazz world that Dandy owned a solid gold trumpet, given to him as a publicity stunt decades earlier when he was one of the top musicians in the world, rather than the washed-up bum he was when he was killed. Somebody wanted that trumpet bad enough to kill for it, Mac believes, but at the same time, he happens to know that the whole story is a myth. Or is it? Halfway through this novel, the plot takes an abrupt but believable twist, and things that seemed apparent suddenly aren’t. Mac will have a lot to untangle to find the killer, if he lives long enough himself.

THE DEADLY COMBO is both a fast-paced, violent, hardboiled mystery and a love letter to jazz music, all at the same time. Mac Stewart is a great character, a bit of an intellectual as well as a tough, hard-nosed cop. Webb’s style in this novel is the prose equivalent of jazz, swooping and swirling almost into a stream-of-consciousness improvisation at times. It takes a little getting used to, but it works and is very effective. The plot winds up almost as dense and convoluted as a Ross Macdonald novel, but I think it all makes sense in the end.

What I know for certain is that I raced through THE DEADLY COMBO and really enjoyed it. I stayed up later than I normally do to finish it, and that takes a pretty compelling book at my age. The Stark House double volume, complete with a top-notch introduction by Nicholas Litchfield, is available in e-book and paperback editions on Amazon. I’ll be reading ONE FOR MY DAME soon.

Review: Rails Into Hell - Brent Towns

I enjoy railroad yarns, especially ones featuring railroad detectives, so the Faraday series is a natural for me as both writer and reader. I’m strictly a reader on the latest novel in the series to be released, RAILS INTO HELL by Brent Towns.

The thread that ties these books together is Faraday Security Services, owned by Matthew Faraday, a Pinkerton-like detective agency that works only for the railroads. Other than that, the books are largely stand-alones featuring different Faraday agents as the protagonists. In RAILS INTO HELL, Jack Quade has a reputation as a gunslinger for hire, and at one time that’s exactly what he was, after clashing with his rancher father and leaving home. For the past several years, however, he’s been working as an undercover Faraday agent while maintaining his reputation as a fast gun.

The murder of a surveyor who’s laying out the route for a spur line brings Quade back to his old stomping grounds, where he discovers that a range war is brewing between his father and a rich man who has moved in and started gobbling up all the smaller spreads in the area. Quade has to juggle both problems and try to find out if they might be connected, while at the same time dealing with complications involving a couple of beautiful women. And then there are the continued attempts on his life, one of which might just prove successful before he can untangle the dangerous threads of this assignment.

Towns provides a lot of genuinely surprising plot twists in this novel, along with plenty of action told in an effectively gritty style. RAILS INTO HELL reminded me of the great hardboiled Westerns published by Gold Medal, Ace, and Dell in the Fifties and Sixties. It’s well-written and fast-paced, and I hope there’ll be more Faraday novels in the future. In the meantime, this one from Wolfpack Publishing is available on Amazon in e-book and paperback editions, and if you’re a fan of tough-minded Western novels, I give it a high recommendation.

Sunday Morning Bonus Pulp: Detective Tales, September 1939

I think this is a Tom Lovell cover on this issue of DETECTIVE TALES, but I'm not absolutely certain. I am certain, though, that there's a great lineup of authors in these pages: Norbert Davis, Cleve F. Adams, Wyatt Blassingame, William B. Rainey (also Wyatt Blassingame), Emile C. Tepperman, Philip Ketchum, William R. Cox, Stewart Sterling, and Ray Cummings. Every one of those guys was a prolific, top-notch pulpster, and I'm sure this was a well-above average issue. 

