Paperback Warrior Podcast - Episode 39

On Paperback Warrior Podcast Episode 39, we take a deep-dive into the crime fiction work of Wade Miller, including a review of “Kitten with a Whip.” A review of Mickey Spillane’s “My Gun is Quick” inspires a discussion of 1940s vs. 1950s crime fiction with lots of vintage paperback fun starring Eric and Tom! You can stream the show at below or listen on any podcast app. Download directly HERE.

Listen to "Episode 39: Wade Miller" on Spreaker.

Apples Carstairs #01 - The Big Needle (aka The Big Apple)

Before he was a mainstay on the bestseller list, Great Britain’s Ken Follett began his career as a novelist with a trilogy of books released in 1974 and 1975 starring a wealthy businessman-sleuth named Apples Carstairs. The slim paperback originals were published under the pseudonym Simon Myles and were reprinted under Follett’s own name when he became a big-money brand name. The first book in the series was titled The Big Needle, later released in the U.S. as The Big Apple before reverting to the original title for subsequent reprints.

The story opens in London with Apple in bed with his two girlfriends - one white, one black (ahhh, 1974) - when he is awakened by a visit from an unexpected guest, his ex-wife. She tells Apple that their 17 year-old daughter is in the hospital following a heroin overdose. Rather than sitting vigil by his daughter’s bedside, our hero takes to the streets with a vow to find and kill the pusher who supplied his kid with the smack.

Apples beats the tar out of a junkie and learns that the dealer is a spade (again, 1974) named Harry Hat who, you guessed it, wears flamboyant pimp hats. Harry Hat proves to be a more elusive and dangerous foe than Apples anticipated as the dealer leaves a trail of beatings, kidnappings and rapes behind.

I was hoping Follett had something clever in store for the manhunt, but instead Apples goes to great lengths to become a heroin supplier to infiltrate the London supply chain from above. From this vantage point, he learns that the heroin gang stretches deeper into the fabric of London’s elite - far beyond his original target of Harry Hat. This investigation was interspersed with graphic sex scenes every few chapters leading up to the inevitable confrontation between Apples and his shadowy enemy.

Follett said he wrote these books in his 20s to raise some car repair money, and that mostly shows. He became a way better writer coinciding with his fame and success as a bestseller. I think the best thing that could be said about Apples Carstairs #1 is that it was a quick read at 175 big-font pages. I suppose it wasn’t a miserable way to kill a couple hours, but in a world with infinite choices, why bother with mediocrity?

Addendum:

The Apples Carstairs series order is as follows:

1. The Big Needle (aka: the Big Apple), 1974
2. The Big Black, 1974
3. The Big Hit, 1975

Be warned: Books two and three are almost impossible to find. Based on book one’s middling quality, I wouldn’t bother seeking out the other two. Life, after all, is short. 

Buy a copy of The Big Needle HERE

Hell Can Wait

Although he authored more than 170 novels during his 40-year career, only a small fraction of Harry Whittington’s books are available today in any format. I’m hoping that one day the Whittington Estate can marry up with an enterprising publisher to keep the author’s back catalog alive through modern reprints and ebooks. Thankfully, Stark House Press are doing a great job with reprinting a lot of the authors work, including Hell Can Wait, a 1960 paperback that is now available as a twofer with Whittington's other Hellish novel, A Ticket to Hell. 

Our narrator is Greg Morris and he has come to the backwoods town of Koons Mills with a score to settle. Over a year ago, Greg’s wife was killed in a car accident caused by the town’s boss, Saul Koons. At a subsequent civil trial, Koons arranged for false testimony to get himself off the hook and convince the court that the accident was Greg’s fault. After spending a year away mourning the loss of his wife, Greg is back in Koons Mills hell-bent on justice and revenge.

