Saturday Morning Western Pulp: Texas Rangers, June 1954

This is a pulp that I own and read recently. That’s my copy in the scan. The cover artwork is by Sam Cherry, who did nearly all of the TEXAS RANGERS covers during the Fifties and always did a great job. This one illustrates, sort of, the opening scene of this issue’s novel.

As far as I’m concerned, there’s a Big Four of authors who wrote Jim Hatfield novels under the house-name Jackson Cole: A. Leslie Scott, the creator of the series; Tom Curry; Walker A. Tompkins; and Peter Germano, the author of this issue’s novel “The Outlaw Nobody Knew”. Germano, who also wrote a lot of very good novels under the name Barry Cord, was the most hardboiled of the bunch. His prose is terse and fast-moving, and there’s no “Yuh mangy polecat” dialect. While I love the standard Western pulp dialogue, I like this approach, too. (Roe Richmond actually wrote more Hatfields than Germano, but I don’t like his novels so I don’t count him as a major Hatfield author.)

Germano really packs a lot of plot and characters into “The Outlaw Nobody Knew”. The mysterious bandit boss of the title has kidnapped the governor’s son in an attempt to keep his brother from being hanged. Hatfield has only six days and the narrowest of leads to find the boy. His search takes him to a mining town in West Texas. At the same time, a young former carnival tightrope walker shows up in town on a quest of his own. Also on hand are a shady gambler/saloonkeeper, assorted gunmen, a hotel owner who quotes classic Greek literature, and an old desert rat prospector who thinks he’s actually a sea captain. There’s so much going on that it’s actually a little hard to keep track of at times, but Germano keeps the story racing along anyway until it arrives at a twist ending that isn’t really that much of a surprise but is very effective anyway.

There’s an oddity about this one in that Hatfield dresses differently than he usually does, sporting a long black frock coat, a string tie, and a flat-crowned black hat. That just happens to be what a character is wearing in an interior illustration which also features another character who looks like Wild Bill Hickok. And Germano specifically mentions that the local marshal resembles Wild Bill Hickok. My hunch is that this illustration existed before the story was written, and Germano made the descriptions match it. No way of knowing, of course, but I’m always suspicious about such things. What’s important, though, is that “The Outlaw Nobody Knew” is a good solid Hatfield novel, not one of the top rank but well worth reading.

Robert Virgil published only four stories, according to the Fictionmags Index. “Rancher’s Woman” in this issue is the first of those. And it’s a really good one, a well-written Western noir about a middle-aged rancher, his younger, beautiful, restless wife, and the world-weary hired hand who signs on. This is the stuff of countless Gold Medal novels, but Virgil distills it down to a few pages and then gives us a surprising, very effective ending. I know I have at least one of his other stories and may go ahead and read that issue soon.

Ben Frank was the pseudonym of a writer named Frank Bennett, who wrote mostly humorous Westerns for the pulps. He had a long series about an old-timer known as Doc Swap, and another about a deputy named Boo-Boo Bounce. I’m not a fan of either of those series. Frank’s story in this issue, “The Champ of Cottonwood County”, is a stand-alone, and while it’s a comedy, it’s not as silly as some of his that I’ve read. It’s a romantic comedy, at that, about a hapless rancher trying to woo the girl of his dreams while ignoring the fact that a female friend of his is prettier and more suitable in every way than the girl he pines after. There’s also a robbery, a fugitive outlaw, an overbearing rival rancher, and a little bit of action before things come to a predictable conclusion. It’s fairly well-written and mildly amusing, and for a Ben Frank yarn, I thought it was pretty good.

I’m a big fan of the cavalry novelettes Steuart Emery wrote for TEXAS RANGERS, and he did quite a few of them. The one featured in this issue is ”The Shooting Sawbones”. The protagonist, John Rawdon, is about to graduate from West Point when an accident leaves him with a permanent bum knee. He can’t serve as a combat officer, but he can become a medical officer, which he does. His first post is an isolated fort in Arizona Territory, and wouldn’t you know it, a series of unusual circumstances leaves Rawdon in command of the fort just as a horde of hostile Apaches show up to attack it. There’s also a girl—there’s always a girl—who, in this case, is the daughter of a bitter retired officer who hates army doctors. Sure, I knew most of what was going to happen in this one, but Emery can really write and his military stories have a definite air of authenticity. Plus his characters often don’t turn out exactly the way you think they will, and he can surprise me now and then with a plot twist. “The Shooting Sawbones” is a very entertaining story and I look forward to reading more of Emery’s work. He wrote hundreds of stories, going back to 1919, many of them aviation and air war yarns in the Twenties and Thirties. I need to sample some of those.

D.S. Halacy Jr. wrote dozens of stories for the pulps and the slicks in several different genres, including Westerns, mysteries, and sports stories. His contribution to this issue, a short-short titled “Family Affair” is about a U.S. Marshal corralling an outlaw, with a twist ending that’s pretty obvious. This is a minor but well-written story that doesn’t pack as much punch as it thinks it does.

Peter Fernandez is another author who published only a few stories, half a dozen according to the Fictionmags Index. “Apache Alibi” is about a shipment of gold on a stagecoach and the various would-be thieves plotting to get their hands on it. Like “Rancher’s Wife”, this is pure Western noir and is about as bleak as they come. It’s a good story, but it’ll leave you feeling a little grubby.

W.J. Reynolds wrote about 120 stories, most of them Westerns, in a career that covered the Forties, Fifties, Sixties, and a little way into the Seventies. “The Devil Walks Loudly” is about a braggart who tries to make himself into a fast gun, an effort that seems doomed to failure from the start. This story is hurt a little by the fact that there’s not a single likable character in it, but it moves along and works fairly well. Reynolds is worth reading, but this one isn’t one of his best stories.

