Before his 2010 death, Lou Cameron was the author of over 300 genre novels. He was a post-war pulpster who specialized in tawdry action stories with tightly-wound plots. Think 'Longarm'. Think 'Renegade'. Lou Cameron knew his way around a standard story arc. This fact is what makes Cameron’s 1960 debut novel, “Angel’s Flight”, such a delightful curiosity. Although it was released as a Gold Medal crime novel - and was recently re-released by Black Gat Books - the story captures the tone and scope of literary fiction. Yes, it seems Lou Cameron started out aspiring to be serious author writing a serious book. And it worked.
Although “Angel’s Flight” is a lean 233 pages, the story spans about 17 years time between 1939 and 1956 - from the jazzy Great Depression to the dawn of rock-n-roll. Our guide through this era is our narrator, an honest and earnest journeyman jazzman named Ben Parker. Ben’s narration is written in a be-bop jazz lingo that was later adopted by James Ellroy in “American Tabloid” and “The Cold Six Thousand”. The prose sings throughout the readable novel.
Parker’s foil is the vapid and conniving fellow jazzman, Johnny Angel, whose ambition for success well outpaces his musical talent. Like many of the colorful characters in Parker’s life, Angel comes and goes. He starts out as an irritant and evolves into an existential threat.
Angel’s Flight is a real masterpiece of storytelling that holds your attention even though there isn’t much of a standard story arc. It feels like the literary equivalent of a Martin Scorsese movie - like “Goodfellas” or “Wolf of Wall Street” - that tracks a single character through the ups and downs of a remarkable life. This storytelling approach is surprising coming from Lou Cameron, whose body of work relied on an economical approach to plotting. Cameron’s knack for creating colorful characters is on high-display, and readers will come to adore Ben Parker and the women and friends who float in and out of his life.
Although the novel has murders, mafia, payola and betrayals, it’s doesn’t feel like a normal Gold Medal crime novel. It feels more weighty and significant - like a story of the jazz age that needed to be preserved because it captured an important era in America’s cultural history. To that end, Black Gat Books has done America a real favor by preserving this piece of important art.
Highly recommended.
Fans of the Parker heist novels of Richard Stark (Donald Westlake) will enjoy this old-west short story by Utah author Ben Boulden. The character of Merrick is analogous to Stark's Parker - a man on a thievery crew planning and executing an elaborate heist. In this case, a mobile payroll theft. Of course, things go sideways and gun-play action ensues. The old-west universe the author creates is as fascinating as the propulsive plot. Crime is regulated, overseen, and controlled by a religious sect who exercises a modicum of control over the turf. It's an old-west we haven't seen before in fiction and it re-writes the rules in the same way the John Wick movies did with contemporary organized crime. This reasonably short story hopefully will be followed by novel-length heist tales starring Merrick. The Parker novels were great, and this old-west pastiche is a welcome addition to the anti-hero sub-genre.
I am requesting that this book be enshrined into the Library of Congress. Paul Hofrichter, aka He Who Creates the Horror, should be commended for not only this novel, but the trilogy of trophies known as the ‘Roadblaster’ series. It’s truly extraordinary, a spectacle of grand design. Those of you familiar with my reviews of this novel’s predecessors, “Hell Ride” and “Death Ride”, understand just how low I place this author on the rungs descending into that scorching, skin-searing abyss known as Hell. “Blood Ride” far surpasses the legendary status of the prior books and lowers to the ranks of what can only be deemed as the new "worst piece of fiction ever created". It’s an utter abomination worthy of high praise and endless critique at world-renowned libraries like the Reading Room of the British Museum and The Vatican. I’d like great Monasteries like Saint Gall and Benedictine to marvel over its printed pages for centuries to come.
Paul Hofrichter, the horror…the absolute horror.
