Saturday Morning Western Pulp: Western Action, September 1948

Okay, who painted this cover, H.W. Scott or A. Leslie Ross? I can't make up my mind. I don't own this pulp, but I do have a paperback copy of the novel featured in this issue of WESTERN ACTION, "The Lost Buckaroo" by Bliss Lomax, who, of course, was really Harry Sinclair Drago. I haven't read the novel, but I believe it features his series characters, railroad detectives Rainbow Ripley and Grumpy Gibbs. Also in this issue are stories by Gerry Walker (his only credit in the FMI), the prolific Harry Van Demark, and Harold Preece, who I know mostly as a friend and correspondent of Robert E. Howard. I don't think I've ever read any of his fiction.

A Rough Edges Rerun Review: White Indian - Donald Clayton Porter (Noel Gerson)

Since yesterday was Thanksgiving, I thought it would be appropriate to take a look at a novel that has a connection to the Pilgrims, although it’s set somewhat later. WHITE INDIAN is the first book in what started out as the Colonization of America series. It opens in 1685, several generations after the founding of the first English colony in North America. Settlers from the Massachusetts Bay Colony have established an outpost known as Fort Springfield in the valley of the Connecticut River, but they have to worry constantly about Indian attacks, and with good reason. During one such raid by Seneca warriors, a young couple named Jed and Minnie Harper are killed, and their infant son is carried off by the Seneca chief Ghonka, who adopts the boy, names him Renno, and raises him to be a great warrior.

That’s just the beginning of this novel, which follows Renno to manhood. Like Tarzan, he comes to realize that he’s different from those who have raised him. Also like Tarzan, he’s the biggest, fastest, strongest bad-ass in the jungle – I mean forest – and eventually allies himself with the English while still maintaining his ties to the Seneca. He fights on the side of the English during clashes with the French, who are also trying to establish colonies in North America, and starts a long-running feud with a Frenchman who’s so evil he practically twirls his mustache. Like most of the historical fiction produced by the book packaging company Book Creations Inc., WHITE INDIAN and its sequels contain a heaping helping of soap opera to go along with plenty of colorful and sweeping action. Sometimes the historical accuracy was less than rigorous, but the editorial policy at BCI was “Never let history get in the way of a good story.” And BCI was definitely in the business of turning out good stories.

Now here’s the background of this series, for those of you who are interested. “Donald Clayton Porter”, the author of this book, was actually Noel Gerson, who was also the original “Dana Fuller Ross”. Gerson wrote a number of historical novels over the years, under his own names and those two house-names, as well as the pseudonym Bruce Lancaster and possibly others. His style is pretty unmistakable, no matter what name is on the book. His prose is a little clunky in places and sometimes he skimped on the action scenes, but he possessed the true storyteller’s knack of getting the reader to keep turning the pages. There’s also a mild edge of sexual kinkiness in many of his books, and it shows up in the White Indian novels as well. Renno has a habit of deflowering most of the beautiful English virgins he meets, and then his sidekicks among the colonists marry them and everybody is happy.

When the series began in 1979, following on the success of John Jakes’ Kent Family Chronicles and Gerson’s Wagons West novels as Dana Fuller Ross (both BCI series), it was known as the Colonization of America series, as noted above. But within three or four books, it became the White Indian series, and subsequent reprints of the early books carried that name instead. I suspect this was because someone at BCI or the publisher, Bantam, realized that readers were asking for more of those White Indian books, rather than using the more cumbersome original title. The series ran for 28 books, most of them featuring descendants of the original Renno (the longest-lasting hero in the series was also named Renno), and the books continued to appear until the mid-Nineties. Gerson wrote the first twelve, Hugh Zachary wrote #13 through #26, and BCI editor Paul Block authored the final two books in the series, which are collectible now because the series had pretty low print runs by that time. Zachary took over at least two other BCI series in mid-stream, THE AUSTRALIANS under the name William Stuart Long (originated by Vivian Long) and CHILDREN OF THE LION, published under the house-name Peter Danielson (originally George Warren). The Donald Clayton Porter name was also used on the stand-alone novel PONY EXPRESS, which I believe was by Gerson, and the short-lived Winning the West series, written probably by Gene Shelton, although Zachary may have contributed to it, as well.

As for my own connection with all this, I worked for BCI, too, and while I wrote six books as Dana Fuller Ross (the Wagons West prequels known as The Frontier Trilogy and The Empire Trilogy), I was never Donald Clayton Porter. I did one book as Peter Danielson, the final book in the Children of the Lion series. At its high point, BCI was a great place to work, with excellent editors, and the company turned out a tremendous amount of top-notch historical and Western yarns during the Seventies, Eighties, and early Nineties. If you’ve never sampled any of their series, WHITE INDIAN would be a fine place to start.