There’s an installment of S. Omar Barker’s “Sagebrush Savvy” column, in which he answers questions from readers (supposedly; who know whether they’re legit or not) and I always enjoy these. Barker was an entertaining writer.

This is a good issue of TEXAS RANGERS. While some stories are better than others, they’re all worth reading and several of them are very good. The pulp era was starting to wind down by this point, but there was still plenty of good reading to be found among the ones that survived that long.

Saturday Morning Western Pulp: Famous Western, Summer 1942

I don't own this issue of FAMOUS WESTERN, so I haven't read it. But I like the cover, which is credited on the Fictionmags Index to someone named Cooper, who did only a couple of pulp covers and a few interior illustrations. It has a nice dramatic look to it, though, and I like the color scheme. Inside are stories by Barry Cord (Peter Germano), Archie Joscelyn, Lee Floren, Zachary Strong (who was usually E.B. Mann), and lesser-known names Costa Carousso, Carleton Carr, and Steve Lynch. Maybe not the strongest lineup, but Germano, Mann, and Joscelyn are always worth reading, and Floren sometimes is. Don't know about the other guys. 

Saturday Morning Western Pulp: Texas Rangers, May 1952

This is a pulp that I own and read recently. The cover art is by Sam Cherry. The Jim Hatfield novel in this issue has some historical significance in the series as it’s the first one attributed to Peter B. Germano (best remembered for his novels under the pseudonym Barry Cord). Germano would go on to be one of the primary authors of the series during the Fifties, contributing 16 Hatfield novels, behind only Walker A. Tompkins (24 Hatfields during the Fifties, 28 overall) and Roe Richmond (22 Hatfields).

In “Secret of Dry Valley”, the plot finds Hatfield traveling to the Texas Panhandle in answer to a summons for help from an old friend of his boss, Captain Bill McDowell. When he gets there, he finds that the old friend (and former Ranger) has disappeared, and there’s a war brewing between the local cattle baron and a saloon owner who carry old grudges against each other. Working undercover, Hatfield survives a couple of bushwhackings, a pair of fistfights, and showdowns against fast on the draw gunslicks. Along the way to figuring out what’s really going on, he rescues a beautiful young woman (yes, she’s the cattle baron’s daughter) from quicksand. (In the immortal words of Bill Crider, quicksand makes any story better.) Hatfield triumphs in the end, of course, after some nice action scenes.

“Secret of Dry Valley” reads in some ways like an author’s first novel in an established series. It seems to me to be influenced by the work of the series’ two primary authors before this point, Leslie Scott and Tom Curry, and it’s likely that Germano read at least a few of their entries before tackling a Hatfield novel of his own. There’s a proxy hero whose job is to help Hatfield and wind up with the girl, a character type who shows up in nearly all of Curry’s Hatfield novels. The main plot point revolves around geography and an engineering problem, as in many of Scott’s Hatfield novels. There’s no mention of Hatfield’s engineering training in college before he became a Ranger, but he demonstrates such knowledge in solving the mystery.

At the same time, indications that this yarn is by a new author show up here and there. Hatfield is often referred to the narrative as “Jim”, something the other authors hardly ever do. He’s dressed in a suit, white shirt, and string tie throughout the novel, very different from the range clothes he usually wears. I can see doing that if there’s a good reason for it in the plot, but there’s not. He’s supposed to be working undercover, and yet he gives his real name to everybody he encounters. Eventually, some of the other characters remember there’s a famous Texas Ranger known as the Lone Wolf whose name is Jim Hatfield, but it takes a long time.

Despite those quibbles, “Secret of Dry Valley” is a pretty entertaining story. It has a little of the terse yet poetic, hardboiled prose that will become more common in Germano’s later entries in the series. The action is good, the settings are rendered fairly vividly, and there are a few small but effective plot twists. Germano’s Hatfield novels got better as he went along, but “Secret of Dry Valley” is a good solid start and well worth reading.

“El Soldado” is a short story by the always reliable Gordon D. Shirreffs. It's a Civil War tale set in New Mexico, in which a lone Union soldier tries to prevent a gang of Confederate irregulars from making off with a bunch of vital supplies. Shirreffs wrote several novels about the Civil War in the West, and while the plot in this story is a little thin because of its length, the writing is excellent.

The novelette “The Unholy Grail” is a Prodigal Son story by Roe Richmond. After his older brother is gunned down, Mike Grail, a fast gun and hellraising drifter dubbed by his father The Unholy Grail, returns home to help his family survive a feud with some old enemies. This is also a Romeo and Juliet story since Mike is in love with the daughter of his father’s arch-nemesis, and one of the sons from the rival family is in love with Mike’s sister. Richmond’s work is usually hit-or-miss with me, but this one lands squarely in the middle. The characters are interesting and there are some good action scenes, but the writing often seems rushed. I think this story might have been better as a novella or even a novel. It needed more room to develop.

“William and the Contract Buck” by Jim Kjelgaard is a bit of an oddity, a short story about some city slickers trying to put one over on a dumb hillbilly—but is he? This is well-written, as Kjelgaard’s stories always are, but there’s really not much to it and it’s out of place in a Western pulp. I think it must have been aimed at the slicks, or possibly at ADVENTURE, and sold to the Thrilling Group when it was rejected elsewhere. But that’s just a guess on my part.

