It’s time for the Harvest Festival again, and Phyllis is determined to bake a killer pecan pie.
Hollywood comes to Weatherford, Texas, as a movie company arrives to shoot scenes for a film based on the novel by Phyllis Newsom’s friend Eve. But movie fantasy turns to deadly reality as a murder recreated for film turns out to be the genuine article, and once more Phyllis has to track down a cunning killer to see that justice is done. DEATH BAKES A PECAN PIE is the fourteenth novel in the critically acclaimed and best-selling Fresh Baked Mystery series. Phyllis and her friends tackle another complex case with all the humor, camaraderie, good-hearted warmth, and delicious recipes that have made readers around the world fall in love with this series. Recipes included!
I remember when the movie 13 GHOSTS played at the Eagle Drive-In Theater, just up the road from where I lived as a kid, but I didn't see it then and never watched it in all the years since then. But Svengoolie showed it this past weekend, and I figured with Halloween coming up, this would be a good opportunity for me to watch it after all this time. I'm glad I did. It's a pretty enjoyable little movie. The plot is simple: a family that's down on its luck (dad Donald Woods, mom Rosemary DeCamp, hot teenage daughter Jo Morrow, and plucky, inquisitive adolescent son Charles Herbert) inherit a spooky old house complete with creepy housekeeper (who else but Margaret Hamilton). The cast also includes a very young Martin Milner as a lawyer. Woods' eccentric old uncle who owned the place supposedly collected ghosts, a dozen of which share the house with the new occupants. Strange things happen, accompanied by special effects that are pretty simple, even for the time period, but effective despite that. There's a human mystery to go along with the supernatural one, but you'll figure it out right away, not that that really matters. The appeal of this movie, which was written by Robb White (better known as a novelist) and directed by the legendary gimmick-meister William Castle, is that everybody has tongue planted firmly in cheek and seems to be having a great time making it. The movie's not really scary, although it does attain semi-spooky levels from time to time. Personally, I'd rather watch something like that than some gory, super-serious modern horror film, but that's just me. I recall some of my friends talking about 13 GHOSTS on the playground at school, and I'm glad I finally know what they were talking about.
Halloween was a pretty big deal when I was young. As I’ve
mentioned before, I lived on a circle, and depending on who had moved in or
out, there were between 15 and 20 kids of trick-or-treating age in the
neighborhood, plus others who came from nearby neighborhoods on that night. So
it wasn’t uncommon to see several dozen kids dressed in costumes wandering
around the circle on Halloween. Almost all the houses gave out candy, although
usually one or two didn’t. My friends and I had a great time and I looked
forward to Halloween for months beforehand . . . admittedly, mostly for the
candy, but I enjoyed figuring out what costume I wanted to wear, too.
One year my mother made me a ghost costume out of an old sheet. That happened
to be the year it was cold and rainy, but I went out anyway and by the time I
got home my ghost costume was mud up to the knees. Well, like I said, it was an
old sheet, so it went right in the trash.
Those good times lasted until I was about twelve. Nobody older than that
trick-or-treated in those days. It wasn’t cool. So I became the official
dispenser of candy at our house for a few years, until I was in high school and
went running around with my friends instead. We were basically good kids so we
never really got into any trouble (although there were a few times we came
close). One of the local TV stations also showed monster movies on Halloween
most years, so I watched a lot of those, too.
One year during high school, a friend of mine decided to dress up as Dracula.
He came over to my house to hang around in the shadows near the front porch and
jump out to scare the kids when they came up to trick-or-treat. When he got
there, he decided to act like he was going to suck my blood, and I put out a
hand to ward him off. Unfortunately, his costume had several straight pins in
it, and one of them went right into the ball of my hand. We had some real blood
that Halloween to go with the fake stuff. But it was a minor injury and the
rest of the evening went well. Many scares were delivered to the neighborhood
That was also the evening I tried to get a little romance going with one of the
girls who lived on the circle, but there were no tricks or treats in that area.
Halloween was pretty much a non-factor for me during my college years. I’m sure
there were parties, but I didn’t go to them. I might have watched a monster
movie for nostalgia’s sake now and then. And after Livia and I got married, we
lived in the country, so we didn’t have
trick-or-treaters to deal with. When our kids came along and got old enough to
want to trick-or-treat, we took them over to the circle and I walked around
with them and recaptured a little of that old magic for a while. But it was
already not nearly as big a deal as it had been when I was growing up. More
houses were dark, and there weren’t as many kids out.
