Sunday Morning Bonus Pulp: Argosy, March 4, 1939

Lots of red to catch a potential reader's eye in this ARGOSY cover by George Rozen. Complete novelettes by Frank Richardson Pierce and Paul Ernst are pretty good selling points, too, along with serial installments by Allan Vaughan Elston, George Washington Ogden (a reprint of a serial from ALL-STORY in 1918), and Marco Page.

Saturday Morning Western Pulp: New Western, January 1946

"We gotta get this shipment through tuh the coyote, Tex!"

Okay, this is one of my favorite Western pulp covers so far. Frantic powder-burning action, injury to a hat, reins in the teeth, and great detail (that's a keg of Gut Buster Whiskey XXX under the canvas). Sam Cherry, working for Popular Publications instead of the Thrilling Group for a chance, really outdid himself on this one. Inside are stories by Harry F. Olmsted, Giff Cheshire, Joseph Chadwick, Eli Colter, and Miles Overholt. Pretty good lineup to go with that great cover.

Forgotten Books: Slaves for the Renegade Sultan - John Peter Drummond

Continuing in my reading of the Ki-Gor series in order, I’m up to “Slaves for the Renegade Sultan”, which originally appeared in the Spring 1942 issue of JUNGLE STORIES, with a cover by George Gross, one of my favorite pulp and paperback cover artists. This one doesn’t have a very high reputation among Ki-Gor fans, and I thought it was kind of a step back in a steadily improving series, too.

First of all, I suspect this is another case of the cover being done, title and all, before the story was ever written, because while the villain is a slave trader, no actual slaves appear and that activity plays no part in the plot. Who’s the renegade sultan? Don’t know, because no such character appears in the story or is even mentioned.

What drives the plot of this yarn is a drought, and the clashes over land and water in such extreme circumstances could have produced a good story. It’s an interesting set-up, and I’ll give the author credit for that. I’m almost certain this is a totally different author from the one who wrote the past few stories. Ki-Gor’s pygmy sidekick N’Geeso and the loyal elephant Marmo are nowhere to be found. Tembu George, the American-born leader of the Maasai, is back after being missing in the previous story, and although his stereotypical dialect is overdone, he’s still a great character, smart and brave and funny. Ki-Gor himself is as stalwart as ever.

Where the author really misses badly is his characterization of Helene, Ki-Gor’s beautiful redheaded wife and partner in adventure. Occasionally, the authors have had her do something dumb in the past, but without getting into spoilers, she’s an absolute idiot in this one, a far cry from the badass who mowed down bad guys with a Thompson submachine gun in an early novel in the series.

Having said all that, the story moves along fairly swiftly and features several good action scenes. I found it entertaining in some parts and annoying in others, and the ending is a bit of a letdown. However, the next story in the series is supposed to be a really good one, so I’m looking forward to reading it and will report back here on it in due time.

Arroyo de la Muerte - Frank Leslie (Peter Brandvold)

ARROYO DE LA MUERTE, which translates as “Canyon of Death”, is the fourth and final novel in the Bloody Arizona Quartet, a series of four books by Frank Leslie, who in real life, of course, is my old friend and very popular Western author Peter Brandvold. This series features Yakima Henry, a half-breed lawman and one of several characters created by ol’ Mean Pete under the Frank Leslie name. During the course of the series, Yakima has served as the marshal of Apache Springs and gotten involved in a romantic triangle with the two beautiful daughters of local mining tycoon Hugh Kosgrove: Julia Taggart, the widow of the town’s previous marshal and now the proprietor of a hotel and whorehouse in Apache Springs; and Emma Kosgrove, Julia’s younger sister, a wild, tomboyish blonde who like to roam around the wilderness and in the course of her roaming discovered an old Spanish church full of golden treasure that’s been cursed by an Apache witch.

Got all that? Good, because all those plotlines come to a head in ARROYO DE LA MUERTE, which finds Yakima quitting his marshal’s job and turning the badge over his deputy, an old reformed outlaw known as the Rio Grande Kid. The novel opens with a murder which sets Yakima on the trail of the two killers, then goes on to involve several threats to the hidden treasure, which Emma has sworn to protect because of the curse on it.