Jim O’Mara was the pseudonym of Vernon Fluharty, who also wrote Westerns under the name Michael Carder. His story in this issue, “When the Sun Goes Down”, is about a looming showdown between a brutal town-taming lawman and a young former outlaw who’s trying to go straight. There’s some very nice action in this story, but it doesn’t come until after Fluharty has explored the complex personalities of several well-rounded characters. This is a superb story, extremely well-written, and it comes to a very satisfying conclusion. Fluharty is another writer who’s pretty inconsistent, in my opinion, but he really nailed this one. I loved it.

The issue wraps up with “Riddle of the Wastelands” by A. Leslie, who was really our old friend Alexander Leslie Scott, of course. This tale is about a young cowboy trying to figure out how the cattle stolen by rustlers are mysteriously disappearing. He does so, of course, and sets a trap for the wideloopers that results in a big gun battle. It’s the sort of thing Scott did countless times, but he does it very well in this one and I thoroughly enjoyed it.

Overall, I’d say this is an average issue of TEXAS RANGERS, but you have to remember, “average” for this pulp is pretty darned good. The Hatfield novel is enjoyable, although Germano did better work later on in the series culminating in “Rendezvous at Quito” in the next-to-the-last issue, January 1958, which is one of my all-time favorite Hatfield yarns. The stories by Shirreffs and Scott are dependably good, the ones by Richmond and Kjelgaard somewhat disappointing. But I had a good time reading this one and look forward to reading another issue of TEXAS RANGERS in the near future.

Saturday Morning Western Pulp: Fifteen Western Tales, April 1948

There's a lot going on in this cover by Sam Cherry, more than you might realize at first glance. We have our stalwart hero in a red shirt . . . or is he a hero? He's clearly been wearing the mask that just fell down around his neck, and there's a bag of stolen bank loot lying beside him. He's been lassoed, his horse is running away in the background, and there's a guy on the porch behind him probably shooting at him. He must have been trying to make his getaway after robbing the bank when somebody dabbed a loop on him. But that's a Lone Ranger/Masked Rider type of mask, not a bank robber mask. So I don't really know what's going on, but it's a good cover anyway, as you'd expect from Sam Cherry. Inside this issue of FIFTEEN WESTERN TALES are stories by Wayne D. Overholser, Clifton Adams, Barry Cord (Peter Germano), Talmage Powell, Joe Archibald, Thomas Calvert McClary, Kenneth Fowler, Wallace Umphrey, and the obscure Ruland Waltner. FIFTEEN WESTERN TALES included features and articles in that count, so there are actually only nine pieces of fiction in this issue, but they look like pretty good stories.

Saturday Morning Western Pulp: Mammoth Western, October 1950

Robert Gibson Jones is probably best known for his covers on the Ziff-Davis pulp FANTASTIC ADVENTURES, but he did quite a few covers for Z-D's MAMMOTH WESTERN, as well, including this one which I like quite a bit. I'll always be fond of gun-totin' redheads, and this one is in an intriguing situation. "Robert Eggert Lee", author of the lead story "This Grave for Hire" (a nice title) was actually Ziff-Davis stalwart Paul W. Fairman. Also on hand in this issue are John Reese. writing as John Jo Carpenter, John Prescott, and Peter Germano writing as Barry Cord. Those are the Western writers of note in this issue, although there's also a story (and I'm sure a good one) by William P. McGivern, and yarns by the likes of Frances M. Deegan, Karl Kasky, and Larry Becker.   

Saturday Morning Western Pulp: .44 Western Magazine, September 1944

I always think of Sam Cherry as doing covers for the various Thrilling Group Western pulps, but he did quite a few for Popular Publications as well, including this one on the September 1944 issue of .44 WESTERN MAGAZINE featuring a dynamic action scene. This particular issue doesn't have an abundance of familiar names inside. Barry Cord (Peter Germano), Frank C. Robertson, and John A. Saxon are the best known. The other authors, who had decent careers but are pretty much forgotten, are James Shaffer, Le Roy Boyd, Stuart Friedman, and Melvin W. Holt.

Saturday Morning Western Pulp: Western Trails, May 1936

This looks like a pretty good mid-Thirties issue of WESTERN TRAILS, with a cover by William F. Soare and entries in two long-running series, Duke Buckland by Frederick C. Davis and Bert Little by Clyde B. Warden. The other authors on hand are all top-notch pulpsters, as well: Philip Ketchum writing as Carl McK. Saunders, Frank Gruber, James P. Olsen, Peter Germano (as Peter Germane), and Bruce Douglas.

Saturday Morning Western Pulp: Texas Rangers, June 1955

This is a pulp that I own and read recently. That’s my copy in the scan. The cover is by the dependable Sam Cherry. As always, this issue of TEXAS RANGERS leads off with a novel featuring Jim Hatfield, also known as the Lone Wolf. “Beyond the Tenido Barrier” was written by Peter B. Germano under the house-name Jackson Cole.

This novel begins with a fairly simple premise: Texas Ranger Jim Hatfield is on the trail of a train robber and killer known as the Sonora Kid. That trail leads him to the Tenido Barrier, an escarpment in far West Texas, beyond which is a fertile (for the region) valley that was once part of a Spanish land grant. The family of hacendados that has controlled this area for more than a hundred years still owns the ranch that takes up most of the valley, but the spread is being plagued by rustlers. Before you know it, Hatfield has rescued the rancher’s beautiful daughter from a wild bull, befriended the man’s son who has just returned from school in Mexico City, clashed with the local sheriff and deputy, who seem to have an agenda other than keeping the peace, and uncovered a link between the man he’s pursuing and a band of revolutionaries headquartered just across the border in Mexico, where they’re awaiting a shipment of smuggled rifles before starting a bloody rebellion.