We also took the girls to various “Fall Festivals” at church, which by some
coincidence just happened to fall on October 31 . . .
Now, I haven’t even seen a trick-or-treater in close to twenty years. I don’t
know if the kids who live over on the circle ever get out and do that or not. I
hope the tradition lives on somewhere and is as fun and innocent as it was all
those years ago. I kind of doubt it . . . but I hope so anyway.
Brian Drake has started making a name for himself as an
action writer over the past few years, and his new novel SKILLS TO KILL, the
first in the Steve Dane series, ought to solidify his position as one of the
best new writers in the genre. Steve Dane and Nina Talikova are former
intelligent agents, Dane for the United States and Nina for Russia, who have
retired from their perspective agencies and teamed up, both professionally and
romantically, to make their way through the dangerous world of international
espionage as freelance operatives.
SKILLS TO KILL opens with the two of them getting involved in the kidnapping of
a Mafia don’s daughter in Italy, but that’s just the first move in a
globe-trotting adventure as Dane and Nina try to track down and bring to
justice a mysterious, deadly arms dealer known only as the Duchess. Along the
way they encounter old friends and enemies alike, and sometimes there’s a question
just which is which—with survival riding on the answer.
This novel features plenty of action scenes told in Drake’s excellent
fast-paced, hardboiled style. Dane and Nina are likable protagonists, and it’s
very easy to root for them. SKILLS TO KILL is dedicated in part to the late
men’s adventure novelist Jerry Ahern, and it’s easy to see his influence
although Drake has his own distinctive voice. This is a thoroughly enjoyable
adventure yarn. There will be at least two more books in the series, and I’m
looking forward to them.
With Halloween coming up this week, we have a Weird Menace cover today, of course. This one is by H.J. Ward, on an issue of SPICY MYSTERY STORIES that features the work of the usual suspects in a Spicy pulp: Robert Leslie Bellem, under his own name and one as by Jerome Severs Perry; Victor Rousseau with three stories, one each as by Lew Merrill, Hugh Speer, and Clive Trent; E. Hoffmann Price; Edwin Truett Long writing as Carl Moore; and something of an oddity, a story by William B. Rainey, normally a Wyatt Blassingame pseudonym but in this case ghosted by Frank Gruber.
Now that's an action-packed cover! I don't know who the artist is, but I really like it. There's a great bunch of authors in this issue of DIME WESTERN, too: Walt Coburn, Harry F. Olmsted, Gunnison Steele (Bennie Gardner), Ray Nafziger, and Grant Taylor (also Ray Nafziger). Looks like a fantastic issue! UPDATE: Reputable sources here and on Facebook have informed me that this cover is very likely the work of Rafael De Soto.
I always try to read some horror fiction for the Forgotten
Books post closest to Halloween, and this year it’s THE MANITOU, the debut
novel from prolific horror, mystery, and historical novelist Graham Masterton.
This book was published in 1976 and was very successful, selling enough copies
that they turned up in used bookstore overstock well into the Eighties. When I
owned a used bookstore during the era, I always had multiple copies on my
shelves. I never got around to reading it until now, though. (There’s also a
movie adaptation from 1978 that I’ve never seen.)
I knew that a manitou is an American Indian spirit, so I was expecting
something set in the West, but nope, nearly the entire book takes place in
Manhattan. The narrator is a slightly shady fortune teller and tarot card
reader who knows he’s a charlatan but still believes, at least somewhat, in
mediums, psychics, and assorted other supernatural stuff. He gets drawn into
the case of a young woman who has a strange tumor growing on the back of her neck
at an impossible rate. X-rays reveal that the growth is not so much a tumor as
it is a living creature of some sort that doesn’t belong there. The whole
business quickly turns into a deadly threat that might wind up wiping out the
entire city if the protagonist and his friends can’t find a way to stop it.
Even if you haven’t read this book, if you’ve read much horror fiction at all
(especially from the Seventies and Eighties), you can predict pretty much
everything that’s going to happen. The plot’s on the thin side and doesn’t have
any real twists to it. There’s not much characterization, either. We don’t even
find out any real background on the narrator.
But what THE MANITOU does have going for it is a breakneck pace, an interesting
historical background, and some sly humor, especially in the gory scenes that
crop up now and then. These are over-the-top enough that they become a little
tongue-in-cheek. I’ll give Masterton credit: he knows how to keep the reader
turning the pages. I’ve never been a fan at all of brooding, psychological
horror. THE MANITOU is anything but. Evidently there are several sequels. I
don’t know if I’ll ever get around to reading them, or any more of Masterton’s
numerous other horror novels . . . but I enjoyed this one enough that I might.
