Tuesday, June 24, 2025

Movies I've Missed Until Now: Cocktail (1988)


There’s no point in talking too much about the plot in this movie since all of you probably saw it more than 35 years ago. But I never did until now, so to sum up very briefly: Tom Cruise plays an ambitious young man who wants to make a million dollars in business but instead winds up a hotshot bartender in New York City. Romance and drama ensue.

A few things struck me about this one. Looking at Tom Cruise in 1988 and looking at him now, it’s obvious he ages at about one-third the rate of a normal human being. Elizabeth Shue sure was cute, even with that big Eighties hair. There’s not a cell phone in sight nor a mention of the Internet, and other than a little nudity and language, this movie could have been made in 1938 instead of 1988. All it would take is a little tweaking of Heywood Gould’s screenplay. And speaking of that screenplay, it has a great line spoken by Bryan Brown, who plays Cruise’s bartending mentor: “All things end badly, otherwise they wouldn’t end.” That’s a pretty noirish line.

Overall, I enjoyed COCKTAIL quite a bit. It’s old-fashioned, just a story meant to entertain and hold your interest without much, if any, message. And I was entertained.

Monday, June 23, 2025

Review: Death in a Lighthouse - Edward Ronns (Edward S. Aarons)


Back in the Sixties, I was a big fan of the Sam Durrell/Assignment series of espionage novels by Edward S. Aarons. I read most of them until the series ended with Aarons’ death in the mid-Seventies. (There were some ghosted books after Aarons passed away, but I never read any of them as far as I recall.) Over the years I’ve also read stand-alone mystery and suspense novels of his published by Gold Medal and other publishers. He was a very solid author, always entertaining.


I didn’t figure I’d ever read his earliest novels, though, since they were fairly obscure. Published by lending library publisher Phoenix Press under the pseudonym Edward Ronns, they’re fairly hard to come by. But then wouldn’t you know it, the fine folks at Stark House have reprinted Aarons’ first two novels, DEATH IN A LIGHTHOUSE and MURDER MONEY. I’ve just read DEATH IN A LIGHTHOUSE and found it something of a surprise.

The Sam Durrell novels and Aarons’ later stand-alones aren’t exactly humorless, but they’re pretty straightforward and not exactly a laugh a minute. DEATH IN A LIGHTHOUSE, though, has a frantic, almost screwball quality to it, especially in the first half. Journalist Peter Willard wakes up after having amnesia for three years. He quickly discovers that during those years, he lived a dangerous life as a gangster and gunman known as The Deuce. He was part of Aces Spinelli’s mob, a gang that’s actually bossed by a masked criminal mastermind known as The Cowl. Now, with his memory back, Willard is a danger to The Cowl and his men, so they’re out to get him. There are also a couple of beautiful women involved, Willard’s former fiancée who is now engaged to his ne’er-do-well brother, and a redhead who’s a stranger to him but who seems to have been involved with The Deuce. Aarons piles on the shootouts, double-crosses, captures, and escapes in a breakneck fashion that’s very reminiscent of the pulps. The first half of this novel easily could be mistaken for a “Book-Length Novel” by, say, Norman A. Daniels that was published in THRILLING DETECTIVE.


Then, so fast it’ll give you whiplash, the scene shifts and DEATH IN A LIGHTHOUSE becomes an Impossible Crime/English Country House novel, only instead of an English Country House, a seemingly impossible murder takes place at an estate on the New Jersey coast that has an abandoned lighthouse on it. And darned if Aarons doesn’t do a good job with a very different second half of this book, too. The Cowl is still around, by the way, but by the end of the novel he reminds me more of an Edgar Wallace villain than a pulp mastermind.

So, basically, what you’ve got here is a bit of a kitchen sink book as Aarons throws in plenty of colorful characters and bizarre twists and tone shifts and somehow makes the whole thing work as a coherent whole. If you’ve never read Aarons before, don’t think this novel is typical of his later career, but you can still read it with great enjoyment. If you’re already an Aarons fan, DEATH IN A LIGHTHOUSE may make you scratch your head a little in surprise, but that won’t keep you from having a fine time reading it. I certainly did, and I’ve been reading the guy’s books for 60 years now. The DEATH IN A LIGHTHOUSE/MURDER MONEY double volume is available from Amazon in e-book and trade paperback editions. I hope to get to the other half of it in the near future.