Saturday Morning Western Pulp: Western Ace High Stories, February 1954

WESTERN ACE HIGH STORIES was one of the last Western pulps from Popular Publications and managed only six issues in 1953 and 1954. It's not to be confused with ACE-HIGH MAGAZINE, which was published by Clayton and then Dell from 1921 to 1935, then from 1936 to 1951 by Popular Publications, where it was known variously as ACE-HIGH WESTERN MAGAZINE, ACE-HIGH MAGAZINE, and ACE-HIGH WESTERN STORIES. WESTERN ACE HIGH STORIES, which we're concerned with today, lacks the hyphen in the title. Maybe Popular was trying to cash in on some nostalgia for the earlier versions when they brought back a similar title in '53-'54, or maybe they just had a lot of stories in inventory they needed to burn off. I don't think the cover of this issue is a particularly good one, but it is another example of the iconic "poker game interrupted by a fight" scene that's so common on Western pulps. There are actually some really good authors in this issue: Gordon D. Shirreffs, Frank Castle, J.L. Bouma, Roe Richmond, Bruce Cassiday, and house-names Lance Kermit and David Crewe. I suspect Bouma wrote one or both of those house-name yarns, but that's just a guess on my part. Really, the authors could be almost anybody. I don't own this issue, and I don't recall ever seeing any issues of WESTERN ACE HIGH STORIES. That's a lineup of authors worth reading, though. 

A Rough Edges Rerun Review: Day of the Moon - Bill Pronzini and Jeffrey Wallmann

As far as I can tell, DAY OF THE MOON has been published in only two editions, a 1983 British hardback from Robert Hale and a 1993 paperback reprint from Carroll & Graf. (No longer true. It's available in an e-book edition on Amazon.) It’s a dandy little crime thriller, tightly plotted as you’d expect from a couple of old pros like Bill Pronzini and Jeff Wallmann and written in terse, hardboiled prose that’s a joy to read.

Flagg (we’re never told his first name) is a troubleshooter for the mob, here known as the Organization. He’s headquartered in San Francisco. As the book opens, he’s looking for the loot from an armored car robbery which has disappeared following some sort of double-cross that left the planner of the heist dead. That job isn’t the only one Flagg has on his plate, though. He’s also investigating a series of hijackings involving trucks and merchandise owned by the Organization, including some moonshining equipment. That ties in with Flagg’s third assignment, which is to find the bootlegger who’s trying to muscle in on the Organization’s illegal liquor operation in the Pacific Northwest. Not surprisingly, the armored car robbery winds up being connected to Flagg’s other two jobs as well.

Flagg reminds me a lot of Donald E. Westlake’s Parker in his low-key professionalism and also in the fact that the reader winds up rooting for him despite the fact that he’s a criminal. He actually comes across as a private eye of sorts, except his only client is the Organization. He shies away from violence, although he’s plenty tough when he has to be, and prefers to rely on his brain rather than a gun. He needs both, though, to untangle this complicated plot. I’m not aware of any other books or stories featuring Flagg and don’t know if he was intended to be a series character, but he certainly could have been. DAY OF THE MOON is a fine, enjoyable novel. One of the reviews quoted on the cover of the paperback refers to it as a “good, old-fashioned page-turner”, and that’s exactly what it is.

(This post originally appeared in a somewhat different form on May 23, 2008. A few days later, on May 26, Bill Pronzini provided more information about the book's background.)

"You're right that Flagg was intended to be a series character. The novel was originally sold to Leisure here, but never published because of a change of regime and policy; Wallmann and I were lucky to sell it to Hale in the U.K. And to have Carroll & Graf do a U.S. mass market edition, all thanks to Ed G. (Ed Gorman)

Incidentally, MOON is composed of three novelettes, two from AHMM, one from MSMM, that we bridged together and revised into the novel format. There's one other Flagg novelette from AHMM that we planned to use as the basis for a second novel and that has never been reprinted or collected."

(And here's the listing of the original Flagg stories from the Fictionmags Index.)

Day of the Moon, (ss) Alfred Hitchcock’s Mystery Magazine June 1970, as by William Jeffrey
Murder Is No Man’s Friend, (ss) Mike Shayne Mystery Magazine November 1970, as by William Jeffrey
The Ten Million Dollar Hijack, (nv) Alfred Hitchcock’s Mystery Magazine January 1972, as by William Jeffrey
The Island, (ss) Alfred Hitchcock’s Mystery Magazine August 1972, as by William Jeffrey

(I've met both Bill Pronzini and Jeff Wallmann, one time each, on separate occasions. I'm sure some of you know them much better than I do. I found them to be fine fellows and excellent writers. In fact, I need to read more by both of them. In the meantime, I still highly recommend this novel.)