Stack, our “Roadblaster”, begins this final chapter of spiraling doom with a visit with a biker gang aptly titled The Harley Davidson Club. They request that he accompany them across the Golden Gate Bridge to locate two sisters of a deceased gang member. It’s only four days after the nuclear bombs annihilated America and Stack is concerned about his parents, kids and loving wife back in New York. Rather than mourn the potential melting of his entire family, he graciously accepts the offer. At one point, the narrator explains that Stack wants the military to fly him – a New York city cab driver by trade – to New York so he can check on his loved ones. He clarifies to a biker that he can’t drive his van across the US for fear of depleting his fuel or experiencing engine failure. He dismisses the fact that cars are strewn everywhere, and that fuel should be in abundance considering the nukes just fell and people are still driving. But, instead of vanning cross-country, he’s walking across the cables to a stranger’s house to locate two sisters that are probably dead. The walk…takes 60 pages.
Mercifully, Stack reaches the other side, and, instead of searching the ruins of the house, he sits down for lunch. Later, an elderly man swings by hoping that Stack will offer his tuna. Stack doesn’t and the whole chapter is just awkwardly dedicated to…lunch. Food is brought up again in the next chapter as Stack and the group disregard the importance of searching for bodies and decide a night at the beach frolicking and eating crabs is an important use of precious time. In 12-pages of utter nonsense, Hofrichter explains that it’s a cruelty to cook crabs while they are alive. He goes on for pages and pages of how barbaric it is to eat crabs and lobsters boiled or broiled. At one point, the group can’t properly boil the crabs, so they fetch a pot of dirty, radioactive seawater to use. After crabs, an aimless Stack gets invited by a female colleague to engage in anal sex (because she doesn’t want to become pregnant). Stack, consistently demanding more than anyone in this post-apocalypse nightmare, says it physically hurts too much. The female, in her infinite wisdom, requests he run to the water and fetch another cup of dirty, radioactive seawater and pour that on his penis and reenter. I barely have words.
Somewhere, around page 160ish, Stack is thinking about the abandoned B-52 in the mountains. If you will recall, the first book discussed the bomber and a motorcycle gang in demand for a B-52. The stereotypical gang, The Bloodsuckers, are still running around wanting this plane so they can rule California, eat pizza and commit intercourse with the state’s residents. They are big on intercourse. So, they remain in the book and the author spends time introducing us to them in long backstories with absolutely no point or story development. One character he describes as angry because of his “prison experience”. Apparently, this guy could only masturbate on his cot with his knees bent. He wanted to do it lying completely flat but couldn’t due to the gay prisoners seeing him. This experience has made him angry with the world and only a B-52 bomber can expel that pent-up sexual frustration. There are pages of this, so much that with only 20-pages remaining the plot finally rears its ugly head.
Stack wants to use a Soda Truck (let’s call it “Shasta”) to transport the missiles and bombs from the plane’s wings and undercarriage. He has no tools for this and the weapons weigh over 500-pounds. Once he places them on Shasta, he will then drive them to a river, load them on canoes and float them into an underwater cave. The reason? He feels if they are left in the sun for an extended period they will heat, creating an explosion. Thus, placing them on water in an underground cave resolves this potential environmental disaster. The Bloodsuckers appear. Stack and his group shoot at them. The Bloodsuckers go back home. Telos. The End.
At the 160th page of this 190-page book…we still don’t have purpose, planning or anything remotely resembling a damn plot or what is promised to us on the cover. At the end, we still don’t. We deserved that cloak and smoking CAR-15 and we damn sure deserved that painted motorcycle-outlaw cave shit at the bottom. Hofrichter, you thief extraordinaire, you baited and hooked us again only to troll us at the deepest depths like some slimy, trash eating carp. I’m gutted, defeated and scorned…but in your unskillful brilliance you have miraculously provoked me to tell others about this literary monstrosity. Somehow, your ‘Roadblaster’ atrocities will live eternally, carrying on long after I’ve departed this world. For that, I applaud your half-assed effort and bow to your coveted immortality.
