The Jim Hatfield novel in this issue, “The Timber War”, has been attributed to Tom Curry, but I believe that’s incorrect. I’m convinced this one is actually by Leslie Scott. The terms “skalleyhooting” and “big skookum he-wolf”, common in his work, are used numerous times. There are quite a few vivid descriptive passages, although maybe not as many as you often find in a Scott novel. My theory is that Scott could always fill a few pages with description when he needed to, but also that whenever an editor needed to cut a few pages, those lengthy portraits of the landscape would be his first target. The plot, which finds a hidden criminal pitting two opposing forces—in this case, loggers and cowboys—against each other for his own benefit, is also classic Scott. To be fair, that’s a common Western plot no matter who the author is. I’ve written a few loggers vs. cowboys yarns myself. But this one, including the villain’s identity and the motivation for his scheming, is pure Scott and easy to see coming if you’ve read as many of his novels as I have. As further evidence, most of Curry’s Hatfield novels feature a proxy hero who winds up with the pretty girl. That happens in “The Timber War”, too, but it’s pretty much an afterthought, not a major part of the plot like it usually is with Curry. That’s my reasoning, but basically it boils down to knowing a Scott novel when I read one, and that’s what I think this is.
But is “The Timber War” any good, you ask? Oh, heck, yeah. Hatfield is sent to get to the bottom of the trouble brewing between Justin Flint’s logging crew and Clyde Cranley’s Double C ranch outfit. Sabotage has taken place on both sides. Tensions are running high and threaten to break out into open warfare. Hatfield gets ambushed a few times, helps out both sides, and figures out what’s really going on. There’s plenty of well-written action, and the pace never lets up for long. It’s formulaic, but nobody ever worked that formula better than Scott. I had a great time reading this, as I nearly always do with his work.
“Tenor on Horseback” is the only credit in the Fictionmags Index for Matt Sprague. Was that a pseudonym, or just the only story that Matt Sprague managed to sell? I don’t know, but I can say that this story about a couple of ranchers getting mixed up with an opera company touring the West is pretty polished and entertaining. It’s a humorous yarn without ever descending into slapstick, and there’s a nice twist at the end. I liked this one more than I expected to.
The issue wraps up with a story by an author I always expect to enjoy, Johnston McCulley. “Merry Christmas, Ranger” is about a Texas Ranger’s encounter with two outlaws when all he wants to do is make it home for Christmas so he can propose to the girl he wants to marry and then resign from the Rangers. The plot is pretty simple, but McCulley executes it very well and his fast-moving prose is always fun to read. The holiday is just a minor plot device; the story could have been written just as effectively without it. But the whole thing is enjoyable, and I’d say it’s another winner for McCulley.
This whole issue is a winner, in fact. All three stories are top-notch, and I greatly enjoyed reading this pulp. It’s well worth your time if you have a copy.
That’s the set-up of Clifford D. Simak’s Hugo-winning novel WAY STATION, first published in 1963 and reprinted several times since. Simak was a veteran of the science fiction pulps dating back to before what’s now considered the Golden Age of those magazines, and as the pulps faded he made a seamless transition to writing well-received hardback SF novels. Although he wrote some Western stories for the pulps and later dabbled in fantasy novels as well, he’s best remembered for what some have called pastoral SF – stories and novels usually taking place in rural settings, with low-key, somewhat unsophisticated (at least on the surface) protagonists. WAY STATION fits neatly into that sub-category and may well be the best example of it I’ve encountered.
Simak was never a flashy writer. His prose style is functional and plain-spoken, like the people he writes about. In WAY STATION, the story unfolds in a gentle, leisurely fashion, with the main elements of the plot never really getting into gear until about halfway through the book. Most writers today couldn’t get away with that, but Simak makes it work. And once things do start rolling, the scope of the story rapidly expands, with the fate of entire galaxies ultimately at stake, even though all the action takes place here on Earth.
When I was younger, I read a number of Simak’s novels, and while I enjoyed them, he was never a particular favorite of mine. I think maybe I just wasn’t ready to appreciate his virtues. WAY STATION is a fine novel and has dated hardly at all. I plan to read more of his work soon.
(I swear, if I had the attention span even of a six-week-old puppy, I might be dangerous. Despite my good intentions, I haven't read anything else by Simak since this post first appeared on January 30, 2009. I still plan to one of these days, though. Bill Crider recommended CITY to me at least 40 years ago. I'll get to it.)