Sunday, June 22, 2025

Sunday Morning Bonus Pulp: Railroad Stories, May 1935


Emmett Watson provides a dramatic cover for this issue of RAILROAD STORIES. Inside are stories by E.S. Dellinger, the star author of RAILROAD STORIES, as well as John A. Thompson (who wrote as The Engine Picture Kid), Earle Davis, and Searle B. Faires, who got the cover story. Faires is a mystery to me. He published half a dozen stories in 1933-35, all of them in RAILROAD STORIES, and that's the extent of his career. I'm always curious about writers like that who appear to be on the verge of success but then disappear. It's possible that he died, of course, or just stopped writing for some other reason. But the mystery always intrigues me.

Saturday, June 21, 2025

Saturday Morning Western Pulp: Wild West Weekly, December 12, 1936


This is a pulp that I own and read recently. That’s my copy in the scan, complete with tape around the edges applied by some previous owner. The cover art is by Albin Henning, who appears to have done more interior illustrations for the pulps and the slicks than he did covers. I think this one is okay, but I don’t like it as well as the covers by R.G. Harris and H.W. Scott, who did most of the WILD WEST WEEKLY covers during the Thirties and Forties.


The lead novelette in this issue is “Long-rider’s Loot” by William A. Todd, a house-name used on the Risky McKee series by Norman W. Hay. Hay wrote hundreds of stories for WILD WEST WEEKLY under half a dozen pseudonyms and house-names, including approximately three dozen about a young rancher in Arizona named Risky McKee, who raises and trains horses. This is the first Risky McKee story I’ve read. In it, a drug-addicted outlaw named Hypo Crawley (great name) escapes from prison and tries to recover the loot from a bank robbery he hid several years earlier. Crawley double-crossed his gang and stole the money from them, so they’re after it, too, and hope he’ll lead them to it. Risky finds himself in the middle of all this, assisted by his sidekick Sufferin’ Joe, a hypochondriac old codger always complaining about one ailment or another acting like he has one foot in the grave. This is a pretty decent, if standard plot, and Hay throws in a couple of nice twists in before the end. There’s a great line that put a smile on my face: “He’s so crooked he could hide behind a corkscrew.” Sufferin’ Joe is a good character, too, definitely comedy relief but also tough and competent when he needs to be. The only real problem about this story is Risky himself, who is such a bland and shallow character that he’s barely there on the page. I don’t know if he comes off better in the other stories—I’d certainly read more of them because I like Hay’s writing overall—but he keeps this yarn from being anything more than average.

Hay is also the author of the second story in this issue, a stand-alone called “Six-gun Wages” published under the house-name Philip F. Deere. This is a much better story about a young cowboy who discovers a rustling operation along the border between Arizona and Mexico. It’s a well-written tale and one of the characters who seems like a villain turns out not to be, which is always a nice twist. I enjoyed this one quite a bit. As I said, I like Norman W. Hay’s work. As far as I can tell, he published only a handful of stories under his own name, and maybe that’s the way he wanted it, but I think that’s kind of a shame. I wish he’d written some Western novels.

J. Allan Dunn wrote more than 150 stories about Texas Ranger Bud Jones for WILD WEST WEEKLY. I’ve read only one other one before now, and I liked it fairly well with a few reservations. The Bud Jones yarn in this issue is called “Hide-out” and opens with a gang of desperate outlaws fleeing with the loot from a bank robbery they’ve pulled. Bud is the Ranger who sets out to track them down, but he seems stymied when their trail mysteriously disappears, until he figures out the clever trick they’ve pulled. No reservations on this one. It’s a solid, well-plotted yarn with a great showdown at the end.  By the way, has anyone ever tried to figure out how much Dunn wrote? His total wordage has to be right up there with Frederick Faust, H. Bedford-Jones, and Erle Stanley Gardner.