As always in Brandvold’s work, there are great action scenes galore in this book, and he keeps the story moving along at a very brisk pace, but without sacrificing characterization. Yakima’s struggles in trying to decide between the two Kosgrove sisters are very well done. I wouldn’t want to be in the position of having to make that choice! Everything builds up to a satisfying conclusion, and while the Bloody Arizona Quartet may be over, I have a hunch we haven’t seen the last of Yakima Henry. I hope not, because I really enjoy reading about his adventures. ARROYO DE LA MUERTE gets a high recommendation from me.

Overlooked Movies: Hot Lead (1951)

A number of years ago, one of the local TV stations ran quite a few of the B-Westerns starring Tim Holt and Richard Martin, and I remember thinking they were excellent, with good scripts and production values that were a little higher than a lot of B-movies. I hadn’t seen one since then until I recently watched HOT LEAD, a 1951 release written by William Lively and directed by Stuart Gilmore.

This one finds Tim Holt playing, well, Tim Holt, a cowboy who works on the Circle Bar Ranch owned by Gail Martin (Joan Dixon, who I have say, based on this one movie, isn’t a very likable female lead). Holt, who was a little on the short and stocky side and tended to wear very plain outfits in his movies, is pretty believable in the part. His buddy Chito Jose Gonzales Bustamonte Rafferty (Richard Martin) is also a ranch hand on the Circle Bar. They get mixed up in the efforts of an outlaw gang to force an ex-con telegrapher to help them hold up a train and steal a gold shipment, and before everything gets straightened out in the end, Tim and Chito find themselves mistaken for owlhoots and on the run from the law.

This is the only Tim Holt Western scripted by William Lively, and while it’s not as well-written as I remember the other movies in the series being, there are a few good lines. No real plot twists, though, and Chito isn’t as funny as he usually is. By the way, if you noticed the character’s full name above, you probably tumbled to the fact that Chito isn’t at all politically correct in this day and age, at least on the surface. But he’s actually one of the best sidekicks in B-Westerns, every bit as tough and smart and competent as Tim. The two of them work very well together, both as characters and as actors. Elsewhere in the cast, the two main bad guys are John Dehner and Robert Wilke, so that’s another plus for the movie. The action scenes and photography are top-notch, for the most part.

So while HOT LEAD isn’t as good as I remember the other Tim Holt Westerns from that era, I very much enjoyed watching it. The Roy Rogers movies will always be my favorite B-Westerns, followed probably by the Hopalong Cassidy movies, but I think the Tim Holt Westerns from the late Forties and early Fifties are well worth seeking out. I plan on doing just that, because I want to watch (or re-watch) more of them.

Monday Memories: Dogs and Cats

Today I thought I’d write a little about the various dogs and cats I had when I was a kid. A word of warning: for the most part, these stories do not end well.

The first dog I ever remember was a sweet little cocker spaniel named Taffy. I was around four or five at the time. I don’t know for sure how long my family had had her, but she got sick and died fairly soon after I got old enough to remember such things. I don’t recall the cause, but I do know my parents weren’t the sort to get immunizations for their dogs or to take them to the vet when they got sick. They weren’t exactly cold-hearted about such things, but they had both grown up during the Depression and they were . . . pragmatic, let’s say . . . about a lot of things. A pet dies, you get another one and go on.

We didn’t have much luck with the next dog, either, a little fluffy white spitz/poodle mix whose name I don’t remember, because we had her only a few months before she came down with distemper and passed away.

With that sort of track record, it might not have been a good idea for us to get another dog, but we did, a female beagle/terrier mix named Lady. My parents didn’t believe in getting pets fixed, either, and since Lady roamed loose in the neighborhood, it was inevitable that she’d wind up with a litter of puppies. They gave all of them away except for a fat, clumsy little pup I named Egbert (I was already a weird kid). We called him Eggy.

I’m a little ashamed to admit that I don’t remember what happened to Lady. We had her for several years, and she and Eggy made a good pair. I think she got sick and died, but she may have gotten hit by a car. I just don’t recall. But then for several more years, Eggy was my only dog.

His problem was that he really liked to wander and would be gone for several days at a time. One time when my mother was driving along the service road beside the highway about half a mile from the street where we lived, she spotted him inside the fenced front yard of one of the houses. There was no doubt about it being Eggy. He had wandered that far and the people who lived there had claimed him as their own.

