There’s a real paradox about 'The Shadow', especially in the first few years of his pulp adventures. Even in these early novels - which, as any fan will tell you, are the better ones - the stories tend to be clunky and old-fashioned, with lots of cardboard characters and stiff, unrealistic dialogue. Walter B. Gibson, who wrote the 1931 debut novel and most of the rest, can really pad things out and his editors seem not to have tightened up his manuscripts very much.
And yet… the Shadow books are tremendous, because the Shadow himself is possibly the single most compelling character in the entire 125-year history of pulp fiction. Part-detective, part-vigilante, he’s an incredibly secretive figure obsessed with bringing down the most ambitious criminals in the country.
Gibson’s limitations vanish whenever he’s describing the Shadow, or anything he’s doing. These passages are beautifully written, and richly evocative of mystery and eeriness. Except when in disguise, the Shadow operates at night or in dim, gloomy places. He doesn’t walk, he glides silently. He doesn’t shout, he speaks in a commanding husky whisper. He doesn’t hide, he simply melts into the shadows. He comes and goes like a ghost, and if he’s after you, you’d better believe he’ll find you…and you won’t know it until you hear the low chuckle of the dark figure standing behind you.
All of this begins to unravel about 1937, after the overworked Gibson had pounded out upwards of twenty novels a year for several years, and a lot of the Shadow’s mystery and menace starts slipping away. But it’s hard to overstate how captivating the Shadow is in his prime. Take “Six Men of Evil” for instance. It’s the 24th novel in the series, published in 1933, and while he’s hardly more than a spooky supporting character in the very earliest stories, by now he’s taken center stage. The plot is kind of quirky, kind of silly. The action sequences are quite good this time around, and upwards of a dozen crooks will get blasted by the Shadow’s twin automatics before it’s all over. As usual, there’s something very unique about the gang that he’s stalking, and he’ll have to travel all the way to a remote corner of Mexico to uncover its secret. The hunt ultimately leads him to San Francisco, where we’ll get a showdown in Chinatown and a memorable finale. The book’s greatest appeal, though, are in all the passages that show how the Shadow operates, and how he confronts the bad guys. There’s also a great interlude in which he appears in the guise of “Lamont Cranston”, one of the personas he adopts when he needs to work openly in broad daylight.
As Shadow novels go, “Six Men of Evil” has its shortcomings but is more than strong enough to hold the reader’s interest. Forget the narrative, though. The main attraction here is the Shadow himself, the most fascinating, most dynamic character to ever haunt the pages of pulp fiction.
Author James McKimmey’s debut novel, Perfect Victim, was released by Dell Books in 1957. The novel has been reprinted by Stark House as a two-in-one featuring his second novel, Winner Take All, and a 2004 interview conducted by Scottish author and editor Allan Guthrie. McKimmey would later go on to write numerous genre entries, including westerns and science-fiction until his passing in 2011.
Perfect Victim is set in the tiny mid-western town of Willow Creek and introduces us to several characters, including the stereotypical cast of journalist, sheriff, banker, bully and waitress. At the heart of the matter is the mysterious murder of the town beauty, young waitress Grace. While the reader isn’t asking who done it (we were voyeurs on the scene), the rest of Willow Creek is. Like many books and shorts of this style, the real essence of Perfect Victim is exposing the good-hearted with the worst intentions. Hardly anyone is particularly wholesome, including the fingered guy – a traveling salesman who’s innocent but immoral. The only protagonist is the media (by design?), represented by the admirable George Cary.
At 135-pages of physical media, this isn’t a hard-boiled or detective piece. It’s labeled as “crime” but it’s loosely a human exam on small town’s dark crevices. There’s a murder, a body and a small dose of procedure. The book’s closing pages has a dark and violent orchestration amidst a fiery, noose-hungry town. McKimmey brings us full circle from retribution to salvation in this quality, albeit simple, effort.
Quarry's Ex is an excellent entry in the Quarry series by Max Allan Collins. The series is about an anti-hero murder-for-hire hit man. As with all the novels in the series, the first-person narration is conversational, humorous, and compelling.
There are two kinds of Quarry novels: The first type is where Quarry is hired to kill someone, the second is where Quarry is hired to stop another hitman from killing someone. Both types are equally great. In Quarry's Ex, our hero follows a hitman to the on-location filming of a movie to determine who is about to be killed and prevent the murder from happening. Along the way, he gets entangled with a woman from his past, several Hollywood bozos, and a mobster B-movie financier. There’s plenty of sex and violence along with an actual mystery to be solved.
The books were written in both the 1970s and the 2000s with a large publication gap in the middle of the series. The publication order is not the series order. The series begins and ends respectively, with The First Quarry and The Last Quarry. Beyond that, reading order doesn’t really matter. There is no discernible difference in quality between the 1970s installments and the 2000s. All of them take place in the post-Vietnam 1970s and early 1980’s.
I’ve never read a bad Quarry novel, and this one doesn’t disappoint. Highly recommended for hard-boiled genre fans.
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There are two types of Quarry novels: The first is when hitman Quarry is hired to kill someone and the second are the ones where Quarry tries to kill another hitman to protect a client. The Wrong Quarry, the series' 11th entry, is one of the second variety and perhaps the best of that bunch. It was published as a Hard Case Crime novel in 2014, and is written by Max Allan Collins. Aside from the first novel, readers can enjoy the series in any order.
Quarry finds himself in Missouri stalking a hitman who, in turn, is stalking a gay dance instructor who is suspected of causing the disappearance of a teenage girl. All the humor and sex from other Quarry novels is present in this one, but there is also a compelling mystery involving the identity of the person wanting to kill the dance teacher and the whereabouts of the missing girl.
