That may not be the most politically correct cover you'll ever see, but dang, it catches the eye, as do the names of the writers inside. DIME DETECTIVE always had strong lineups during this era, and this issue is a good example: Frederick Nebel, Cornell Woolrich, Max Brand, and T.T. Flynn, along with the lesser-known Eric Taylor and Sam Powell. The cover is by John Newton Howitt, who did many of the covers for THE SPIDER and the Popular Publications Weird Menace titles.
This is another Norman Saunders cover packed with detail. This scene might have seemed too busy if it was painted by many other artists, but Saunders had a way of always making it work. As usual, there are some good writers in this issue of WESTERN NOVELS AND SHORT STORIES, too: Les Savage Jr., Frank Castle, John Callahan, and J.L. Bouma. I hope no stray bullets hit that box full of dynamite!
I've known of Arthur O. Friel's reputation as a top writer of adventure fiction for quite a while but have never read his work until now. THE PATHLESS TRAIL, originally serialized in the iconic pulp ADVENTURE from October 10 to November 10, 1921, is perhaps his best-known novel and introduces a formidable trio of adventurers: Roderick McKay, Meredith Knowlton, and Tim Ryan. The three of them all served together in the Great War, McKay and Knowlton as officers and Ryan as a sergeant. As this novel opens, the three friends have journeyed up the Amazon River to the border country between Brazil and Peru. They're in search of an American who vanished in the area several years earlier. Everyone figured he was dead, but then reports surfaced of a strange wild man who matches the missing man's description living in the jungle among tribes of cannibals. The disposition of a valuable estate hinges on determining whether he's alive or dread, and McKay, Knowlton, and Ryan have taken on the job of determining that and bringing him back if by some miracle he's still alive. Of course they run into plenty of trouble along the way, not just from dangerous wildlife, disease, and unfriendly natives, but also from a treacherous German expatriate with an agenda of his own. Luckily, they have help from a couple of highly capable Brazilian bushmen, Pedro and Lourenco (who star in a series of short stories also by Friel). Everything comes to a satisfactory conclusion, but not before several plot twists and an epic battle between tribes of natives. Friel was an adventurer and explorer himself, and it shows in his vivid, authentic writing. I'm no expert on South American jungles, mind you, but everything in THE PATHLESS TRAIL rings true to me. And if it's not, then Friel did a really good job of making it seem that way. There's also a considerable amount of humor in the novel, especially early on, and McKay, Knowlton, and Ryan are very likable heroes, if a little stereotypical. They appear in three more novels by Friel. I have the second one, TIGER RIVER, and will read it at some point. The other two, THE KING OF NO MAN'S LAND and MOUNTAINS OF MYSTERY, are harder to find and more expensive. We'll have to see about them later.
After being serialized in ADVENTURE, THE PATHLESS TRAIL was published in hardback by Grosset & Dunlap in 1923. There was a paperback edition from Centaur Books in 1969. Today, various POD and e-book editions are available. I enjoyed it quite a bit, and if you're in the mood for some good adventure fiction, I think it's well worth reading.
In the first few minutes of this movie, we learn that it’s
set in 1978 and that John Travolta plays a scruffy private eye who lives above
a movie theater showing a revival of THE MALTESE FALCON. Right after that, we
get some voice-over narration from Travolta’s character that’s ripped off from—I
mean, inspired by—the iconic opening paragraph of Raymond Chandler’s story “Red
Wind”. That’s the kind of movie THE POISON ROSE is: one that wouldn’t exist
without a lot of other movies and books to riff off of.
However, that’s not necessarily a bad thing when you like private eye movies as
much as I do.
Travolta’s character has some bad guys after him as a result of a falling-out
with a previous client (although it’s also implied that the trouble is over a
gambling debt, not the only instance of the script contradicting itself), so he
decides it would be a good idea to accept a job that will take him to Galveston,
Texas, for a while. He’s supposed to check on an elderly woman who’s suppose to
be in a sanitarium there, but the people in charge won’t let her family see her
anymore. (Has there ever been a sanitarium in a private eye movie or novel that
wasn’t sinister?) Travolta’s character is from Galveston and has some
old friends and enemies there, including gambling club owner Morgan Freeman,
who has a sultry, beautiful daughter. The local sheriff (Robert Patrick) is
another old acquaintance, and Travolta’s ex-wife (Famke Janssen) is on hand as
well. There are all sorts of seemingly random elements crammed into the plot,
including a murder, and if you guess that most of them will wind up being tied
together somehow . . . well, you’ve seen movies and read books like this
before, haven’t you?