Of all the series released during the golden age of action/adventure paperbacks, 'White Squaw' is one of the most sordid. It's written by Mark K. Roberts as house name E.J. Hunter. The premise is that a young woman roams the Old West on a mission of vengeance against the outlaw gang that had traded her to the Sioux as a teen. There she was treated as a slave before being assigned to a disgusting and sexually demanding old man as his bride.
That’s just for starters. Plenty of unsavory things happen in the debut novel, “Sioux Wildfire”, but the follow-up is simply jaw-dropping. In “Boomtown Bust”, that outlaw gang takes over a Colorado town, subduing the locals with a great deal of brutality. Our heroine, Rebecca, rides in and kills several of the owlhoots before she’s captured and forced into prostitution and opium addiction in the local brothel. She’s also raped by the sadistic whip-wielding lesbian madam, who forces herself upon a 12-year-old girl as well.
Ultimately, of course, Rebecca escapes and brings about some six-gun justice with the help of the outraged citizenry. Not all of the guilty will pay for what they’ve done, but with a couple dozen novels in this series, there will be plenty of time for that later. The most interesting of the outlaws (a 300-pound degenerate toilet seat-sniffing child molester carried over from the first book) does get his due, in an excellent confrontation scene.
There’s nothing wrong with pulp fiction being lurid, but there’s a difference between stuff that’s loopy and exciting, versus stuff that’s just cruel and depressing. We mostly get the latter in “Boomtown Bust”, including a description of a child being raped and murdered which runs for a full page, dropped inexplicably into the middle of the novel’s action climax.
Frequent sex scenes (of the consenting adults variety) are a counterpoint to all this. The younger the reader, the more titillating these will be, I guess. But they’re not very steamy, and they’re loaded with purple prose euphemisms that are more amusing than arousing: a “long, thick pole of flesh,” Rebecca’s “warm cave of pungent nectar,” a “surging love dagger,” her “burning cavern,” etc.
No, it isn’t exactly Zane Grey. You know from glancing at any of the covers that the 'White Squaw' books are lightweight and trashy, and there’s nothing wrong with that. I just prefer my lurid trash to be fun, with dramatic tension, suspense and memorable characters. I didn’t really get that from “Boomtown Bust”, but I did keep turning those pages.
Richard Deming was a 20th century pulp author with a specialty in crime fiction. Later in life, he wrote branded paperback tie-ins for 'Mod Squad', 'Dragnet' and 'Starsky and Hutch'. His 1960 short crime novel “Kiss and Kill” was a mid-career effort originally published in the US by Zenith Books and since reprinted by Armchair Fiction.
The book is a darn masterpiece.
Small-time con-man Sam Carter meets a fellow bunco artist named Mavis. They decide to marry, team up and seek out bigger cons. The angle they develop involves posing as brother and sister, targeting wealthy spinsters for Sam to marry and then making off with his new wife’s cash.
Without spoiling anything, the first person narration (Sam tells the story) recalls a Jim Thompson styled sociopathic anti-hero. Mavis is a sexy and devoted partner toggling between her role as a lusty wife and a chaste sister. The plotting is crisp and efficient and reminded me of Harry Whittington at his best. Finally, the twist ending will leave you howling and dying to read more of Deming’s work.
Fans of hard-boiled con-game crime fiction should drop everything and get a copy of this one. It’s hard to understate the perfection of this quick read. Highly recommended. Essential reading.
The December 1954 issue of “Manhunt” featured a “Complete New Novel” by hardboiled crime writer Richard Deming called “Hit and Run.” The original novella was later expanded by Deming into a lean Pocketbooks paperback release in 1960. “Hit and Run” is an amazingly good story about a hard-luck private eye named Barney who happens to witness a hit-and-run accident involving a beautiful woman driver. He concocts a scheme to blackmail her into engaging him to cover up the accident and keep her out of trouble. From there, Deming takes the reader on a twisty ride not unlike the violent Fawcett Gold Medal short novels of that era. It’s hard to summarize the plot any further without spoiling several jaw-dropping plot twists, but suffice to say that this short novel was a total delight and is worth hunting down.