Review: Shootout at Hellyer's Creek - Chap O'Keefe (Keith Chapman)

SHOOTOUT AT HELLYER’S CREEK, recently reprinted in a new edition that’s available in e-book and paperback on Amazon, is the first novel in the Joshua Dillard series by one of my favorite Western writers, Chap O’Keefe (who is actually veteran author and editor Keith Chapman, of course).

In this novel, originally published in 1994 as a Black Horse Western by Robert Hale Ltd. in England, a stagecoach is on its way to the Arizona settlement of Hellyer’s Creek carrying three passengers and a very special cargo: $50,000 intended for the vault of the bank in Hellyer’s Creek. The passengers are a special agent for Wells, Fargo guarding the money, an English actress who’s married to the owner of the biggest saloon and gambling den in the settlement, and Clement P. Conway, a bespectacled Easterner better known as Nate Ironhorn, the author of dozens of popular Western dime novels who wants to interview the legendary lawman who’s currently the marshal of Hellyer’s Creek.

Not surprisingly, the stagecoach is ambushed by outlaws after the loot, which involves the rider who has been trailing the stage: Joshua Dillard, a former Pinkerton operative who is now a freelance gun for hire. Joshua is on a mission of his own, which he interrupts to save the passengers and help them escape from the bandits, which also brings into the story the tomboyish but beautiful redheaded daughter of a drunk who operates the next way station along the stage line. Eventually, everybody winds up in Hellyer’s Creek, trying to navigate and survive a twisty plot rife with corruption, betrayal, and violence.

As always, Chapman weaves together the various strands of his story with great skill and keeps the reader flipping the pages, eager to find out what’s going to happen next. The characters are colorful, downright eccentric in some cases, and interesting. Joshua Dillard, tough and smart but haunted by grief from a tragedy in his past, is a compelling and sympathetic protagonist.

As an added bonus in this book, Chapman includes an essay about the writing and original publication of this novel, including the fact that it wasn’t intended to be the first book in a series, but Joshua was too good a character not to bring back. Likewise, the young redheaded tomboy is a direct forerunner of Misfit Lil, the star of several later novels by Chapman and also a favorite of mine.

If you enjoy traditional Western novels that are fast-moving, full of action, and just a little offbeat, I give SHOOTOUT AT HELLYER’S CREEK a high recommendation, along with all the other Chap O’Keefe novels. I love a book with a distinctive, entertaining voice, and Keith Chapman always delivers.

#430

I just sent in my 430th novel. I used to confine posts like this to more significant milestones, but hey, at my age, every milestone is a significant one. My goal is to make it to 450 novels, which I believe is within reach barring any of the proverbial unforeseen circumstances. I got a good start on #431 while Livia was editing #430, so I had best get back to it. 

Sunday Morning Bonus Pulp: All-Story Detective, December 1949

ALL-STORY DETECTIVE was a short-lived Popular Publications detective pulp that ran for six issues in the late Forties. This was the last issue under that title. The magazine became 15 STORY DETECTIVE but managed only eight issues under that title. But many of the covers were by Norman Saunders, including this "What the heck is going on here?" number, and there were some good authors in its pages. In this issue, those authors include Frederick C. Davis, Bryce Walton, Bruce Cassiday, and Stuart Friedman, as well as lesser-known authors Robert Carlton, Ed Barcelo, and Robert F. Toombs. Like most of the short-run pulps, I'm sure many of the stories were good and the magazines failed for other reasons.

Saturday Morning Western Pulp: New Western Magazine, March 1954

This is a pulp that I own and read recently. That’s my copy in the scan. I’m not sure who did the cover. It might be A. Leslie Ross. The hats look like his work, and so does the sketchiness of some of the details. But I’m not completely convinced it’s by Ross. As always, I’d love to hear what some of you think. NEW WESTERN MAGAZINE lasted only two more issues after this one, so it was on its last legs, but that doesn’t mean it wasn’t still a good Western pulp.

