George Simenon (1903-1989) authored nearly 500 novels during his literary career. Simeon's most successful work was that of French police detective Jules Maigret. He authored 78 books starring the character, all in French with English translations by publisher Penguin Books. Unfamiliar with his writing, I decided on a popular stand-alone novel entitled “The Watchmaker of Everton.” The book was originally published in 1954 (in France as “L'horloger d'Everton”), but later was re-titled “The Clockmaker.” A 1974 French film adaptation was directed by Bertrand Tavernier.
Simenon introduces us to the fragile character of Dave Galloway, a watch repairman in upper New York. His life is quiet and uncomplicated – working in his small shop downstairs and residing in a small apartment above it. Dave spends most of his time as a single father caring for his 16-yr old son Ben. On Friday nights, he plays backgammon with his elderly friend Musak.
One Friday evening, Dave returns from Musak's house to find that Ben has left. After examining the apartment, Dave learns that Ben took his personal belongings, a suitcase, and Dave's car. Fearing that Ben is headed for trouble, Dave's passive behavior is to simply wait for news of Ben's whereabouts. When Dave talks with a nearby neighbor, he learns that a teen love interest also ran away with Ben.
The middle of the narrative focuses on recollections about Dave and Ben's childhood and the abandonment by Dave's wife when Ben was just six-months old. After these recollections, Dave is notified by police that Ben is a prime suspect in a murder and carjacking. Is Ben innocent? Why did he leave his father? These are some of the plot points addressed and resolved in the novel's last 40-pages.
While Simenon is a good enough writer, “The Clockmaker” has no plot development. There's nothing here resembling a well planned story. It's just simply a character study without a coherent storyline. A father waiting on his delinquent son to be located, arrested and placed on trial is the shallow depth Simenon was willing to wade? There's one addition here regarding Simenon's father and grandfather, but it isn't as engaging as the author predicted.
Perhaps Simenon's other work is something riveting and definitive. However, “The Clockmaker” is not. Buyer beware.
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Before experimental, avant-garde novelist David Markson (1927-2010) became a highly-regarded Greenwich Village literary figure, he wrote two hardboiled noir paperbacks for Dell starring private investigator Harry Fannin. The novels were “Epitaph for a Tramp” (1959) and “Epitaph for a Dead Beat” (1961). The books have been reprinted several times and even compiled together, but neither have been legally digitized for Kindle as of this writing.
“Epitaph for a Tramp” (also released as “Fannin” for a 1974 Unibook reprint) is narrated by Fannin, a former University of Michigan halfback, former newspaperman, former U.S. Army soldier and current private detective living a sweaty and lonely existence in a Manhattan fleabag apartment with his books. One sleepless night at 3:30 a.m., Fannin is greeted to his door buzzer ringing. The uninvited guest is his estranged ex-wife Cathy, whom he hasn’t seen in a year. Upon arrival, she collapses into his arms and dies moments later from a stab wound in her chest. Client or no client, Fannin now has a murder to solve.
We quickly learn that Cathy was no angel during their marriage. She was, in fact, the kind of tramp you’d mention in a paperback book title. I won’t spoil the details but the flashback chapter detailing the trajectory of the marriage between Fannin and Cathy was a helluva ride unto itself and makes the reader want to know more about this girl. The good news is that Fannin also wants the facts, and the reader is along for the ride.
Fannin is a thinking-man’s hardboiled private eye. He makes with the funny wisecracks (like Shell Scott) and genre tough guy talk (like Mike Hammer), but he’s also smart as hell and drops a lot of literary references along the way - T.S. Elliot and Dashiell Hammett among them. The good news is that none of this gets overly pedantic, nor does it get in the way of a great story.
Some of the characters Fannin encounters are drawn with some rough stereotypes that likely wouldn’t fly today. I always enjoy those moments in classic fiction because they help measure the passage of time and the changes in attitude over the past 60 years. If consumed correctly, books like this can be a valuable time capsule of social norms. However, if you require contemporary politeness to fictional characters in vintage paperbacks, “Epitaph for a Tramp” probably isn’t for you.