There’s a lot of talking, a little gunplay, and some nice scenery (not
Galveston, though; the movie was filmed in Savannah, Georgia), and everything
comes together in a resolution that kind of makes sense. The fun is in the
getting there, though, and in that respect THE POISON ROSE is pretty entertaining.
Not perfect, by any means. There are those script glitches I mentioned, and
some of the performances seem a little on the phoned-in side, plus it could
have used more of a noirish musical score. I mean, when I think of scenes from
CHINATOWN or THE LONG GOODBYE (to mention two private eye movies actually made
in the Seventies that I love), I always think of the theme songs from those
And speaking of CHINATOWN, it kind of boggles my mind that the gap between when
it was set (1937) and when it was made (1974) is less than the gap between THE
POISON ROSE’s setting and today. It’s even more of a period piece than
CHINATOWN was but doesn’t seem so at all to me. 1978 was just the day before
yesterday, wasn’t it?
At any rate, after all that rambling around, I can say that I liked THE POISON
ROSE, although I think it misses the mark in some respects. The movie
has its heart in the right place, and that counts for quite a bit with me.
This is an odd issue of THRILLING WONDER STORIES in that the cover art isn't attributed to Earle Bergey. I don't know who painted it, but it's certainly an appealing, eye-catching cover. The list of authors with stories inside is pretty eye-catching, too: Ray Bradbury, Edmond Hamilton, Leigh Brackett, Murray Leinster, James Blish, Noel Loomis, Margaret St. Clair, and Rog Phillips. And it was edited by my old mentor Sam Merwin Jr. Some people today may not think so, but to me that was a great era in science fiction.
I don't know who painted the cover on this issue of SPICY WESTERN, but I like it. No surprise there. And it's no surprise that there are some pretty good authors with stories inside this issue, including James P. Olsen (writing as James A. Lawson), Laurence Donovan (twice, once as himself and once as Phil Strange), E. Hoffmann Price, Edwin Truett Long (as Luke Terry), and Ken Cooper.
things have to come to an end. A little more than 55 years ago, in the fall of
1964, I plucked a copy of a paperback called METEOR MENACE from the spinner
rack at Tompkins’ Drugstore. I’d never heard of the character featured in it,
Doc Savage, but the cover caught my eye and the back cover copy promised all
sorts of thrills and excitement and danger. So I figured it was worth risking
I really enjoyed the book, and a week or so later I found a copy of another Doc
Savage novel, THE THOUSAND-HEADED MAN, at Trammell’s Pak-a-Bag Grocery. I
bought that one, and on the next Sunday afternoon, I sat down in my favorite
reading chair after church and read the whole thing from start to finish. I was
a lifelong Doc Savage fan after that, and I was soon reading THE MAN OF BRONZE
(actually the first book in the series). Bantam Books had reprinted those three
to launch the series, and they were successful enough that for decades after that,
every month they reprinted another book from the original pulp . . . and I was
there, at Tompkins’ or Trammell’s or Lester’s Pharmacy to buy them. Many of
them I picked up at at Mott’s Five-and-Ten Store, which had a rack of just
Bantam paperbacks. (I bought a lot of Louis L’Amour novels there, too.)
Eventually Bantam reprinted the entire series, including one book that was
written but never published in the DOC SAVAGE pulp. I had them all, but there
were a few I never got around to reading, and after a while I deliberately
didn’t read them because I kind of liked the idea that I still had Doc Savages
to read. Now, though, I’m getting to be old enough that I figured if I was ever
going to finish off the series, I ought to go ahead and do it. So I’ve been reading
that final handful, and now we come to the last of them, the last Doc Savage
novel from the original pulp, UP FROM EARTH’S CENTER, published in the Summer
1949 issue of DOC SAVAGE MAGAZINE.