I’ve come to realize that Roe Richmond was a pretty good hardboiled Western author despite my dislike for his Jim Hatfield novels in TEXAS RANGERS. His novelette “Bullets Speak My Name!” leads off this issue. The first half of this story is mostly domestic drama as Marshal Jim Elrod tries to reform his wastrel best friend Tucker Brody. Jim and Tuck grew up together, but then Tuck married the girl Jim might have. Now Tuck neglects his family to gamble and carouse with the bad element in town. A murder for which Tuck is blamed raises the stakes even more and leads to several gritty action scenes. Richmond keeps things moving along at a reasonably fast clip and wraps things up in a satisfying way. This is a solid story, nothing special but definitely entertaining.

Will Cook has a solid reputation as a Western writer, but I haven’t been impressed by what I’ve read from him. His story “The Devil’s Double” resembles Richmond’s novelette in that it’s mostly domestic drama. Instead of best friends, we have brothers clashing in this yarn. One is stalwart, the other a ne’er-do-well. The action is sparse, nobody in the story is particularly sympathetic, and I didn’t care for it. So it didn’t change my opinion of Will Cook’s work. Maybe the next one I encounter will.

“Death Rides My Guns!” is the cover story by Richard Ferber. It’s almost entirely very gritty action as a young man fights to reclaim the ranch that’s been stolen from him by his three half-brothers. I’m not sure if it was intentional, but this is the second story in a row in this issue in which the conflict is between brothers. I liked Ferber’s story considerably more than Will Cook’s.

H.A. DeRosso is well-known for the emotional, and sometimes physical, torment he heaps on his characters. In “Two Bullets to Hell”, railroad troubleshooter Sam Lane returns to his home to seek revenge on the man he blames for the murder of his brother-in-law, while at the same time keeping the ranch going that his widowed sister now owns. It’s a very well-written yarn, as you’d expect from DeRosso, and has several twists and turns in the plot. The only real problem with it is that none of the characters are the least bit likable, even the ones you’d think would be sympathetic. It’s a bleak, bitter story. I admire the writing, but I didn’t find it particularly enjoyable.

William Heuman is one of my favorite Western authors, but I don’t think I’ve ever read a cavalry vs. Indians story by him. He generally wrote about lawmen, outlaws, and gunfighters. His story in this issue, “Dead Man’s Pass”, is a cavalry story with a slight twist. It’s set in Oregon instead of somewhere in the Southwest, as such stories usually are, and the Indians are Modocs, not Apaches or Comanches. A group of cavalrymen are pinned down and outnumbered, and the only way for them to escape involves a daring plan almost certain to result in the death of the officer who leads it. However, one of the lieutenants who would normally lead such a breakout is the son of the major in command of the troops. It’s a compelling moral dilemma, and Heuman comes up with an interesting way to solve it. The writing is excellent. I thought the ending might have been a bit too abrupt, but overall “Dead Man’s Pass” is a very good story.

Stone Cody’s novelette “The Kid From Hell” was published originally under the title “The Lost Gunman” in the November 1937 issue of STAR WESTERN. Cody was actually Thomas E. Mount, who also wrote under the pseudonym Oliver King. Mount is one of my favorite Western pulpsters and was also a pretty interesting character in real life. You can read more about his background here in my review of his novel THE GUN WITH THE WAITING NOTCH. “The Kid From Hell” is an amnesia story, something that you come across now and then in the pulps. Young Dave Walker and the old-timer who raised him are gunned down by hired killers working for the range hog who wants their ranch. The old-timer is killed, and Dave is thrown into an empty boxcar on a passing train. The gunmen figure he’ll be dead by the time he’s found. But he survives, of course, except he doesn’t remember who he is or how he got shot. And when he recovers, he falls in with a gang of outlaws . . .

Mount packs enough plot into this novelette for a novella or possibly even a novel. In fact, I think it would have been even better at a longer length since he has to cover quite a bit of ground in a hurry at times. But it’s still a very, very good yarn. I really like the way Mount writes. The characters are interesting, the dialogue is good, the action is plentiful, and even his shorter stories have an epic feel to them. I definitely intend to read more by him.

The stories by Mount and Heuman are certainly the highlights of this issue, but Richmond and Ferber turn in pretty good stories, too. The DeRosso was slightly disappointing but still readable, and the one by Will Cook was the only story I didn’t like. So I’d say this is a good issue of NEW WESTERN MAGAZINE, worth reading if you have it on your shelves.