(This post originally appeared on November 27, 2009. I meant to read the rest of the White Indian series someday, but you know me. I haven't gotten around to it. I'd like to read the rest of Gerson's entries, anyway.)

Happy Thanksgiving!

 

Review: Horror Movies, The First 75 Years, Volume 1: The Mummy - David Whitehead

I always think of David Whitehead as a Western author, either under his real name or his pseudonym Ben Bridges, and he’s a top-notch Western writer, too. But he’s also written horror novels and he’s a long-time fan of the genre. How long-time I wasn’t really aware of until I read his recent non-fiction book, HORROR MOVIES: THE FIRST 75 YEARS, VOLUME 1: THE MUMMY.

I’m a horror fan, too, although on a somewhat limited basis. I tend to like the older stuff (no surprise there), including the classic Universal monster movies from the Thirties and Forties. As I’ve mentioned before, I saw a bunch of them on NIGHTMARE, the Saturday night monster movie showcase on one of the local TV stations, hosted in suitably creepy fashion by Bill Camfield as Gorgon. During the week, Camfield was also kid’s show host Icky Twerp, playing cartoons and Three Stooges shorts on SLAM-BANG THEATER. I loved both shows but had no idea Gorgon and Icky were actually the same guy.

I’ve wandered ’way off into the weeds of nostalgia. To get back to David Whitehead’s book, he’s a fan of the same era of horror movies as me, although his expertise extends up to the Hammer Films horror boom in the Fifties and Sixties. I like those movies, too, just not as much as the ones from Universal. Whitehead starts what promises to be a very entertaining series by focusing on movies featuring sinister mummies. I had no idea there was a mummy movie made in 1899, in the dawn of filmmaking. The subgenre really gets underway, though, with 1932’s THE MUMMY, starring Boris Karloff, and its assorted sequels. THE MUMMY is an excellent film, and Whitehead covers its story, cast, production details, and reception in fascinating detail. I thoroughly enjoyed reading about this movie, its sequels, and other movies featuring mummies, most of which I’ve never seen. I’ve already made a list of several I intend to try to hunt up.

If you’re a fan of classic horror movies, I can’t recommend this volume highly enough. It’s written in a fast-moving, entertaining style and presents a lot of interesting information but never in a ponderous way. Honestly, it’s easy for a book like this to bog down in minutiae. Whitehead avoids that trap and delivers a fine book of movie history. I’m really looking forward to the rest of the books in this series, which will cover Frankenstein, Dracula, the Wolfman, and other classic horror movie characters.

Review: Convict Commandos: Frenzy of Fear (Commando #4571) - Alan Hebden

With the exception of Private "Jelly" Jakes -- the unit's resident coward -- the Convict Commandos were among the most fearless fighters in the British Forces. So why were they running in terror from a unit of Germans leaving their quaking comrade behind in their haste? Something was badly awry, something had happened to throw the Convict Commandos into a Frenzy Of Fear.

A few years ago I read a bunch of digital issues of COMMANDO, the long-running British war comic, and some of my favorites were in a series called Convict Commandos, created and written by legendary comics author Alan Hebden with art by Manuel Benet. As you might guess from the series title, these stories chronicle the exploits of three criminals recruited to be commandos -- strongman Titch Mooney, knife expert Smiler Dawson, and burglar and explosives expert Jelly Jakes -- and the officer who leads them on their mission, Lt. Guy Tenby. I've decided to pick up where I left off and read the rest of the series, starting with this one from 2013, which is still available on Amazon. It's a fine yarn with a particularly good plot, as the Convict Commandos set out to destroy a Nazi radar jamming operation in occupied Greece, only to encounter a menace that forces them to act nothing like their usual selves. It's a clever, very entertaining tale, and if you're a fan of war comics, I give it a strong recommendation.

Sunday Morning Bonus Pulp: Clues Detective Stories, April 1939

That's a pretty daring cover on this issue of CLUES DETECTIVE STORIES, especially for a pulp published by Street & Smith, an outfit that could be a little stodgy from time to time. The art is by Modest Stein, not a favorite artist of mine, but I have to admit, I like this one quite a bit. Inside are stories by Donald Wandrei, Otis Adelbert Kline, J. Allan Dunn, J.J. des Ormeaux, Robert C. Blackmon, and Harry Lee Fellinge, all of them prolific and dependable pulpsters. I don't own this issue or any issues of CLUES, as far as I recall, but it seems like a pulp that would have been worth reading.