In other words, Germano, who always wrote in a terse, hardboiled style, packs plenty of plot and characters into this short novel (35,000 words or so, I’m guessing). There’s so much going on that it’s a little hard to keep up with, and Hatfield has his hands full untangling everything and surviving numerous fistfights and shootouts. Germano really keeps things moving. I think “Beyond the Tenido Barrier” would have been a little better if it was longer, and that’s something I hardly ever say. The plot could have used a bit more room to develop and wouldn’t have seemed so rushed. That said, I still enjoyed this yarn a great deal. I’ve never read a Hatfield novel by Germano that wasn’t exciting and entertaining.

Next up is the short story “The Wrong Guess” by Lauran Paine. In addition to being a fairly prolific pulpster, Paine wrote close to a thousand Western novels under dozens of different pseudonyms, most of them published only in England even though Paine was an American and lived in the Pacific Northwest. He found his niche and wrote the heck out of it. Late in his career, he wrote a number of hardback Western novels for Walker & Company and paperback originals for Ballantine under his own name and the pseudonym Richard Clarke, one of which was made into the movie OPEN RANGE. I’ve never read much by him, and what I have read didn’t impress me much, but in this case, “The Wrong Guess” is a terrific short story. It’s a vengeance yarn featuring an old rancher, but to say anything else about the plot would be giving away too much. This is easily the best thing I’ve read by Paine, though.

I don’t know anything about Phillip Morgan other than the fact that he published approximately 50 stories in the pulps during the 1950s, mostly Westerns but with a few detective yarns mixed in. If he ever published a novel under his name, I couldn’t find any mention of it. He’s the author of the short story “Prairie Town” in this issue, and it’s a good one. This is a town tamer yarn, of the sort that finds an aging lawman questioning the life he leads. It’s a low-key, character-driven tale without much action, but Morgan writes so well that it’s a compelling story anyway. I’ll be on the lookout for his name in other pulps.

Steuart M. Emery had a career as a pulp writer that lasted almost 40 years, beginning in 1919. For the first three decades of that career, he produced mostly war and aviation stories, but during the Fifties he turned to Westerns and specialized in cavalry stories, appearing often in TEXAS RANGERS, usually with novelettes, such as the one in this issue, “Paddlewheel Fort”. This is a great story about a stalwart cavalry lieutenant battling not only Apaches in Arizona but also a by-the-book colonel and a spit-and-polish rival for the colonel’s beautiful daughter. As you might guess from the title, there’s a riverboat involved, too. You might think that’s really out of place in Arizona, but steamboats were used quite a bit on the Colorado River. There are some fantastic battle scenes in this one, and it would have made a fine 1950s movie with, say, Rod Cameron in the lead.

Philip Ketchum was a prolific, widely respected pulpster, known for Westerns, historicals, and detective yarns written under his own name and the pseudonym Carl McK. Saunders. And after the pulp era, he went on to a long career as an author of paperback Westerns, all the way up into the Seventies. His story in this issue, “Skin Deep”, is something of an oddity for him. There’s no action at all. Instead, it’s a quiet, sweet tale of a cowboy courting a rancher’s daughter who, for a change, isn’t beautiful . . . or is she? It’s the sort of story I don’t usually enjoy, but Ketchum’s fine writing saves it, and I wound up liking it quite a bit.

Herbert D. Kastle isn’t really a name I expected to run into in a Western pulp, but his story “The Slow Draw” rounds out this issue. As it turns out, a check of the Fictionmags Index reveals that Kastle wrote several stories for various Western pulps in the mid-Fifties, along with science fiction and detective stories for the digests, before going on to a long career as a paperback author of glitzy bestsellers and dark suspense novels. “The Slow Draw” is a little predictable with its story of a man who seeks out gunfights despite not being fast on the draw, but it’s enjoyable anyway.

Overall, this is a very good issue of TEXAS RANGERS, with a solid Hatfield novel and not a bad story in the bunch among the backups. Steuart Emery’s novelette is the best story by him that I’ve read so far, and that’s saying something since I really like his work. If you have a copy of this one in your collection, it’s well worth pulling out and reading.

Saturday Morning Western Pulp: Fifteen Western Tales, June 1947

We can add another category to the things we see on Western pulp covers: Injury to a Saddle. This is a really nice, dynamic cover on this issue of FIFTEEN WESTERN TALES. And as was common with the Popular Publications Western pulps, a strong group of authors with stories inside, as well. In this case, Peter Dawson (Jonathan Glidden), William Heuman, Walker A. Tompkins, William R. Cox (twice, once as himself and once as house-name David Crewe), Joe Archibald, Barry Cord (Peter Germano), T.C. McClary, the mysterious Frank Morris, Wallace Umphrey, James Shaffer, and house-name Lance Kermit. A very entertaining issue, I suspect.

Saturday Morning Western Pulp: New Western, September 1940

I feel like I ought to know who painted the cover on this issue of NEW WESTERN. The hat on the cowboy with the red bandanna looks awfully familiar. I kind of want to say Walter Baumhofer, but I don't really think that's right. Anyway . . . There are some popular, prolific writers in this issue: Barry Cord (Peter Germano), James P. Olsen, John G. Pearsol, Rolland Lynch, Lee Floren, and Glenn H. Wichman, along with Marian O'Hearn, who appeared most often in RANCH ROMANCES and the other Western romance pulps. 