Lee Bond wrote two long-running series about good guy outlaws and the lawmen who dogged pursue them, the Long Sam Littlejohn series that ran for some 50 stories in TEXAS RANGERS and the Oklahoma Kid series in WILD WEST WEEKLY which was even more popular, lasting for approximately 70 stories. “Boot Hill Gamble” is the Oklahoma Kid novelette in this issue, and it finds the Kid (whose real name is Jack Reese, but that’s hardly ever used) on the trail of some outlaws who held up a stage, murdered the driver and guard, and got away with $30,000 in gold bars. The Kid is blamed for this crime, and the only way to clear his name is to round up the real culprits. This is a very standard plot, as usual for Bond, but he does a good job with it and includes plenty of well-written action, which is his strong suit. I like the Long Sam yarns considerably more than the ones featuring the Oklahoma Kid, but Bond’s work is nearly always worth reading although it seldom rises to the top rank of Western pulp fiction.

Claude Rister wrote more than a hundred stories for the pulps, mostly Westerns but with some detective, adventure, and aviation yarns mixed in. He also wrote a number of Western novels under the pseudonym Buck Billings. His story in this issue, “Outlaw Option”, is about a cowboy who’s had a bit of a shady past coming to the aid of an old-timer who’s about to be finagled out of his ranch by a slick gambler. In order to do that, the protagonist enlists the help of several other former owlhoots. There’s nothing special about the plot in this one, but Rister writes well and isn’t as heavy-handed with the dialect as some Western pulpsters can be. I’ve enjoyed everything I’ve read by him and need to read more.

There’s also a Texas Triggers novelette by Walker A. Tompkins to round out this issue, but that series was fixed up into a novel called TEXAS TRIGGERS, and since I happen to own that book, I didn’t read the novelette. I’ll get to it when I read the book.

Overall, this isn’t a bad issue of WILD WEST WEEKLY. All the stories are readable and fairly entertaining. But it’s not an outstanding issue, either. It's about as average as you can get with a Western pulp. Fortunately, with WILD WEST WEEKLY, that means it’s enjoyable enough to be worth reading if you have a copy.

Friday, June 20, 2025

A Rough Edges Rerun Review: Lawless Guns - Dudley Dean (Dudley Dean McGaughey)


The protagonist of this novel, Chase Iverton, has chosen a tough path for himself. Following the Civil War, Chase, a Texan who fought for the Union, returns to his ranch in the Big Bend county of West Texas, finds himself surrounded by former friends who now despise him as a turncoat, and makes things even worse for himself by marrying the daughter of his late father’s worst enemy. It’s no wonder that as the novel opens, a mob wants to tar and feather Chase. That’s hardly the worst thing that happens to him before LAWLESS GUNS is over, though.

Dudley Dean (real name Dudley Dean McGaughey, who also wrote Westerns as Dean Owen, Bret Sanders, and assorted other pen-names) was one of those authors who really liked to torment his heroes. This book is no different, as Chase Iverton has to deal with rustlers, Mexican revolutionaries, and a wife he may or may not be able to trust. McGaughey piles troubles on his head until it seems impossible for Chase to overcome the odds against him, but somehow, he’s tough enough to do so, even though he’s hardly the superheroic figure you find in some Western novels. McGaughey also throws in a plot twist or two that I wasn’t expecting.

McGaughey belongs in the same group of hardboiled Western authors who came to prominence in the genre in the Forties and Fifties: Lewis B. Patten, H.A. De Rosso, Giles Lutz, and William Heuman, to name a few. He could be as gritty as any of them, and the climax of this novel is pretty dark and harrowing, especially for a book published in 1959. There’s very little heroic about it, but it sure is effective.

I really admire McGaughey. For more than thirty years, he worked steadily in the paperback field, in addition to his Westerns turning out hardboiled mysteries as Dudley Dean, Owen Dudley, and Hodge Evens, plus the occasional movie novelization, TV tie-in, or hardboiled sleaze novel. If you haven’t read his work, LAWLESS GUNS would be as good a place to start as any, but really, I’ve never read a book under his various pseudonyms that I didn’t enjoy.

(This post originally appeared on June 4, 2010. McGaughey remains one of my favorite hardboiled Western authors.)