I keep coming across Westerns that I somehow never saw on TV when I was growing up. LONE STAR is a big budget A picture from 1952 starring Clark Gable, Ava Gardner, and Broderick Crawford. The plot concerns the struggle within Texas in 1845 over whether to remain an independent republic or join the United States. Gable is a somewhat shady operator working on behalf of former president Andrew Jackson (Lionel Barrymore in his final role) to bring Texas into the Union, mostly because that will ignite a war with Mexico and Gable's character stands to make a fortune from a government beef contract if that happens. Opposing him is Broderick Crawford, who wants Texas to remain a republic because he has a shady plan to become its president. He and Gable are mortal enemies, but there's also an undercurrent of friendship and respect between them, largely because when they first meet, they wind up fighting off a Comanche war party in an excellent action scene. Caught between them is fiery newspaper editor Ava Gardner, who inherited the paper she edits and publishes from her father. (As we all know from movie history, every newspaper in the Old West was run by a beautiful young woman who inherited it from her father or husband, usually after said father or husband was murdered by the bad guys.) Speaking of movie history, LONE STAR really plays fast and loose with it, as well as the geography and terrain of Texas. But that's to be expected from Hollywood. Anyway, you don't watch a movie like this to learn anything. You watch it to enjoy Crawford's hulking nobility, Gardner's sultry beauty, and Gable being, well, Clark Gable, as pure a Movie Star as there ever was. Plus a good supporting cast that includes Barrymore, Beulah Bondi, and Ed Begley; a fast-paced script by old pro Borden Chase (based on one of his magazine stories, the credits tell us, but I don't know which story); and plenty of good action scenes leading up to a stirring ending. LONE STAR is entertaining, well-made hokum, and most of the time, that's plenty good for me. I enjoyed it.
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.
"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.
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, 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.
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.
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
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
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.”
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
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.
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
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.
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.
This issue of WESTERN ACES sports an action-packed cover by Allen Anderson, an artist usually more associated with Fiction House pulps, instead of Ace. But it's a good one, and I like it. J. Edward Leithead has only one story in this issue, the lead novelette, which is kind of unusual because he often had two stories in an issue of WESTERN ACES, one of them under his Wilson L. Covert pseudonym. In my experience, Leithead is always worth reading, no matter what the by-line, and I love the title "Trail of the Hoodooed Herd". Also in this issue are stories by another favorite of mine, Gunnison Steele (Bennie Gardner), Lee E. Wells, Joe Austell Small, Stephen Payne, Orlando Rigoni, R.S. Lerch, and none other than Leslie Reasoner, no relation to me but the only Reasoner to get his name in a pulp magazine, as far as I know. (And technically, we are related, I suppose, because all the Reasoners can trace their ancestry back to one guy who came to this country in the early 1700s. But I digress . . .)
I read one of Erle Stanley Gardner’s Doug Selby books a
while back, and that put me in the mood to read one of his Perry Mason novels.
Now, I’m on record as claiming that the Donald Lam/Bertha Cool books are his
best series, but I really enjoy the Perry Mason novels, too. So I picked up THE
CASE OF THE SINGING SKIRT, originally published in 1959.
As usual, the plot is incredibly complicated and almost impossible to summarize
coherently, so I won’t even try. I’ll just say it involves a beautiful
singer/cigarette girl, a small town run by crooked gambling interests (complete
with a corrupt chief of police—shades of countless Gold Medals from the
Fifties), a runaway yacht, adultery, multiple identical revolvers (one of which
is a murder weapon . . . maybe), and several tricky legal points, including one
that may wind up with Perry Mason being an accessory after the fact to murder!
The actual murder doesn’t show up until almost halfway through the book, and
the entire second half of the novel consists of a series of those courtroom
scenes Gardner was so good at. Nobody was ever better at that rapid-fire
examination and cross-examination stuff. Does the solution of the crime come out
of left field? Well, short left field, just out of the shortstop’s reach,
maybe. I had a pretty good idea who the real killer was and had some of the
details figured out, but not all of them, by any means.
All the usual suspects are on hand, and Mason, Della Street, and Paul Drake are
in fine form, as are Lieutenant Tragg and poor old Hamilton Burger. There’s
some nice humor here and there, as well as a few good hardboiled scenes with
the gamblers and gangsters involved with the plot.