Now, I have some issues with my mother to this day, but that day she rose to the occasion and marched up there to get Eggy back. Problem is, nobody was home. So my mother called him over to the fence (of course he knew her, she fed him part of the time), reached into the yard, and stole him right back from those people! I was very impressed when I heard about it.

After that, I got my dad to strengthen the fence in our back yard and we started keeping Eggy in there instead of letting him roam free. That worked for a while, but I know from later experience that when a beagle wants to get out, even a part-beagle, most of the time it gets out. And so did Eggy, and a day or two after he disappeared, my dad found his body out on the highway where he’d been hit by a car. He brought Eggy home but had to go on to work, so my mother and I buried him behind the barn down on the back of our place, not far from the creek. I was a freshman in high school by that time and that was the first time I lost a pet that I’d had for a number of years. Eggy must have been seven or eight years old when his luck ran out.

I wanted another dog but didn’t want to have to deal with one getting out and getting killed like that, so I talked my dad into putting up a good chain link fence around the back yard. We put it up ourselves, one of the few projects like that we worked on together when I was a kid. It wasn’t escape-proof, but darned near. Of course, as it turned out, our next dog was content to stay home and had no desire to get out at all.

My dad knew a guy who raised pure-bred border collies and sold them all over the United States. (No matter what you wanted done or what you wanted to buy, my dad “knew a guy”.) This breeder had a female pup who wasn’t worth anything as a show dog because of some minor misconfiguration, crooked teeth or something, so he gave her to my dad. I named her Tippy because her tail was black except for a white tip. I convinced my parents to get her fixed so she wouldn’t want to roam, but I’m not sure she would have, anyway. She was a great dog, loving and loyal and at times my best friend in the world. I sat on the cement steps leading from our back door out onto the back porch, and she would sit right beside me while I poured my heart out to her about whatever angst was going on in my life at the moment.

I finished high school and went off to college and Tippy stayed home, of course. Then Livia and I got married, but we lived in an apartment so we couldn’t take Tippy with us, and honestly, I wouldn’t have uprooted her from what was really the only home she’d ever known. I always enjoyed visiting with her whenever we went over there, though. When she finally died of old age, Livia and I buried her down behind the barn, not far from where Eggy was laid to rest. I could take you right there and point out the spots, but somebody else owns the place now.

While we went through all those dogs, we also had a cat. That’s right, a cat. His name was Tiger, and he started out as a yellow tabby kitten I brought home with me after a visit to my aunt’s house in Blanket. He was a stray who’d been hanging around her place. I was six years old. As you might guess, Tiger never got his shots or went to the vet and he had free run of the neighborhood, but he was a tough son of a gun and survived hundreds of fights over the next ten or twelve years. He would disappear for days and then show up again, battered and chewed but looking pleased with himself, as if he were thinking, “You oughta see the other cat!” Once he was gone for two weeks, and I thought, that’s it, he’s never coming back, but then I looked out the kitchen window one morning and there he was, sitting on the porch, calmly washing himself and waiting for somebody to feed him.

Of course, the time came when Tiger didn’t come back. He was a good cat, and despite his rough life, he always seemed happy.

I’m sorry this post is a bit of a downer, but that’s part of life, too, I suppose. To quote Irving Townsend, “We who chose to surround ourselves with lives even more temporary than our own, live within a fragile circle, easily and often breached. Unable to accept its awful gaps, we still would live no other way. We cherish memory as the only certain immortality, never fully understanding the necessary plan.”

Sunday Morning Bonus Pulp: Hollywood Detective, August 1948

This is a pulp that a friend of mine loaned me to read. The scan is from the FictionMags Index, since the copy I have on hand has a loose and considerably damaged cover.

The reason I’m reading this issue of HOLLYWOOD DETECTIVE is because it contains a story by Frank Morris, “Location for Murder”, which is suspected of being one of the unidentified stories that Mickey Spillane wrote for the pulps before he became the best-selling novelist in the world. One reason Spillane’s name has been connected to this story is because of the by-line: Frank Morrison Spillane was his real name.

However, some investigation seems to weaken that point. There appear to have been two Frank Morrises, one who wrote sporadically for the Western pulps beginning in the mid-Thirties, and another who published exclusively in various Western and detective pulps published by Trojan beginning in 1945. This later Frank Morris is almost certainly a house-name, and if Mickey Spillane wrote some of the stories published under that by-line, the similarity in names is just a coincidence, in my opinion.