Saturday Morning Western Pulp: Ace-High Western Stories, September 1941

I don't think the art is great on this issue of ACE-HIGH WESTERN STORIES, but the scene has a really dynamic feel to it that I like. And since this is a Popular Publications pulp, you know there'll be some good authors inside and some memorable story titles (most of them come up with by the editor, no doubt). The authors in this issue include Ed Earl Repp, Barry Cord (Peter Germano), Gunnison Steele (Bennie Gardner), Jim Kjelgaard (of juvenile dog novel fame; one of my favorite writers when I was a kid), Rolland Lynch, Dabney Otis Collins, Ralph Berard (Victor White), and Jack Bloodhart. As for titles, you've got "Steel Tracks Through Hell", "The Gun-Cub's Turn to Howl", and "That Die-Hard Texan!", among others. I'd read those.

Forgotten Books: Hell in Paradise Valley - Barry Cord (Peter Germano)

As I’ve mentioned numerous times in the past, Peter Germano, who wrote mostly under the pseudonym Barry Cord, was one of the most dependable authors of traditional Westerns. An Ace Double paperback original from 1972, HELL IN PARADISE VALLEY is on the other side of Ray Hogan’s THE NIGHT HELL’S CORNERS DIED, which I wrote about a while back. I’ve read the Germano novel now and found it equally enjoyable.

HELL IN PARADISE VALLEY is a cattlemen vs. sheepherders book, but with a nice twist in that it’s a group of Texas cowboys, led by rugged trail boss Jess Riley, that gets tricked into agreeing to deliver a herd of sheep to Paradise Valley. A plot like this could easily be played for comedy, but in Germano’s hands it’s a tough, hardboiled action yarn. He throws in some other twists, too, such as not all the characters turning out like they appear to be at first, as well as danger from the past for some of them. He doesn’t try to cram too much into the book’s relatively short length, though. The way this book is plotted and structured, right down to the final shoot-outs, reminds me very much of a late Fifties, early Sixties TV Western. It could have been adapted into an episode of RAWHIDE with no trouble at all, although a few things would have had to be changed.

HELL IN PARADISE VALLEY doesn’t break any new ground, but it does a very good job of telling a mostly familiar story. If you’re a fan of traditional Westerns, it’s well worth reading.

Saturday Morning Western Pulp: Real Western, November 1937

Did any stagecoaches in the Western pulps ever get where they were going without being attacked by bad guys? Judging by the covers, the answer is no. Here's more evidence on the cover of the November 1937 issue of REAL WESTERN. The art looks like the work of H.W. Scott to me, but I could be 'way off about that. Inside are stories by Eugene Cunningham, William Patterson White, Jack Bertin, and someone named Frank Cox, who published only a handful of stories in the late Thirties. Jack Bertin has an interesting background. According to the Fictionmags Index, his real name was Giovanni Bertignono. He published several dozen Westerns and a few detective and science fiction stories in the decade between 1928 and 1938. I seem to remember that he was also the uncle of the much more prolific Peter Germano, best remembered under the pseudonym Barry Cord, but I could be wrong about that. There's some connection, though, because Germano is credited with writing two science fiction novels in 1970 that were published under the name Jack Bertin, possibly based on outlines written by Bertignono. I have a copy of at least one of those and ought to read it.

Saturday Morning Western Pulp: Texas Rangers, March 1956

This is a pulp that I own and read recently. The scan is of my copy, which I try to do when possible.

The Jim Hatfield novel in this issue, "Guns Across the River", was written by Peter Germano under the Jackson Cole house-name. It's a cattleman vs. sheepherders yarn, but Germano puts a lot more plot that that into the story. In fact, there are almost too many characters and too much plot for a novel that runs maybe 40,000 words. Hatfield is sent to Peaceful Valley to stop a bloody range war before it breaks out, but he's barely gotten there when he finds a dead body and then a would-be killer takes a shot at him. There's a weak sheriff, a stubborn deputy, a cattle baron, the cattle baron's two beautiful daughters, a former schoolteacher turned gunslinger, a kidnapped youngster, an old-timer who's supposed to be dead but apparently isn't, a blustering lawyer who seems to have been inspired by W.C. Fields (his name is H. Goldwyn Pepper), and a West Texas winter storm. The action hardly ever slows down for more than a few paragraphs.

Germano was the most hard-boiled and realistic of the Hatfield authors, and he was also capable of the occasional touch of poetry in his work. I was a little worried that he had crammed too much into this story, but he maintained control over the plot and I wound up liking it a great deal. The somewhat bittersweet ending is very effective. Germano rewrote and expanded this into the novel WAR IN PEACEFUL VALLEY, which was published three years later as half of an Ace Double under his usual Barry Cord pseudonym. Texas Ranger Jim Hatfield becomes Deputy U.S. Marshal Matt Vickers, but everything else appears to be pretty much the same. I have this book but haven't read it, and I probably won't, now that I've read and enjoyed the original version.

George Roulston is an author I'm not familiar with. He appears to have published only half a dozen stories in the mid-Fifties. But his story in this issue, "Moment of Violence", is a good one. It's about an ex-convict returning to his home town after serving ten years for a stagecoach robbery in which the driver was killed. It was the convict's partner who actually pulled the trigger, but he never revealed who that was (although it's no secret from the reader). The reactions his return provokes lead to more violence. There's enough plot here for a novel, the sort that Gold Medal published during that era, but Roulston does a good job boiling it down to a short story.