It’s also a violent read. A character gets tied to a chair in and burned with a lit cigarette. There are quite a few graphic beatings as Fannin stalks the New York streets in search of the bad decisions that led to Cathy’s fatal stabbing. The author clearly took the template of Mickey Spillane’s successful Mike Hammer series and turned the volume up to 11 with an extra twist at the end. It’s both a mystery and a vendetta story, and it’s one of the finest novels I’ve read this year - a highly recommended, absolute must-read.
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Join us for a controversial discussion on authors who utilize ghostwriters to draft series novels under house names. Also, we look at the 1955 crime-noir "A Cry in the Night" by the tandem of Bob Wade and Bill Miller. We also dig into the 1988 men's action novel "Houston Hellground" (Avenger #2) by Chet Cunningham. Stream below or anywhere that streams good podcasts. Also download it directly (LINK).
Listen to "Episode 14: Ghostwriters" on Spreaker.
From pseudonyms like E.J. Gorman, Daniel Ransom and Robert David Chase, Edward Gorman's body of literary work is rather diverse. From horror to crime, action to western, Gorman's career was prolific and varied, producing over 60 novels. Along with the four-book frontier series 'Guild', many fans also choose the stand-alone western “Wolf Moon” as one of his finest.
Gorman's passion for crime-noir is clearly evident in this violent western tale. Despite it's turn-of-the-century setting, the author utilizes many genre tropes to propel this gritty narrative forward. While readers enjoy the paperback’s melancholic prose - draped over characters like a bed sheet - I'm entranced by Gorman's talents to weave a simple plot into such a grandiose spectacle. By the book's fiery finale – the gnashing of teeth in a fog of gunsmoke – the story feels much bigger than it really is.
Young Chase is first introduced to readers as a southeastern hayseed plow-boy. His brothers Don and Glen conspire with a bank manager named Schroeder to rob his bank and split the money. Chase tags along to help his brothers, only to watch Schroeder double-cross the gang and fatally shoot Chase’s brothers. Making off with the cash, Schroeder leaves Chase to become ensnared by the authorities.
The novel's early portion focuses on Chase's 12-years in prison, a grueling, graphic account of utter brutality. During that time, Chase keeps a tender correspondence with his childhood sweetheart, Gillian. Shortly after learning that the unmarried Gillian moved to a western town named Rock Ridge, Chase is officially freed. After a rewarding reunion with Gillian, Chase settles into civilian life and begins building for the future.
After taking a deputy job working for notorious Sheriff Hollister (no background checks then), Chase discovers that Schroeder, using the guise of a wealthy businessman named Reeves, is now managing a bank in Rock Ridge. Wanting revenge for the loss of his freedom and brothers, Chase must balance life on a triple beam. Will he settle into his new life or possibly jeopardize his new family's safety by seeking retribution?
Gorman poignantly presents the classic western tale – traditionally simple and effective. Yet, portions of the narrative expand into the story of an aging wolf, a character that retains a larger role in Chase's life. Like good crime-noir, elements such as the bank heist, double-cross, love interest and gunplay are consuming and important. Additionally, by setting the paperback at the turn of the 20th century, the author incorporates the smells of burning oil and telephone wires to add a more modern touch.
While certainly not flawless, Gorman crafts his westerns in a way that no one else can. “Wolf's Moon” maintains stark traditionalism, and for that reason the average western fans will embrace it. But seasoned, well experienced genre readers will appreciate the fact that Gorman provides some fresh footprints while treading familiar ground.
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Bruno Fischer (1908-1992) was a crime fiction author who, in a more just world, would be better known today because his books were consistently great. Case in point: “The Pigskin Bag.” The short novel began its life in 1946 when it was published in “Mercury Mystery” for 25 cents. It later achieved life as a hardcover and several iterations of paperbacks, including the 1955 Dell edition pictured here. Sadly, it has not been released legally as an eBook, so you’re stuck with paper if you want to read it.