Upon arrival, Greg gets his ass kicked by a group of Koons’ employees while the town’s sheriff declines to interfere. It becomes clear that no one has any interest in helping Greg bring down the town’s patriarch and primary employer. If Hell Can Wait had been written by Don Pendleton, Greg would have gotten his satisfaction with a long gun and a sniper scope. But this is a Harry Whittington paperback, so what does he do? He tries to seduce Koons’ saucy young wife.

Hell Can Wait is a slow-burn of a novel but very compelling. It’s more of a mainstream revenge story than a normal crime fiction paperback. Well, the ending was pure noir, but I won’t spoil it here. Greg is a menacing and rather creepy character for a protagonist, and Koons is a very nuanced villain whose behavior is a bit odd throughout the book - until the twisty ending explains all. At no point did I really know where the plot was headed, which is saying a lot in a genre that usually abides by fairly rigid formulas.

Overall, I can recommend Hell Can Wait as a fun puzzle-box of a vintage paperback. It’s not quite top-tier Harry Whittington, but it will certainly be on your mind long after the last of the 144 pages are done. 

Buy a copy of this book HERE

George Gideon #14 - Gideon's River

John Creasey (1908-1973) authored hundreds of crime novels over a literary career that deployed nearly 30 pseudonyms. One of the British author's earliest works was The Baron series (as Anthony Morton, 1937-1979) of novels starring an ex-jewel thief named John Mannering. Perhaps his most popular series is The Toff (1938-1978), an aristocratic sleuth with a literary resemblance to The Saint. I discovered a 1968 paperback titled Gideon's River on my bookshelf. The author was listed as J.J. Marric, but after brief research I learned that this was part of another series of novels authored by Creasey. The series stars Commander George Gideon of the Scotland Yard's Criminal Investigation Department. Gideon's River is the 14th installment and was published in 1968 by Popular Library.

The novel features Gideon working with various law enforcement agencies along the Thames River to solve a diamond heist. But, in what appears to be a series consistency, the author presents a number of crimes for Gideon's team to investigate. This is unlike other crime-fiction novels where one crime or mystery is the narrative's focus. In Creasey's series, Gideon must solve two to three mysteries per book. Along with the diamond heist, this installment features Gideon searching for a missing girl while also preparing his department for a planned robbery aboard a large pleasure boat called River Belle.

In the book's opening pages, the Thames Division of the Metropolitan Police locate a satchel underwater containing a number of industrial diamonds. Gideon assigns Detective Micklewright onto the case which eventually leads to a group of smugglers led by a brutal and sadistic criminal named Screw Smith. With agency resources, the diamond smuggling is traced back to Denmark but leaves Gideon and his department in a heated political exchange with the Dutch Police.

Gideon's own investigation surfaces when a 13-yr old girl goes missing after school. Creasey's narrative focuses on the procedural investigation but also allows readers the girl's perspective as prisoner of a strange man living in a rock quarry. It was this portion of the narrative that produced the best results as Gideon, a father of six surviving children, maintains a close, more emotional bond with the case.

Rounding out the trio of investigations is more of a preparation for a high-profile jewelry and fur show aboard a large riverboat. Gideon's defensive measures are in advance of a planned robbery. This theft circles around to the diamond heist in Denmark, but I won't provide any spoilers on that. Gideon's team collaborates with a number of law enforcement agencies that work the lengthy, fast-churning river.

This series began in 1955 and consisted of 21 novels through 1976. After Creasey's death, four more novels were authored by William Vivian Butler as J.J. Marric. One of the more interesting aspects of the series is that the characters age as the series continues. For example, the series debut, Gideon's Day, features Gideon as a Detective Superintendent. As the series continues, Gideon is promoted to Commander. Further, his six children age through the series and eventually become married and move out. Gideon's second-in-command, Lemaitre, serves for many years but eventually he's transferred out of the department and a character named Hobbs takes the role. In this novel, an event is mentioned from an earlier installment where Hobbs' wife dies. Gideon's River also features more emphasis on Detective Micklewright and his troubles with alcohol and a failing marriage. I could sense that this story also began in earlier novels.