H.G. Ashburn is another author unknown to me who published a few stories in the mid-Fifties. "Miguel's Private Miracle" is about scalphunters who show up at a small mission and try to terrorize the priest in revealing the hiding place of a group of Indian women and children. It's more about the nature of religious faith than anything else, making it a little offbeat for a Western pulp, but it's well-written and I enjoyed it.

The parade of unknown-to-me authors continues with Pat Pfeifer, another whose work appears to be confined to a handful of stories in the mid-Fifties. "Time Enough to Die" is about the showdown between a marshal and two brothers who want to either kill him or run him out of town. The marshal's newly hired deputy is a former friend of one of the brothers, so the lawman doesn't know if he's really facing two enemies, or three. Everything plays out like you'd expect it to, but the writing is good enough that it makes for an enjoyable yarn.

Even more obscure is Cameron Roosevelt, who has only two stories listed in the Fictionmags Index, "Showdown at Jericho" in this issue, and a story in an issue of 2-GUN WESTERN a couple of months later. "Showdown at Jericho" is a revenge tale, with the protagonist tracking down the man who stole both his wife and his money. The inevitable gunfight is resolved in a fairly clever manner, but what sets this story apart is its noirish tone and some excellent writing. This one is good enough that it's hard to believe Roosevelt sold only one other story, which makes me wonder if the name is a pseudonym for another, more well-known writer.

Finally we come to an author I've heard of, John Jo Carpenter, who was really John Reese. Reese used the Carpenter pseudonym for scores of stories in various Western pulps during the Forties and Fifties, while writing mystery and slick magazine stories under his real name. Later he wrote hardback and paperback Western novels as John Reese, a couple of which I've read and remember enjoying. His story in this issue, "The Reluctant Hangman", is a real oddity for a Western pulp in that there's no action in it at all. Instead it's a tale of psychological turmoil as a young deputy struggles with having to carry out a murderer's hanging because the sheriff is laid up with a heart attack. It's a gripping, very well-written story and makes me think I need to read more by Reese as John Jo Carpenter.

Eric Allen is another familiar name. He wrote a number of paperback Westerns, including a series set in a town called Whiskey Smith. I've never read any of them, but his novelette that wraps up this issue, "Death on the Chaco", is a good one, if a little by-the-numbers when it comes to the plot. It's a yarn about a young man who comes home to the ranch he just inherited from his murdered uncle, only find himself caught up in a brewing range war with a group of sodbusters. The plot twists in this one are pretty obvious, but Allen writes in a nice, easygoing style and I enjoyed the story.

There are also a few columns and features, but as usual I just skimmed them. My interest is in the fiction, and in that respect, this is an above-average issue. There's not a bad story in the bunch, and three of them—the Hatfield novel and the stories by Cameron Roosevelt and John Reese—are excellent. The quality of TEXAS RANGERS remained high right up until its end a couple of years later, and if you happen to have a copy of this issue on your shelves, it's well worth reading.

Saturday Morning Western Pulp: Western Aces, December 1940

Another fine-looking issue of WESTERN ACES, with a good cover and stories by L.P. Holmes, Walker A. Tompkins, Gunnison Steele, Barry Cord, Wilfred McCormick, and WESTERN ACES perennial J. Edward Leithead. Four of those authors, Leithead, Tompkins, Steele (Bennie Gardner), and Cord (Peter Germano) also wrote Jim Hatfield novels for TEXAS RANGERS as Jackson Cole.

Saturday Morning Western Pulp: Ace-High Western Stories, November 1946

An old codger with a bullet hole in his hat and his hands full of dynamite . . . he told those darn kids to stay off his lawn and away from his gold mine! I like this cover, probably because a lot of the time I feel about like this guy looks. But inside this issue of ACE-HIGH WESTERN STORIES are yarns by Ed Earl Repp, Barry Cord, Ray Gaulden, and some lesser-known names and house-names, so I'm sure if I sat down and read it, my mood would improve.

Forgotten Books: Last Chance at Devil's Canyon - Barry Cord (Peter Germano)

I hadn't intended to read the other side of that Ace Double Western from last week quite so soon, but that's the way things worked out. And that's fine because LAST CHANCE AT DEVIL'S CANYON is a pretty entertaining novel.

The title is sort of a pun, because the protagonist is former boxer turned gunfighter Dave Chance, who was known as "Last" Chance during his pugilist days. But he was double-crossed by his manager, who ran off with all of Dave's money. Dave gave up boxing and devoted himself to tracking down the crooked manager. The trail leads him to the mining boomtown called Paydirt, but on the way there Dave gets mixed up in a shooting that leaves a man dead at the hands of bushwhackers.

When Dave takes the body into town, he soons finds himself in a convoluted plot that involves two lawmen (the county sheriff and the town marshal), neither of whom can be trusted, a troublemaking gambler, and missing mine payrolls. The crooked fight manager Dave's been after is on hand, too, using the money he stole to buy a railroad spur that's in danger of going bankrupt. He offers Dave a half-share in the railroad to find out who stole the mine payrolls from the train. And there's the sheriff's beautiful daughter to complicate things, too.

There's not much in LAST CHANCE AT DEVIL'S CANYON you haven't seen before if you've read very many traditional Westerns, but Germano's work is always worth reading because of his hardboiled prose, his tough heroes, and the occasional nice plot twist, of which there are a few in this novel. There are plenty of shootouts and ambushes, and given Dave's background as a fighter you know there's going to be a boxing match somewhere along the way. Germano doesn't disappoint in that regard, either.

This isn't as good a book as the Gordon D. Shirreffs novel on the other side of this Ace Double, but I had a fine time reading it anyway. Actually, I've never read a Barry Cord novel that wasn't good. He's a dependable author if you like tough, lean, hardboiled Westerns.