Adam Breen, our sarcastic narrator, is a car salesman and U.S. Army vet living and working in Brooklyn. One evening, he notices a small pigskin suitcase on the backseat floor of the vehicle his wife has been driving. The bag is locked, and it’s heavy as hell as Adam lugs it inside his modest townhome. Upon arrival, his wife is acting suspicious as all hell. What the heck is going on here?
That’s the central question of the paperback. I won’t spoil the wife’s incredible story about how the pigskin bag wound up in the car, but it begs a lot more questions. Fortunately, we are in good hands with Bruno Fischer guiding us though the quickly-unfolding mysteries of the bag and it’s mysterious contents. Everyone wants the damn thing, and some are willing to kill for it.
Of course, the cops don’t buy Adam’s innocent bystander routine. They think he knows what’s inside the bag and where it’s stashed. As often happens in noir novels of this nature, it’s incumbent on Adam to solve the mystery of the pigskin bag and the murders occurring in its wake to clear his own good name and resume his life.
There’s some great violence in this book - bone crunching, close-quarters, face smashing stuff. However, there is no vintage paperback sex because it was written in 1946 before sex was invented. “The Pigskin Bag” (the novel, not the satchel) does contain way too many characters, and I needed a cheat sheet to keep all the cops, crooks, and red herrings straight.
At the novel’s conclusion, we get to learn what’s inside the McGuffin - I mean pigskin bag, - as well as who committed the murders, and what all the fuss was about. It was a satisfying ending to a satisfying mystery paperback. Perhaps it wasn’t a masterpiece of the genre - or even among Fischer’s greatest hits - but if you can find a copy cheap and want to kill a couple hours, you’ll certainly enjoy “The Pigskin Bag.”
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Gunnard R. Hjertstedt is better known as the prolific crime-noir author Day Keene. As one of Florida’s Gulf Coast writers, Keene enjoyed the company of neighbors and friends like Harry Whittington, Gil Brewer and Talmage Powell. Keene also enjoyed a successful literary career that featured over 50 novels and a seemingly endless supply of short stories. Stark House Press has preserved the author's legacy by releasing a number of his novels to modern audiences. In 2017, the publisher released an important trade paperback featuring three of his beloved works - “Sleep with the Devil”, “Wake Up to Murder” and “Joy House”. The subject of this review is the last title, “Joy House”. The other two titles have previously been reviewed right here on Paperback Warrior.
There's a great backstory on “Joy House” in the Stark House reprint by crime fiction academic David Laurence Wilson. In his introduction, Wilson provides an interesting timeline for the novel. It seems to have been written in 1952, originally titled “House of Evil”, then heavily edited and re-titled as “Joy House” before being published by Lion Books in 1954. However, the novel's premise was outlined in a short story, “She Shall Make Murder”, for pulp magazine called Detective Tales in 1949. Since then, it's been re-printed by the likes of Lancer and Gallimard as well as being adapted for film in 1964 starring a young Jane Fonda.
Written in the familiar first-person presentation, the novel introduces us to a complex character named Mark Harris. At one time, Harris was a prominent attorney to the stars in Los Angeles. After marrying Marie, and acquiring a criminal brother-in-law, Harris' posh lifestyle comes to a crumbling halt. After an unspeakable act of violence, Harris flees Los Angeles as a wanted man. Cold and penniless, the downtrodden Harris finds a rest stop at a mission in Chicago. There, a beautiful, wealthy woman named May Hill is drawn to him. After learning about her own mysterious behavior, Harris learns that he may be offered a male prostitute role in May's life. Feeling as though he would need to crawl up to just hit rock bottom, Harris accepts a paying job as May's “chauffeur”.