"Night Has a Thousand Eyes" is a highly-regarded 1945 noir suspense classic written by Cornell Woolrich (“Rear Window”) under the pen name of George Hopley. It was later reprinted under Woolrich’s more successful pseudonym, William Irish, and in the modern era, under Woolrich’s own name. After it’s release, the novel was adapted for the screen in 1948 starring Edward G. Robinson, and the movie’s theme song became a hit and lives on as a jazz standard.
The story opens with good-hearted loner police detective, Tom Shawn, saving a distressed 20 year-old woman, Jean Reid, from jumping off a bridge in the middle of the night. He corrals her to a safe place to hear her story.
In Chapter Two, the story toggles into the first-person narration as Jean tells her tale to Detective Shawn. The story of her spooky journey to the bridge’s railing takes up about the first half of the novel, and we learn that Jean is the wealthy daughter of a successful silk importer living on the U.S. east coast (city unmentioned) in a large estate filled with servants.
While Jean’s beloved father was away on a west-coast business trip, a servant confides that the servant’s psychic friend had a vision that Daddy’s return flight would crash. Knowing that clairvoyants are hogwash, Jean initially dismisses the prediction as nonsense and banishes the servant from the estate. As the return flight time grows closer, Jean grows panicky and desperately tries to telegram her father to have him skip the flight. Before Daddy could get the message, the plane crashes in the Rocky Mountains with no survivors.
Any more details would be spoiling some pretty cool plot points. Suffice it to say that Jean and a companion spend much of the novel’s first half tracking down the psychic to determine how this reclusive oracle could have known about the crash in advance. Supernatural powers? Fraud? Foul Play? The psychic’s subsequently accurate predictions further support Jean’s belief in the claimed supernatural powers.
The novel’s second half cuts back to the third-person narration where the reader re-joins Jean, fresh from a thwarted suicide attempt, and Detective Shawn, ready to investigate the authenticity of Jean’s fantastic story of a seemingly-accurate clairvoyant along with a team of police colleagues. The police procedural half of the book was the stronger of the two halves and helps justify the book’s claim to classic status.
Woolrich was a talented writer and the pages are filled with rich prose designed to evoke a dark mood. It’s clear that he regarded this novel to be an important work of literary fiction rather than a genre paycheck. At times, this made for a wordy, slow-moving slog as the simplest action (walking from a car to the psychic’s front door, for example) takes pages to complete when it could have been an economical simple sentence. The things that happen in this novel are occasionally interesting, but it takes pages and pages of hand-wringing and emotional torment for the actions to actually occur. This 368 page novel only had enough actual plot to fill a lean 150-page novella.
The other problem with the book (primarily the first half) is our heroine protagonist. Jean is a clingy, spoiled rich girl caught in a perpetual emotional wreck. Her story and overwrought tone have all the hallmarks of a melodramatic gothic novel. In fact, one of the many reprintings of the book was marketed as “A Paperback Library Gothic” compete with a genre cover depicting Jean fleeing from a imposing mansion in the dark.
The second half investigative procedural has solid moments, and the reader becomes invested in the quest to determine the truth of the mysterious psychic and the predictions that shook the foundation of Jean’s family. However Woolrich’s tiresome wordiness remains, and the third-person narration does little to dull the sting of Jean’s dramatic histrionics and personality shortfalls.
It’s hard to understand why this novel is so highly regarded among noir fiction fans. While writing a novel that’s half Daphne Du Maurier and half Ed McBain is no small feat, the tense conclusion to the book’s central mysteries is moronic and unsatisfying. Fans of crime fiction, horror fiction, and literary fiction deserve much better from their sacred canon. Life is too short. Take a hard pass on this so-called classic.