Saturday Morning Western Pulp: Street & Smith's Western Story, August 30, 1941

This issue of the iconic WESTERN STORY sports a fine, very dramatic cover by A. Leslie Ross, one of my favorite pulp and paperback cover artists. The authors inside are no less notable: Harry Sinclair Drago, L.L. Foreman (with a Preacher Devlin novella), Tom W. Blackburn, S. Omar Barker, Frank Richardson Pierce (as Seth Ranger), George Michener, and Eric Howard. Definitely looks like an issue worth reading. I don't own a copy, or I just might. I do have Harry Sinclair Drago's novel BUCKSKIN EMPIRE, one installment of which is serialized in this issue. May have to see if I can find the book.

A Rough Edges Rerun Review: Wild Lovers - Orrie Hitt

This novel, a 1961 release from Kozy Books, is a typical Orrie Hitt yarn in some respects, but not in others. It’s a backwoods book, as you can probably tell from the cover, and sort of reminds me of some of Harry Whittington’s novels. It’s about the lives and loves of several people who come from a poor area in upstate New York known as Shanty Road. (There is, in fact, a sleaze novel by Whittington called SHANTY ROAD, published by Original Novels in 1954 under the Whit Harrison name. It would have made a good title for this book, too.)

Unlike the usual male protagonist you find in Hitt’s novels, the main character in WILD LOVERS is a young woman, Joy Gordon, who was orphaned at sixteen when a fire burned down the farm house where she lived with her parents, killing her mother and father. Left on her own, Joy moves into a shed that remains standing on the property and supports herself by selling eggs from the flock of chickens that’s almost her only possession of any value.

Almost, but not quite, because the property she inherited from her parents includes the only easy access to a lake which some developers want to turn into a hunting and fishing resort (another interest of Hitt’s). As the novel opens, though, the real estate agent in charge of the negotiations won’t meet Joy’s price. Actually, the agent is just trying to get her to go to bed with him, because in the five years since she was orphaned, she has grown up into a virginal, twenty-one-year-old beauty.

Helping out Joy is her neighbor, mechanic Pug Stark, who does meet the usual description of a big, burly Hitt hero. Pug comes from a real white trash family: his father refuses to work, and his sister is pregnant and has no idea who the father is. (Ah, the unwanted, unwed pregnancy, another favorite theme of Hitt’s.)

Then a stranger shows up, an artist from New York City whose family owns one of the properties along Shanty Road. He’s come up there to work and brought his beautiful mistress with him, and he’s a big, brawny guy, too. When he sees Joy, he immediately wants to paint a portrait of her – nude, of course – and his arrival changes everything, as Joy winds up juggling the three men who are interested in her, a neat reversal of the standard Hitt plot where the hero has to decide between three women.

That’s not the only twist that Hitt throws into the plot, as characters do things that take the reader by surprise and turn out not to be exactly what they appear to be at first. The ending won’t be any huge shock for Hitt fans, but it is pretty satisfying. The writing is good in this one, too, not quite as terse and hardboiled as in some of Hitt’s other books but with quite a few good lines.

WILD LOVERS is a good solid Orrie Hitt novel and very entertaining. If you haven’t read his work before, it would be a decent place to start, and if you have, you’ll want to read this one, too.

(How is it possible that I've been reading Orrie Hitt novels for more than 15 years? It certainly doesn't seem like it. But this post originally appeared on November 28, 2009, and WILD LOVERS wasn't the first novel by Hitt that I read, by any means. If you're interested in checking it out, there's a reprint edition available as an e-book.) 

Review: Chartered Love - Conrad Dawn

I love it when I find a little gem of a book in an unexpected place. At first glance, CHARTERED LOVE looks like it might fall into that category. Originally published in 1960 by Novel Books, one of the bottom-of-the-barrel paperback publlshers that specialized in what was then considered fiction for adults only, it’s the debut novel of Conrad Dawn, an author I’d never heard of, let alone read. Dawn published only six books, all of them from Novel Books in 1960-62. The cover promises some adventure to go along with the risque elements, and the book was reprinted recently by Black Gat Books, a consistently top-notch imprint, with an introduction by Gary Lovisi, an author whose opinions I respect, so yeah, this book might actually be pretty good.

CHARTERED LOVE starts out in very promising fashion. It’s a South Seas adventure yarn with a two-fisted boat skipper being hired by a beautiful young woman to help her recover a fortune in gold bars that went down with a refugee ship sunk by the Japanese during the early days of World War II. This is a very standard adventure plot going back to the pulp days. H. Bedford-Jones wrote probably dozens of stories that used some variation of this concept. So did plenty of other pulpsters, and the sunken treasure plot was used again and again by paperbackers and also hardcover authors such as Wilbur Smith, Clive Cussler, Jack Higgins, and Alistair Maclean. It’s a plot that I happen to like a lot, and I’ve even used it myself. Whether it succeeds or not is all a matter of execution. In a familiar tale such as this, a writer has to create strong characters, keep up a fast pace, provide vivid settings, and maybe, in the best of them, come up with a few twists in the standard plot.