Thursday, June 19, 2025

Western Webcomic: The Ranger and the Spectacular Steed - Luke Varner


I've recently discovered this new webcomic that mixes Westerns, steampunk, and horror. Written and drawn by Luke Varner, it's a lot of fun and I'm enjoying reading it. It's available on Instagram, and you can find it here. Here are a couple of early Sunday strips you should be able to click on to read.



Wednesday, June 18, 2025

Review: The Case of the Terrified Typist - Erle Stanley Gardner


Any time I feel like a reading funk might be coming on, a Perry Mason novel is a sure-fire way of nipping it in the bud. THE CASE OF THE TERRIFIED TYPIST was published originally by William Morrow in 1956 and has been reprinted in paperback many times since then, like most of the Perry Mason novels. It’s currently available in e-book and paperback editions from Amazon.


In this one, Mason needs to hire a temporary typist to type up a legal brief in a hurry. His secretary Della Street calls the temp agency and tells them to send a girl right over. So, when a young woman shows up at Mason’s office a short time later, everybody assumes she’s the typist. She’s actually really good at it, too. But the reader is going to figure out right away that she’s not really the one sent by the temp agency, and she’s actually there because she’s mixed up in a complicated criminal conspiracy involving smuggled diamonds, an apparent suicide, a lobotomized mental patient, several beautiful women, and an alleged murder even though the victim’s body has been lost at sea.


If you like the courtroom scenes in the Perry Mason novels—and who doesn’t?—this novel is a veritable feast. Except for a few short interludes, the entire second half of the book is a series of one crackling courtroom scene after another as Mason, with the help of Della Street and private detective Paul Drake, untangles the whole thing and exposes the real killer.

I’m not sure Erle Stanley Gardner nails down the plot quite as well as he usually does. There’s at least one hole that’s not really resolved. But Gardner does spring a surprise that’s never occurred in the series up to this point, then neatly uses it to turn everything on its head. Anyway, I’ve long since reached the point where I stopped reading these books for the plots. The plots are just an excuse to watch Mason at work and enjoy the fast-paced prose and the occasional bursts of humor. Plus the friendship between Perry, Della, and Paul is one of the most appealing in fiction. THE CASE OF THE TERRIFIED TYPIST isn’t one of the best Perry Mason novels, but did I race right through it and have a very good time reading it? You bet I did.



Monday, June 16, 2025

Review: Peace at Any Price - Chap O'Keefe (Keith Chapman)


As regular readers of this blog know, I’ve been a fan of Chap O’Keefe’s Western novels for quite a while now. O’Keefe, of course, is actually Keith Chapman, who has been in the genre fiction business as a writer and editor for a long time. His novel PEACE AT ANY PRICE is set in Texas in the Reconstruction era following the Civil War, fertile ground for many great Western yarns over the years.


Actually, this one starts during the war, as ranchers Jim Hunter and Matt Harrison dissolve their partnership after their herd is rustled and their barn and bunkhouse are burned down. Jim supports the Confederacy and Matt the Union, so they each go off to join those respective armies, although unlike some friends who found themselves on opposite sides, their parting is amicable.

Instead of fighting in the regular army, Jim finds himself riding with a group of irregulars and involved in smuggling across the Mexican border. After the war, when Jim returns to the small town in South Texas near the ranch he and Matt established, he finds that Matt is back, too, trying to get the ranch up and running again—but Matt has also married the girl Jim was in love with. Jim can’t stay, so he goes off and gets mixed up with the smuggling gang again, but circumstances keep dragging the fates of the former partners together.

The plot and tone of this novel remind me of some of the classic Gold Medal Westerns from the Fifties and Sixties. Femme fatales, double crosses, and a gritty, noirish feel make it a very entertaining tale. And for someone who’s never actually been to Texas, O’Keefe really nails the Gulf Coast setting, including a humdinger of a hurricane that’s very realistic. PEACE AT ANY PRICE really races along and I had a fine time reading it. If you’re a fan of traditional Westerns, I think there’s a good chance you’ll enjoy it a lot, as well. It’s available on Amazon in paperback and e-book editions.