Forgotten Books: Trail Boss From Texas - Barry Cord (Peter Germano)

(This post originally appeared in different form on April 25, 2005)

Originally published by Phoenix Press in 1948, this is Peter Germano’s first novel under the pseudonym Barry Cord, and as far as I know, his first full-length novel overall, although his shorter fiction had been appearing in the Western pulps as far back as the mid-Thirties.

Larry Brennan is the title character, who has brought a herd of cattle from Texas to Colorado to deliver them to an old friend of his boss. Unfortunately, the rancher Jeff Halliday, who was supposed to take delivery of the cattle, is murdered just before Brennan arrives, and after wiring his boss to ask him what to do next, Brennan has no choice but to wait for an answer. This delay gives him plenty of time to get mixed up in a range war that he originally wants no part of, as well as a land grab motivated by the impending arrival of the railroad.

These are classic Western story elements, of course, and Germano doesn’t really do anything new with them. This is a good solid traditional Western, though. Germano has been quoted (in TWENTIETH CENTURY WESTERN WRITERS) as saying that his writing was influenced by the work of Ernest Haycox and Luke Short (Frederick D. Glidden). That can be seen in his terse, unsentimental prose style and his hardboiled action scenes. His books often have strong mystery elements in them, as well. TRAIL BOSS FROM TEXAS suffers a little at first as Germano crowds in too many characters and plot angles in too few pages, but eventually everything gets straightened out and the story flows better. In the Fifties, when he was one of the regular writers of the Jim Hatfield novels in TEXAS RANGERS under the Jackson Cole house-name, and during the Sixties, when he was a prolific novelist for the Ace Double line, among other publishers, his storytelling abilities were more developed and he became one of the best Western writers of the period.

Saturday Morning Western Pulp: Texas Rangers, February 1955

From fairly late in the long run by TEXAS RANGERS, this issue features a Jim Hatfield novel by Peter Germano writing as Jackson Cole. Germano, better known under his pseudonym Barry Cord, consistently turned out excellent Hatfield yarns. I haven't read this one, but I'd be willing to bet that it's good. Authors of the back-up stories in this issue include Louis L'Amour, the very prolific Lauran Paine, and Clark Gray and Roe Richmond, each of whom also wrote Hatfield stories under the Jackson Cole house-name.

Ten More Western Authors I Like

Here are ten more Western authors whose work I really enjoy, although, as usual, some of them can be inconsistent.

Peter Dawson – In real life Peter Dawson was Jonathan Glidden, brother of Frederick Glidden, who wrote as Luke Short. I believe Jon began writing after Fred did, but both were prolific contributors to the pulps during the Thirties. If I recall correctly (and someone please correct me if I don't), Jon Glidden won some sort of contest with his novel THE CRIMSON HORSESHOE, which was serialized in WESTERN STORY and then published in hardback by Dodd, Mead, starting him on a very successful career as a novelist. He continued to write for the pulps through the Forties but concentrated on novels after that. The paperback reprints from Bantam Books were so popular that after Glidden's death Bantam hired another author to write paperback originals under the Dawson name. I've never read any of them, but I've been told they're not nearly as good as the ones Glidden wrote. I first discovered Peter Dawson's work by reading the novel TRAIL BOSS when I was in the seventh grade, and I've read many of his books since then. Several volumes of his pulp work were published in paperback by Leisure in recent years.

Peter Field – This is a bit of a cheat, since "Peter Field" is a house-name and a number of different authors used it. But when I was a kid checking out books from the bookmobile every week, I went through every Peter Field western they had, which was quite a few. The books were published in hardback, first by William Morrow (more on that in a minute) and then by Jefferson House. All the ones I read back then were in the Powder Valley series and featured the adventures of Pat Stevens, a horse rancher in Colorado, and his sidekicks: short, roly-poly Sam and tall, gaunt, eyepatch-wearing Ezra. I had no clue then that Peter Field wasn't the author's real name, but I know now that all of the novels from the Fifties and Sixties were written by Lucien W. Emerson. Later on I discovered the earlier books in the series, written at first by William Thayer Hobson, the president of William Morrow and the husband of bestselling novelist Laura Z. Hobson, and then later by various hands, most notably Davis Dresser, a.k.a. Brett Halliday his own self. Dresser was the primary author of the series during the Forties, when his Mike Shayne series was also going strong. In these earlier books, Pat Stevens was still a rancher, but he was also the sheriff, and he had a wife, too, who had disappeared by the time I started reading the books in the early Sixties. In addition to all this, the Peter Field name was also used on several stand-alone Western novels, all of which were written, I believe, by Harry Sinclair Drago.

Peter Germano – Best known under his pseudonym Barry Cord, Germano wrote under that name and several others. His stories began appearing in the Western pulps in the mid-Thirties, and by the late Forties he was writing novels under the Barry Cord name. During the Fifties he was one of the main authors of Jim Hatfield novels for the pulp TEXAS RANGERS under the house-name Jackson Cole, and some of his entries are among the best in the entire series. Later on he became a prolific author of paperbacks, turning out many novels for the Ace Double line as well as other publishers. Some of these novels were rewritten and expanded version of stories he originally wrote as Jim Hatfield novels. As is the case with most of the Western authors I like, his style was terse and hardboiled, and his stories are well-plotted with plenty of action.