The characters in this one are vivid and realistic. The female leads are sexy as hell. The plot twists are unexpected and realistic. The scenes of violence are brutal and bloody. This is one of the best of the series and not to be missed.
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The first three books in the 'Wilderness' (David Robbins as David Thompson) series were consistently very good, and it became my favorite western series. I’d begun to wonder, though, if things would soon fall into a rut once our hero ran out of new Indian tribes to deal with and new species of wild animals to confront.
Those concerns were misplaced - or maybe just premature (we’ll see) - because the fourth book in the series, “Blood Fury”, is the best one yet. Apart from a scary encounter with a wolverine, the material here isn’t necessarily brand new, but what the author does with it is extraordinary.
As usual, there isn’t really a plot, just a situation which naturally develops into a string of crises. Each crisis will be more dangerous than the last, culminating in a very wrenching climax.
I can’t describe much of what happens without giving too much away. All you really need to know is that if you’re a mountain man and you run afoul of Ute warriors, it’s not enough to just run from them. They will follow you and follow you on a mission of death, tracking you night and day over any sort of terrain, and there’s no escape until one party or the other has been exterminated. Given that much information, you might think you know how this novel will end. But never underestimate David Robbins’ ability to hit you with the unexpected!
You won’t find many westerns that can beat “Blood Fury” for suspense. There’s no shortage of action or violence either.
Bantam released the fifth 'Eagle Force' novel, “Ring of Fire”, in June, 1990. Author Dan Schmidt excavates some of the series mythology with this installment. The backstory on Eagle Force leader/founder Vic Gabriel is revealed, including that of the team's chief opponent, terrorist Michael Saunders. While these details are relevant to the overall series, I think it consumes most of the book. The subplot, terrorists occupying a French farming town, is more interesting, yet this is lost in the revelation of past events.
Saunders and his thirty-man kill squad hit a French whorehouse to capture half of Eagle Force with their pants down – Dillinger and Simms. They rape and slaughter the whores (obviously), and in one grizzly scene, shatter both Dillinger and Simms' hands with a leaded baseball bat. Saunders records the audio screams, and then leads his squad to a French farming village. They occupy the town, attempting rape of the youngest first while the villages are imprisoned at a church.
Saunders and a small team fly to Gabriel's outpost in the French mountains and present the audio tape in person. The challenge – Vic and Boolewarke have until midnight to rescue Dillinger and Simms. Saunders' 30 hardened mercenaries against two. At midnight, execution will begin. Of course, Vic accepts the challenge and we start piecing together Schmidt's backstory on the two combatants (in annoying italics print).
In the series debut we discovered that Vic and his father served as CIA assassins in Vietnam. Along the way, Saunders, a CIA operative, killed Vic's father. This book elaborates on that scenario, explaining how Saunders switched to the darker side, the Russian meddling and Vic's first fight with Saunders in a Libyan stronghold. That sets the stage for the inevitable showdown for “Ring of Fire”.
Before author Dan Schmidt's fatal stroke, he contributed heavily to the 'Executioner' line as well as creating a similar 'Eagle Force' series called 'Killsquad'. He had a tremendous talent in shaping battle scenarios and bringing it all to fruition with close quarters combat. It's something he excelled at with this series and the “two against thirty” plight of Vic and Boolewarke is especially impressive. Unfortunately, the location changes with the last 40 pages and that left something to be desired. The end result is an average book that had the potential for greatness. Next up is “Berserker”.
Crime and intrigue in American hotels was evidently such an issue during the mid-20th century that the “hotel detective” became a mainstay of crime and noir fiction and a sub-genre unto itself. Sadly, the security guards of today’s chain hotels don’t warrant a literary movement of their own, but the 1950s hotel detectives sure did.
Ed Lacy was the pen name of New York writer Leonard Zinberg, who authored many crime and mystery paperback originals - mostly in the 1950s and 1960s. He never reached the popularity of many of his contemporaries probably because his output was comprised mostly of modest stand-alone novels. Lacy’s contribution to the “house dick” sub-genre was his 1956 paperback, “The Men From The Boys” that has recently been reprinted by Black Gat Books, a Stark House imprint.
The novel stars retired hard-ass New York City cop Marty Bond, now serving as the in-house detective at the Grover Hotel. His job mostly consists of cracking the heads of drunk guests who won’t keep the noise down, and regulating the hooker traffic in and out of the fleabag inn.
Marty isn’t an immediately likable hero. He’s cynical about the law. He’s racist and misogynist (even by 1956 standards). He’s lazy and gruff. At 54, his health is declining prematurely. The novel’s central mystery begins when a rookie auxiliary police officer from his past visits Marty asking for help regarding a suspicious robbery. Could it have anything to do with the mafia unrest in the news? Marty’s reluctant assistance in the case competes for his attention with his own anxiety and depression over his deteriorating personal life.
This is one of those novels where the reader slowly sees the true humanity of a heel with a heart of gold buried under a gruff exterior. Lacy pulls it off quite well mostly because he was a damn good writer. Marty’s narration gives the reader glimpses into his worldview, and his cynical wise cracks are often laugh-out-loud funny.
The cast of characters in Marty’s life - pimps, whores, cops, and strippers - are all colorful and interesting, and the novel’s snappy dialogue keeps the pages flying by. The big problem with this short novel is that the central mystery is a bit of a muddled snooze and way less interesting than the sub-plots concerning Marty’s personal life and relations. You want to spend more time in Marty’s world, but the ex-cop and the reader just deserve a better crime to solve. Nevertheless, there’s plenty to enjoy in this one. It’s not a masterpiece of the genre, but we should all be happy to see Ed Lacy’s work being preserved for modern audiences.
You can obtain a copy of the book through Stark House or directly at Amazon.