But what about the story in this issue? “Location for Murder” is narrated by tough Hollywood talent scout Joe Kane, who is sent to San Francisco by his movie mogul boss ostensibly to find a suitable location for a new theater. In reality, though, Joe is searching for the killer of an old friend of his who worked for a nightclub owner. There’s a rumor that the nightclub owner had Joe’s friend killed because they had clashed over a girl, a dancer who works at the club. Joe is determined to get to the bottom of it, and things get a lot more complicated before he does, including two more murders.

Of course, I can’t say definitely that this is Mickey Spillane’s work, but it sure reads like it. The fast-paced, atmospheric Spillane style is there. It’s raining almost all the way through the story, and the descriptions of the city remind me a lot of Spillane’s vividly depicted New York City in the Mike Hammer novels. The violent action scenes read like him as well, and then you have the thematic similarities—the singleminded search for a friend’s killer, the help of another old friend (a taxi driver in this case, instead of Captain Pat Chambers)—to take into account, too. I believe this is one of the phantom Spillanes, and whether it is or not, it’s a pretty entertaining yarn.

Of course, having the pulp right there in my hot little hands, I was going to read the other stories, too. The issue leads off with the novella “Cinema Corpse” by Robert Leslie Bellem, one of the longest Dan Turner stories I’ve read. This one starts off with a potential client pulling a gun on Dan and handcuffing him to a chair in his own office when he refuses to take the job she offers him. She wants him to break into the home of her daughter’s boyfriend (a mere cameraman) and frame him for theft so he’ll go to jail and the woman’s daughter will go back to her other suitor, a powerful movie producer. Dan doesn’t want any part of a frame job like that, so the woman sets off to accomplish it herself. Of course, Dan gets loose and tries to warn the intended victim, only to run smack-dab into a beautiful young blonde and a murder. It’s not the only killing, either. Bellem never lets the pace slow down, and every time it seems like it might, then bam!, another new character or plot twist comes racing hellity-blip onto the page. The yarn is well-plotted, as Bellem’s stories usually are, and great fun to read. (Bellem’s style is contagious, if you hadn’t noticed. I used to have Longarm “set fire to a gasper” as a tip of the hat to him.)

Up next is “Blood on the Marquee” by Paul Hanna, and since that’s a house-name, it’s almost impossible to say who wrote this short story. But it’s a good one, featuring as its protagonist newspaper columnist and radio broadcaster Nick Harding. One of his radio shows is interrupted by the beautiful wife of a Filipino boxer who’s gotten himself in trouble. She begs for Nick’s help, but before the show is over, she’s jumped out a high window and committed suicide—or was she pushed? Nick, of course, has to get to the bottom of things, in a case involving prizefighters, gangsters, an illegal lottery, and a grisly discovery in a refrigerator. This is a well-written yarn that I liked a lot.

Sam Garson, the author of “L.A. Mix-Up”, is another one-story wonder, as far as I can tell, leading me to believe this is probably a pseudonym, too. The story involves private detective John Park being hired by a beautiful actress to stop someone from blackmailing her with nudie pictures taken when she was young and hungry. Turns out there’s more to it than that, of course, although admittedly not much. This reads like a Dan Turner story at times, and so I suspected that maybe “Sam Garson” was really Bellem, but by the time I finished I had rejected that theory. The plot’s a little too thin and the writing not good enough. But I think there’s a very good chance the writer, whoever he was, had read a bunch of Bellem’s stories and was trying to write something similar, not a bad strategy for breaking into a magazine.

Along in the middle of the magazine comes “Mysto-Magic Murder”, an 8-page Dan Turner comic strip story written by Bellem and drawn by Adolphe Barreaux. I like these, although Barreaux’s version of Dan Turner doesn’t really look like how I visualize him when I read the prose stories. The plot, involving a beautiful stage magician who performs at stag shows, isn’t very complicated but works just fine, and the snappy patter is good as always.