So off go the trio of treasure hunters from their homes in North Carolina to Boston, where their investigation involves them with a tech mogul, a pretty history professor (there’s not even a hint of romance despite the fact that she’s only about ten years older than the guys, because these are very clean books), assorted bruisers who also believe there’s a treasure to be tracked down, some Freemasons, and at least one 250-year-old murder to be solved. Author Andrew M. Dare keeps the action racing along and also peels away the layers of the mystery in very satisfying fashion.
I think I enjoyed THE BOSTON TEA PARTY CONSPIRACY even more than the first book in the series. There’s more action as the boys find themselves up against some ruthless adversaries, and the historical mystery is intriguing and well-developed. I also liked the fact that all three of our heroes pitch in on the brain work. They’re all very likable guys. The large supporting cast from the first book is mostly absent this time around and I kind of missed them, but it was also nice seeing Ben, Porter, and Latch operating mostly on their own.
If you’re an old codger like me and grew up reading boy’s adventure series such as Rick Brant, the Hardy Boys, and the Three Investigators, the American Treasure Hunters series definitely should be on your radar. If you have young friends or relatives who are big readers, or even who aren’t, these books are aimed squarely at them. The hardcover edition of THE BOSTON TEA PARTY CONSPIRACY is already out, and the e-book edition will be released on July 7. I had a great time reading it and give it a high recommendation.
And next time around, the guys are headed for Texas and the Alamo. I can’t wait.
Which brings us to THE CASE OF THE LAZY LOVER, a 1947 entry from Gardner’s Perry Mason series. As usual, this yarn gets off to a running start with Mason receiving two checks, both in the same amount but drawn on different banks, from a potential client. This puzzles Mason enough for him to do a little investigating, and he discovers fairly quickly that one of the checks is a forgery. Now he has to know why and what’s going on.
Well, also as usual, it ain’t simple. I learned a long time ago not to try to summarize the plots too much in these reviews of Gardner’s novels. They’re just too dizzying. This one involves mining claims (a favorite plot element of Gardner’s), double identities, seedy tourist courts in the mountains, a barking dog, and the old amnesia bit. And murder, of course. Got to have a murder. And naturally, Mason’s client is the one who’s arrested and charged with the crime, and for a change, it looks like he’s blundered and helped the police draw the noose even tighter around her neck!
A three-chapter-long courtroom scene forms the climax of this book, and with the able assistance of Della Street and Paul Drake, Mason saves his client and uncovers the real murderer . . . maybe. This is a rarity for Gardner, a novel in which the killer’s identity is left a little muddled. I think I know who it was, and I even figured out the most likely solution, also a rarity. But there’s no denying that the ending is a little unsatisfying.
On the other hand, Mason’s receptionist Gertie, who remains a cipher for much of the series, plays a major part in the plot of this one and turns out to be a real hoot and a great character. The long scene in which she’s involved is the high point of this book. Man, Gardner really should have made more use of her! Or maybe the fact that she hardly ever makes an appearance makes her more effective in this one, who knows.
THE CASE OF THE LAZY LOVER is a middling Perry Mason novel, to be honest, but that means it’s still more entertaining and downright fun to read than many of the current mystery novels I read (or try to read). If you’ve never read any of the series, I wouldn’t start with it, but if you’re already a long-time fan, like me, it’s well worth your time.
And no one could visualize its raw, untamed fury and pioneer spirit like artist RON LESSER. From 1959 to today, Ron has painted hundreds of book covers, movie posters, advertisements and gallery artwork depicting the drama, the people, and the colorful vistas of the Old West.
In this 3rd volume of our The Art of Ron Lesser series we examine his portfolio of work in the Western genre illustrating some of the classics from writers like Luke Short, Louis L'Amour, John Benteen, J.T. Edson, and many more. This volume is a unique look into the life and work of an artist who had a powerful impact on our pulp culture, and framed how we look at that period of American history.
The Art of Ron Lesser Vol. 3: Wild, Wild, Westerns is a companion to Vol 1: Deadly Dames and Sexy Sirens and Vol. 2: Dangerous Dames and Cover Dolls. All three showcase and provide insight into the 65+ year career of the artist and his groundbreaking work within the art, publishing, advertising, and entertainment industries.
This 3rd volume feature 150 pages of full color artwork and commentary by one of the masters of the western genre. It is a unique art book of a unique artist.
(I'm extremely proud to be part of this project. It boggles my mind a little to look at all the cover images in this beautiful volume and realize how many great books I bought and read over the decades had covers by Ron Lesser. Being able to help pay tribute to him and his work is very gratifying. If you're also a Lesser fan or just a fan of iconic paperback art, this volume is available on Amazon or directly from the publisher.)