This one starts off with a man who’s stranded on a rocky island off the coast
of Maine being rescued by a passing yacht. The man acts strangely, and when the
yacht gets back to a fishing village not far from the rescued man’s home, one
of his rescuers—who happens to be acquainted with Colonel John “Renny” Renwick,
and who happens to know that Renny is in the area and Doc Savage might be, too—decides
to dump the whole affair in Doc’s lap. Doc, Monk, and Ham are indeed in the
area and are intrigued enough to investigate how the man got stranded on the
island and why he now seems to be terrified. (Renny is mentioned but doesn’t
appear in this novel, and there’s no sign of Johnny and Long Tom, Doc’s other
The situation is complicated by the arrival of a strange little guy calling
himself Mr. Wail. He’s capable of doing things that normal human beings shouldn’t
be. So far, until a little past the halfway point in the story, this seems like
just another oddball late entry in the Doc Savage series, more like the earlier
stories from the late Forties rather than the deliberately throwback yarns, THE
GREEN MASTER and RETURN FROM CORMORAL, in the previous two issues.
Then Doc and the others decide to explore a deep cave near the estate belonging
to the man who was rescued from the island, and once they get underground,
things take a wacky, even surreal, tone. I don’t think it’s revealing too much
to say that the cave may—or may not—be an entrance to Hell, and the mysterious
Mr. Wail may—or may not—be an actual demon. A minor flunkey of a demon, though,
not the big guy himself. And if that’s true, then it’s his job to cover up the
discovery of this back door to Hades.
The ending is a bit ambiguous, and it’s an odd note on which to end the entire
series, no doubt about that. And yet it kind of works, too, as if Lester Dent
saved the weirdest for the last, whether it was intentional or not. Dent’s
writing is in top form in this book, fast and funny and definitely with a
screwball slant. I was halfway expecting not to like UP FROM EARTH’S CENTER because
I knew what it was about and the plot has always struck me as a little stupid,
but danged if Dent didn’t make it work. I enjoyed this story, although I’m more
than a little sad to say that now I’ve read all of the original Doc Savage
novels. The end of an era in my life, that’s for sure.
But not completely, because now I plan to go on and read the Doc Savage novels
by Will Murray that I haven’t gotten around to (there are more of them than I
realized at first) and then, although I have a general rule about not rereading
books, I’m going to set that aside and read again some of my favorites from all
those years ago, which will probably wind up being most of them from the first
five or six years of the series. I’m looking forward to it.
Yet another movie I’d never heard of that turns out to be pretty good. THE KID WHO WOULD BE KING is a fantasy adventure about a 12-year-old British schoolboy who winds up pulling Excalibur from a stone (in an abandoned building site) and has to deal with the threat of Morgana returning from the banishment where Merlin trapped her centuries earlier. There’s some school/bullying/absent father/coming of age stuff to go along with the magical action. Oh, and Merlin’s still around, sometimes in the guise of Patrick Stewart (the only actor I recognized in this movie) and sometimes in a comical younger version played by Angus Imrie. The young star, Louis Ashbourne Serkis, is the son of the great character actor Andy Serkis and does a good job. The script’s funny in places, poignant where it needs to be, and the action scenes and special effects are okay. I enjoyed this one and think it’s well worth watching.
This is a pretty obscure pulp magazine, but you can't tell that by the top-notch lineup of authors inside: Frederick C. Davis, Steve Fisher, Frederick C. Painton, Norman A. Daniels, Emile C. Tepperman, Dale Clark, and James Perley Hughes. There are some mighty good authors there. I have to confess, I'm not that fond of the cover by J. George Janes, but it's not terrible, just not up to the level of the writers inside.
Boy, that's an Injury to a Hat cover just waiting to happen. The guy's really asking for it! Meanwhile, inside this issue of WESTERN STORY are yarns by Jackson Gregory, Peter Dawson, Cherry Wilson, Jay Lucas, Don Alviso, and Wes Fargo, a house-name that was sometimes E.B. Mann, sometimes Roy de S. Horn, and very likely other authors as well. I have no idea who was behind the name here. That's a striking cover, one of many on WESTERN STORY during this era.