Norman Daniels wrote a lot for the pulps, mostly detective stories but some Westerns and adventure yarns, too, and then went on to a long career as a paperback novelist writing, well, just about every kind of book. I’ve read quite a bit of his work, but I don’t think I’ve ever read a private eye story by him until now. His novella in this issue, “Cradle of Death”, checks most of the classic boxes. Tough, wisecracking first person narrator. Rich client. Rich client’s beautiful nymphomaniac daughter with a gambling problem. Shady nightclub owner. Antagonistic cop. A second beautiful dame, this one a radio actress. Assorted colorful Hollywood characters. Daniels mixes them all up in a plot involving the rich client’s wayward son, who has dropped out of sight but seems to be sneaking back into his father’s house at odd times and then disappearing again. Everything moves along at a nice pace, and there are some good lines here and there. It’s not a great story, but it’s a well-written, entertaining one.

This issue wraps up with the short story “Mediocre Living” by Ralph Sedgwick Douglas, a Trojan Magazines house-name. Any time I see a three-name by-line in one of these pulps, I immediately think it might be Robert Leslie Bellem, but that’s not the case here. I don’t know who wrote this one, but I’m pretty sure it wasn’t Bellem. It’s the weakest story in the issue, a twist ending yarn about a con job pulled by a shady Hollywood sanitarium owner that’s not very surprising. A readable story, but that’s about all.

That’s not enough to lower my overall opinion of this issue of HOLLYWOOD DETECTIVE. I think it’s a very good assortment of stories with Bellem’s Dan Turner yarn and the story by Frank Morris, whoever he was, being the best of the bunch. I nearly always enjoy HOLLYWOOD DETECTIVE, and that’s certainly the case here.

Saturday Morning Western Pulp: Super Western, December 1937

An action-packed Norman Saunders cover graces this issue of SUPER WESTERN, a pulp that lasted only four issues before its name was changed to VARIETY WESTERN (which wasn't that successful, either, running only eight issues before another name change). But SUPER WESTERN had some excellent covers while it lasted, and stories by some good writers, too, including in this issue Tom Roan, S. Omar Barker, George Bruce Marquis, and Kenneth L. Sinclair.

Forgotten Books: Pin a Star on a Girl?--Johnny Nelson

PIN A STAR ON A GIRL? is a retitled reprint of a Western novel originally published in 1965 under the title SIX-GUN LAW. The by-line in both cases is Johnny Nelson, but the actual author was Leonard F. Meares, an Australian Western author best known as “Marshall Grover”, the creator of the long-running Larry and Stretch series, as well as the series Big Jim. Some of the books in both series were published by Bantam in the U.S., under the pseudonym Marshall McCoy, with the characters changed to Larry and Streak and Nevada Jim. Those were my introduction to Meares’ work.

Regular readers of this blog know that I’ve written about Len Meares and his work many times. He’s been a favorite author ever since I read those Bantam editions in the Sixties. Years later I got to know him through correspondence and considered him a good friend. It was a sad day when I heard that he had passed away.

His work remains, though, and I’ll never run out of his books to read. His stand-alone novels, including this one, are just as good as his series entries. For the most part, Meares made use of very traditional Western elements. That’s true in this book. You’ve got the brutal cattle baron with a shady past who controls the town and the surrounding area; the bought-and-paid-for local lawman who grows a spine and decides to stand up for what’s right; the fast-on-the-draw stranger who rides in with a mysterious agenda of his own; and the beautiful blonde of the title who winds up wearing a deputy’s badge.

While the plot and characters may be traditional, Meares utilizes them with such skill and enthusiasm that I couldn’t help but be drawn into the story. There’s plenty of action leading up an excellent and satisfying final showdown. Sometimes I just want to read an old-fashioned Western adventure yarn, and PIN A STAR ON A GIRL? really hit that spot for me. Recommended.

UPDATE: Reliable information has surfaced indicating that Len Meares did NOT write this book, after all. However, everything else I said above remains true. It's a very entertaining Western yarn, whoever the author was.

Sunday Morning Bonus Pulp: Detective Yarns, June 1938

This is the first issue of the detective pulp that changed to BLACK HOOD DETECTIVE a few years later. I like that cover, and the line-up of authors inside is pretty darned good, too: Arthur J. Burks with the third and final story in his Harlan Dyce series (the first two ran in CLUES DETECTIVE MAGAZINE in '36 and '37; for what it's worth, I never heard of Harlan Dyce), Norvell Page twice (once as himself, once as N. Wooten Poge), L. Ron Hubbard, Carmony Gove, Cyril Plunkett, and a couple of house-names, Mat Rand and Cliff Campbell. Also, I just like the name DETECTIVE YARNS. Sounds like my kind of pulp.