No doubt the Perry Mason books are just comfort reads for somebody like me who’s
been enjoying them for more than fifty years. But THE CASE OF THE SINGING SKIRT
strikes me as one of the better ones from the late Fifties era. I had a great
time reading it.
(That’s my copy in the scan. The Perry Mason novels have been reprinted many,
many times, but my favorites are those small-size Pocket Books editions with
the Robert McGinnis covers. Those are the ones I was buying and reading back in
the Sixties . . . although the first Masons I read were library books checked
out from the bookmobile that came out to our little town every Saturday
I'd never heard of this one and suspect it went straight to video, but I still found it to be entertaining. The title gives away the whole plot: a crew of thieves takes advantage of an impending hurricane to loot a federal facility where 600 million dollars of old money is due to be shredded. Opposing them are a disgraced Treasury agent seeking redemption (Maggie Grace), a two-fisted meteorologist (Toby Kebbell), and the meteorologist's redneck brother (Ryan Kwanten). The action is ridiculously over the top, of course, and there are a lot of stunts with big trucks, as you'd expect from director Rob Cohen, the guy who created the Fast and the Furious franchise. But silly or not, I had a good time watching it. My editor and I actually talked about doing a book with a similar plot a few years ago but never got around to it.
I’ve mentioned the creek that ran behind my parents’ house
several times, so I thought maybe I should write a little more about it.
Officially, on the maps, it’s the Paschal Branch of Ash Creek, Ash Creek being
one of the major creeks that runs through this area. We always just called it
the creek. It’s spring-fed and rises in some rugged hills about two miles west
of where I grew up. One time some friends and I followed it all the way to its
source in an area we called the cliffs because there were so many steep
sandstone bluffs. I’ve used those memories as visual references in many scenes
I’ve written over the years, transporting them in my fiction to different
locations all over the West. Since it’s spring-fed, I don’t believe the creek
has ever run dry in my lifetime. I’ve never seen it when it didn’t have water
in it, and sometimes, during floods, it could get pretty big. It merges with
the main branch of Ash Creek on the other side of the highway, maybe half a
mile from where I lived then, and shortly thereafter flows into Eagle Mountain
That gives you some geographical background, but we seldom ventured beyond the
stretch that ran behind the houses on the street where I lived, and that was
just a few hundred yards long. In those days, of course, our parents had no
idea where we were most of the time, and there were cliffs, snakes, bobcats,
and all kinds of other ways for us to hurt ourselves, but we all survived with
no major injuries as far as I know. The worst I ever hurt myself playing along the
creek was when I ran into a single strand of barbed wire fence that somebody
had strung between two trees for some reason and ripped a good gash in my
forehead. I don’t know what my mother thought when I came running in with blood
all over my face. I got hurt a lot worse mowing the back yard one day, though,
when the mower threw a little piece of metal all the way through my leg like a
chunk of shrapnel.
One of my most vivid memories of the creek involves the swimming hole, which I
mentioned in a previous post. We built a log, rock, and mud dam across the
creek, which didn’t stop it completely but backed it up enough to form the
swimming hole. It wasn’t much of one, though: maybe twelve feet across and a
foot and a half deep. In other words, you couldn’t actually swim in it, but you
could get in and splash around some. I was around fifteen years old at the
Now, the rest of the story gets a little racy, so those of you with delicate
sensibilities may want to skip to the end.
There were four of us who regularly spent time at the swimming hole: me, a girl
my age, and a boy and girl a little younger. We were down there clowning around
in the water one day, as usual, when the straps on the one-piece bathing suit
one of the girls was wearing suddenly gave out. The front of the suit dropped,
and there they were: bare boobs. The first time I’d ever laid eyes
on such a wondrous sight in the flesh.
Now, lest you think this is about to turn into some Seventies porn movie (boom-chicka-wow-wow!), we were all just
friends, there was never anything the least bit romantic between any of us, and
she immediately pulled the suit up, tied the straps together securely, and we
all had a good laugh about it. Despite that, the memory remains clear in my
mind, fifty years later.
The sad part is that of the four of us who were there that day, two are gone
for sure, that I know of, and the third one may be, too, because we lost touch
many years ago. It’s entirely possible that I may be the only person left alive
who remembers what happened at the swimming hole that summer day so long ago.
But I’ll cling to the memory for a while yet, just as I will all the other
memories of good friends and good days spent roaming up and down the creek.