Sunday, June 15, 2025

Sunday Morning Bonus Pulp: Famous Detective Stories, June 1954


The cover on this issue of FAMOUS DETECTIVE STORIES is by Norman Saunders, and he's by far the best known name involved with this issue. The lead novella is by Wilbur S. Peacock, a fairly prolific pulp author and editor, but the other stories are by writers I'm not familiar with: Norman Ober, Marc Millen, Gene Rodgers, and Wallace McKinley. None of these are known to be pseudonyms or house-names, but they don't ring any bells for me, either. The cover is okay, but I'm not sure if I would have gambled a quarter on this one if I'd seen it on the stands back in 1954. (I was alive when this issue was on the stands, but since I was only a year old, I doubt if I'd have been reading it anyway.)

Saturday, June 14, 2025

Saturday Morning Western Pulp: Gun-Swift Western, September 1938


This is a pretty obscure Western pulp. I don't know how many issues there were, since only one has been indexed on the Fictionmags Index. This is Volume 1, Number 5. Nor do I know who painted the cover. But the group of authors inside is a decent one: Ed Earl Repp, J.E. Grinstead, Hapsburg Liebe, Carmony Gove, and Clem Yore. Those hombres generally knew what they were writing about.

UPDATE: On Facebook, John Locke provided some information from the magazine AUTHORS & JOURNALISTS about GUN-SWIFT WESTERN and its editor/publisher (?) Z.S. Sklar. From the October 1939 issue:

Who Is Z.S. Sklar?

Col. John J. Boniface, who writes under the pseudonym of Wilton West and various others for the adventure magazines, sends us a heavy sheaf of correspondence which he defines as a serial entitled, "The Mystery of Z.S. Sklar."

The opening installments of this engrossing serial relate to the call of a magazine entitled Gun-Swift Western, of 19 Avon Place, Springfield, Mass., for manuscripts. The call brought a manuscript last spring from Col. Boniface under one of his pennames, Gordon Strong. Not hearing from the manuscript, the author wrote several letters of inquiry, which were never answered, although the letters were not returned. The Railway Express Agency, in whose hands the matter then was placed, had no better luck, reporting: “Unable to contact the party.”

THE AUTHOR & JOURNALIST, writing in behalf of the author, had a little better luck. In response to its inquiry, came a brief typewritten note: “Magazine has been discontinued.--Z.S. Sklar.”

Acting on this information, the author put the matter into the hands of the post office department. Though declining to take action, the inspector at Boston, Mass., informed him that other writers had complained, and reported that their manuscripts were later returned by the Double-Action Publishing Co., of New York. But Cliff Campbell of the D-A group reported when queried that he had no record of the yarn.

Final appeal was made to the police department of Springfield--and here the mystery not merely persisted, but deepened. Quoting from the letter of John L. Maloney, chief of police:

“While I have caused a thorough investigation to be made, I am unable to locate Z.S Sklar or the Gun-Swift Western magazine at 19 Avon Place, this city. Inquiries were made of the janitor of the above-mentioned address, which is an apartment block in the residential section, who informed our investigating officer that Sklar or this magazine company which you mention has never been located at that address. Inquiries were also made of the letter carrier who delivers mail in this district, who states that he has never delivered mail to Sklar at 19 Avon Place. He is not receiving mail at our local post office. His name does not appear in our city or telephone directory.”

Evidently it all never happened--but others who are in like position must join the author in wondering how come that the magazine did receive manuscripts at that address, return some, and contrive that others were returned through the Double-Action group. We hate to see a masterly and persistent job of sleuthing for a lost manuscript, such as that conducted by Col. Boniface, end up in a blind trail.
 
From the November 1939 AUTHOR & JOURNALIST:
 
Responding to the editorial in our last issue, relating to the mystery of Gunswift Western and Z.S. Sklar, Louis H. Silberkleit, president of Winford Publications, Inc., writes: “Gunswift Western was not connected in any way with the Double Action Group. It so happens that when the magazine was discontinued, the editor, who certainly did run his business from 19 Avon Place, Springfield, Mass., approached us for a job, and was hired. He asked if we would permit him to have his mail forwarded from Springfield to this office. We said yes. That's all we know about the situation.”

I'm always fascinated by stuff like this, and many thanks to John Locke for providing it.