A good protagonist is a must for this kind of novel. John Darrow, the skipper of the Malacca Maid, is a very good one. Reasonably smart, plenty tough, with morals just questionable enough to be interesting but still with a code of honor that he follows. The beautiful girl, Elizabeth McClain, is also smart and tough, not the least bit whiny, and a fine match for Darrow. The ship’s crusty old first mate is a great sidekick, the villains who are also after the gold bars are properly oily and evil, and all of them do good work as the story races along. There are some excellent action scenes during a typhoon, and the underwater diving scenes are suitably creepy. You’d barely know this book was from a so-called sleaze publisher. Except for a few mild, not-at-all graphic sex scenes, this reads very much like a Higgins or Maclean novel from the same era.

So, having read it, I’m happy to report that CHARTERED LOVE is indeed one of those lost gems. I thoroughly enjoyed it and give it a high recommendation for fans of sea-going adventure yarns. It's available in paperback and e-book editions. I don’t know if Conrad Dawn’s other books are as good, but I’d love to find out. 

Miniseries I Missed Until Now: Buffalo Girls (1995)

There was a time when I was a big fan of Larry McMurtry’s work. This was back when I was in high school and college and he had published only a handful of novels. But those novels, especially THE LAST PICTURE SHOW, were the first ones I’d ever read that took place even partially in places where I’d been. When Sonny and Duane go to Fort Worth in THE LAST PICTURE SHOW, they take the Jacksboro Highway, which meant they went within a couple of hundred yards of my house. I could stand in the street in front of the house and look down the hill to the highway and think, “Sonny and Duane drove right along there.” This immediacy and connection to my own life had a big impact on me, and I read everything by him I could get my hands on.

Then McMurtry went from being a Minor Regional Novelist (he claimed to have a T-shirt with that printed on it) to being a Big Bestseller and a Hollywood Guy, and while I still read one of his books occasionally, it was never the same after that. The kinship I’d felt with him (because I was an aspiring Minor Regional Novelist, too) was gone. Many years later, I sat at a Spur Awards banquet at the Western Writers of America convention in Fort Worth and listened to McMurtry give a long-winded acceptance speech because he won a Best Western Novel Spur for LONESOME DOVE. I maybe could have introduced myself to him later and told him I was once a big fan of his work, but nah, I was hanging around with Joe Lansdale and Scott Cupp and Bob Randisi, and that was a lot more fun.

So, speaking of long-winded, that’s why I never got around to reading McMurtry’s Calamity Jane novel BUFFALO GIRLS. They made a TV miniseries out of it in 1995, and I never watched it, either. But we came across a DVD of it at the library and thought, hey, why not? Anyway, it has Sam Elliott in it playing Wild Bill Hickok, and Sam Elliott is nearly always worth watching.

The story follows Calamity Jane from the time she’s working as a bullwhacker for the army through her time in Deadwood and finally her participation in her old friend Buffalo Bill Cody’s Wild West Show that traveled to England. As is common with McMurtry’s work, the plot strays within shouting distance of historical accuracy every now and then but doesn’t come any closer. McMurtry never worried about staying true to the facts, but I’m convinced he tried to capture the feeling of the times about which he was writing, and I’ll give him credit for that. This adaptation of BUFFALO GIRLS does capture the epic scope of the Old West and gets better as it goes along. The first half, which has all the Deadwood stuff in it, is actually a little weak, but the second half, about the Wild West Show going to England, is top-notch and very moving in places.

Anjelica Huston plays Calamity Jane. I thought at first that sounded like miscasting, but she does a fine job in the role. Sam Elliott is okay as Wild Bill but really has very litle to do. Peter Coyote plays Buffalo Bill Cody and is pretty good, although maybe not as flamboyant as he should have been. Melanie Griffith, an actress I’m not fond of, is the frontier madame Dora DuFran and came across to me as more annoying than anything else. Reba McEntire, a long-time favorite of mine, does a good job as Annie Oakley. Among fictional characters McMurtry added, the great Jack Palance and the very good character actor Tracey Walter are a couple of old mountain men and have some superb scenes, as does Floyd Red Crow Westerman as a sympathetic old Indian.

I really enjoyed watching BUFFALO GIRLS. It’s not going to make me rush out and read more of McMurtry’s books, but there are a few of them I’d still like to try. I have a copy of his Western TELEGRAPH DAYS, and I’m curious about his take on a gangster yarn, PRETTY BOY FLOYD. One of these days, maybe, if I get around to them. You know how that goes. Seldom. But now and then, it goes.