Once May, and her maid retrieve Harris from the mission, they instruct him to drive back to May's residence in a seedy part of Chicago. Shockingly, May is worth millions yet lives in a boarded up house in the ghetto. Harris, knowing he's selling his manhood, accepts his fate in this strange sexual alliance. However, once inside, the house is lavish and features all of modern society's most luxurious accessories. Why is she living like a poor recluse? What are the strange noises upstairs? Who's laughing in the hallways at night? This macabre tale spirals into madness in typical Day Keene fashion.
“Joy House” is nearly presented as this Gothic haunted house tale. Keene kept me guessing until the very end with a unique use of atmosphere – isolation in Chicago. The house itself is like the fourth character, wholly charismatic and a pivotal piece of both the narrative and title. As Harris settles into his new role as May's lover, the book takes on a sexual tone that pushes the boundaries for a 1950s crime paperback. Like Jim Thompson, Keene offers us one, if not two, fairly despicable characters and winds the tension to see which will pop. The build-up to May's revelation is seductive, and the complexity in Harris' past life creates a whirlwind of taut suspense. Needless to say...I was hooked.
“Joy House” is a noir stand-out and the best of the three titles offered in this 2017 collection. You won't be disappointed. Purchase a copy of this book HERE.
Author David Morrell's 1972 action-thriller “First Blood” was a runaway hit, eventually adapted to film in 1982 and kick-starting the 'Rambo' franchise that's still thriving today. Attempting overnight success, many authors and publishers exploited the idea and began releasing similar novels featuring wilderness pursuits, small town sheriffs and ex-military survivalists. As good as author Brian Garfield is, I've got solid evidence that his 1973 Fawcett Gold Medal novel “Relentless” may have been imitating the “First Blood” literary phenomenon.
Navajo Native American Sam Watchman patrols a 150 mile stretch of rural Arizona with his white partner Sam Stevens. The two receive a call that the nearest town, San Miguel, has experienced a bank heist and Watchman's friend has been killed. The five robbers escape town using a plane, but end up crashing in the Utah mountains during a blizzard. Watchman, Stevens and an FBI agent named Vickers journey into the rugged, frosty wilderness to capture them.
Garfield's presentation is through Watchman and the kindhearted criminal Walker via alternating chapters. The narrative explores Walker's criminal history and how he's involved with a band of ex-Green Berets and $900K in stolen cash. Less is known about Watchman, but the author takes an easy path by creating a riff between the local Watchman and the “city slicker FBI know-it-all” Vickers. Watchman is a lovable, capable and valid hero, yet a lot of emphasis is placed on his unending confrontation with Vickers.
The “First Blood” connection is fairly easy. Walker and the criminals, all ex-military, are the hunted prey instead of Rambo. The “First Blood” small town corrupt sheriff Teasle is noble Navajo State Trooper Watchman. Rambo's intelligent, cunning and somewhat sympathetic Colonel Trautman is the arrogant, foolish FBI agent Vickers. The characters and setting is emulated, just shuffled with reverse roles.
So, the question I ask myself: Is the book enjoyable knowing the author is borrowing from “First Blood”? The answer is a resounding YES!
“Relentless” is a high-speed pursuit complete with rugged adventure, violence, emotional distress and psychological suspense. The tension between Walker and the cutthroats is managed at just the right level, stretching the puppet strings between the characters and their own moral decency. Further, Vickers and Watchman's psychological warfare is an intense chess match that helps deepen the story-line of “country bumpkin versus city slicker”. The action-adventure genre tropes are well established – blizzard, high adventure, plane crashes, car chases, bank robberies, guns and a damsel in distress. It's a playbook that Brian Garfield uses to elevate this simple heist novel into an effective action-thriller.
There are plenty of “First Blood” impostors - some good and some bad. Hell, David Morrell borrowed the concept from Geoffrey Household's 1939 novel “Rogue Male”. Is anything truly original besides “Beowulf”? Probably not. But that shouldn't keep you from enjoying a popcorn paperback like “Relentless”. The novel was adapted as a CBS made-for-television movie in 1977 and Garfield wrote a 1974 sequel starring Sam Watchman - “The Threepersons Hunt”. Both of these novels are still in print today and also exist in ebook format.
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