William Hopson – Another author who started in the pulps and then became a prolific paperbacker, Hopson has an odd style that takes a little getting used to, but once a reader is accustomed to it, his prose is very effective. His work is inconsistent. His Masked Rider "Guns of the Clan" is almost unreadable, while his later stand-alone novel GUNFIGHTER'S PAY is an excellent yarn with one of the best action climaxes I've found in a Western. If you try something by him and don't like it, it's probably worthwhile to try something else.

Peter McCurtin – One of the great mysteries in Western publishing, Peter McCurtin was long thought to be a house-name, but it appears there really was a writer and editor by that name who worked primarily for Belmont/Tower/Leisure. His best work is probably the Carmody series, published under his own name. These are tough, gritty action Westerns and very well-written. All of them except the first book in the series are in first person, something of a rarity in Westerns. Later, McCurtin wrote another series under the name Gene Curry about a character named Saddler, who is basically Carmody again. He also wrote some of the Lassiter novels under the house-name Jack Slade, including THE MAN FROM DEL RIO, the first Adult Western I ever read and a real eye-opener at the time. McCurtin continued the Sundance series after Ben Haas's death, and while I don't like his entries as much as the earlier books, they're solid Westerns. He also wrote men's adventure novels and a couple of hardboiled private eye novels that are well-regarded by some fans of the genre. I haven't gotten around to reading them yet, but I will one of these days.

Leonard F. Meares – I first encountered the work of Len Meares in the Bantam paperbacks published under the name Marshall McCoy. These were thin Westerns in two series: Larry and Streak, and Nevada Jim. I enjoyed these books and read them all. Checking the copyright pages, as I did even then, I figured out that these were reprints of books originally published in Australia. I never dreamed, though, that many years later I would be good friends by correspondence with the author, whose name was really Marshall McCoy but rather Leonard F. Meares. Beginning in the mid-Fifties, he wrote more than 800 novels, most of them Westerns and primarily under the pseudonym Marshall Grover, although he used other pen-names as well. I read dozens of them and always enjoyed them. Fast-moving, well-plotted, with very appealing characters. About half of his output consisted of the Larry and Stretch series (the characters' names were changed slightly in the American editions, for some reason), a couple of drifting Texans with a habit of getting into trouble. Toward the end of his life, Len's Australian publishers cancelled the series, but since they had a contract for foreign rights in the Scandinavian countries, they insisted that he continue writing the books so that they could be translated. I know it bothered him to write these books knowing they would never appear in English. But still he carried on, still with as much enthusiasm as he could muster for the work. He was a great friend, and to this day I miss hearing from him.

D.B. Newton – Another veteran of the pulps, D.B. Newton wrote some of the Jim Hatfield novels in TEXAS RANGERS, as well as entries in the Rio Kid and Masked Rider series. Branching out into paperback novels, he wrote RANGE BOSS, the book regarded as the first modern-day mass-market paperback original. For Berkley he wrote a series about Jim Bannister, unjustly accused of being an outlaw and forced to go on the dodge. As Dwight Bennett, he wrote a number of excellent stand-alone Western novels for Doubleday's Double D line. Finally, he created and wrote several novels in the Stagecoach Station series for Lyle Kenyon Engel's Book Creations Inc. These were published by Bantam under the house-name Hank Mitchum. Engel intended for Newton to write all the books in the series, but with them coming out every two months, he couldn't keep up that pace and BCI enlisted other authors to contribute novels as Hank Mitchum, eventually including me. I've always taken great pleasure in the fact that I wrote shared a house-name with someone who wrote Jim Hatfield novels, since TEXAS RANGERS is one of my all-time favorite pulps. Newton's novels are good solid Westerns, nothing flashy about them. Maybe not quite as hardboiled as some of my other favorites, but still excellent reading.

Dudley Dean McGaughey – Best known for his books under the names Dean Owen and Dudley Dean, McGaughey also wrote under house-names and other pseudonyms, including, you guessed it, some Jim Hatfield novels. His Hatfield novel "White Gold of Texas", one of the stories reprinted in paperback by Popular Library, is one of the best in the series. McGaughey also wrote mysteries and soft-core erotic novels and movie novelizations and TV tie-in novels. Tough prose and good plots are to be found in all his work. He was the sort of versatile, top-notch paperback author I've always enjoyed and admired.

Walker A. Tompkins – Another veteran of TEXAS RANGERS and the Jim Hatfield series, Tompkins wrote many of those novels as Jackson Cole throughout the Forties and Fifties, and they're all good. He wrote lead novels for the other three Western hero pulps published by Ned Pines, RIO KID WESTERN, MASKED RIDER WESTERN, and RANGE RIDERS WESTERN, along with scores of stand-alone stories for nearly every Western pulp in existence. He was a stalwart in WILD WEST WEEKLY during the Thirties, writing under several different names, and some of that work comes in for some criticism in Bill Pronzini's SIX-GUN IN CHEEK. Admittedly, a lot of Tompkins' early stories and novels are pretty over-the-top. But by the late Forties he had matured into the author of a number of fine stand-alone Western novels, some of them expanded from stories that originally appeared in the pulps.

Harry Whittington – Justly famous for his hardboiled mystery and suspense novels, Harry Whittington's Westerns are just as dark and lean as his crime yarns. His novel TROUBLE RIDES TALL was adapted into the TV series LAWMAN starring John Russell and Peter Brown. SADDLE THE STORM, the story of a frontier town celebrating the Fourth of July, is probably his best Western, as the festivities bring one dark secret after another into the open. Any of Whittington's Westerns, whether from Gold Medal, Ace, or Ballantine, is well worth reading.

I see this installment is even more long-winded than the previous one. The usual caveats apply. If you try books by all these authors, there'll be some you don't like. But I'll bet there'll be some you will.