Creasey's prose is like watching a good television episode of your favorite cop series. It's mostly surface level interactions, witness reports and the endless struggles between the media and the law enforcement agencies. It is similar to Ed McBain's (real name: Evan Hunter) 87th Precinct series but not as well written. Considering Creasey's massive production schedule (supposedly over 600 novels), his quality probably varies depending on series and installment. Overall, I was very pleased with Gideon's River and will certainly pursue more of the author's work.

Buy a copy of this book HERE

Lew Archer #01 - The Moving Target (aka Harper)

Author Kenneth Millar's most utilized pseudonym was Ross MacDonald, a name created to avoid confusion with his wife Margaret's literary career. As MacDonald, the author's most coveted and celebrated work is the Lew Archer series of private-detective novels. Like an uncanny second coming of Raymond Chandler and Dashiell Hammett, MacDonald sculpted Archer as a studious, more sensitive California sleuth. While equally tough with guns and fists, Archer's procedural style is in stark contrast to the era's most iconic private-eye, Mickey Spillane's Mike Hammer.

Archer debuted in a 1946 short story titled Find the Woman. MacDonald's first full-length Archer novel was 1949's The Moving Target.  The book was adapted to film in 1966 under the title Harper with Paul Newman in the starring role as Lew Harper instead of Archer. Newman portrayed the character again in the series’ second adaptation, The Drowning Pool, in 1970. My only experience with Millar's writing was his enjoyable 1953 stand-alone novel Meet Me at the Morgue, also known as Experience with Evil. Being unfamiliar with the Archer series, I'm beginning with the first installment, The Moving Target.

The book begins with Archer's arrival in a posh suburb in the fictional California city of Santa Teresa (probably based on the real Santa Barbara). Archer has been hired by a woman named Mrs. Sampson to locate her missing husband Ralph. The family is old money with Ralph making a fortune in oil and real estate and Mrs. Sampson seemingly indifferent to where, when and how her husband spends his free time. After the initial meeting, Archer is introduced to Ralph's gorgeous 20-year old daughter Miranda and his personal pilot, Taggert. Archer also reunites with an old friend named Graves, a former District Attorney who now specializes in private practice.

Archer's procedural investigation leads to Las Vegas through a criminal named Troy. Both Ralph and Troy had some sort of business relationship and Archer feels that Troy could be a suspect in Ralph's disappearance. But, like most genre works, the idea of magically solving the mystery is way more complex. Archer learns the rabbit doesn't come easy when a ransom note appears demanding $100,000 for Ralph's safe delivery. Entwined in the ransom attempt is a washed up jazz singer named Betty and a declining actress named Fay. Archer teams with Graves to successfully deliver the ransom money but ends up with a corpse to elevate the mystery to murder.

Obviously, there is a lot to unpack in Millar's debut Archer novel. While my synopsis might be muddied, it's for your own good. This is a complex but enthralling narrative that showcases Millar's private-eye as a determined, thinking man's hero who isn't easily swayed into fisticuffs. The mystery is a complex one with a number of possible leads and directions that all circulate around Ralph Sampson's disappearance. Archer is centralized but the cast of characters help bulk up Millar's prose - two hot-blooded female performers, a strongman pilot, the complacent attorney and Ralph's eccentric family. Without the dynamic supporting cast, The Moving Target would be a wholly different novel, albeit still a very good one.

While The Moving Target is technically a 1940s private-eye novel, it should appeal to fans of 1950s crime-noir and hardboiled crime. It feels a bit more modern than I, the Jury, the runaway bestseller that placed detective fiction at new heights of popularity in 1947. In addition, Millar's use of California's rolling seaside hills provides so much more literary space than the rather mundane urban settings of New York City. Archer thrives as a suburban detective and the author's descriptive usage of the surroundings played key parts in the book's climactic scenes.

The Moving Target is a fantastic American novel and deserves the heaps of praise it has received over many decades. The book is still in print and widely available. Buy a copy of the book HERE and see for yourself what genre fans have been talking about this whole time. Lew Archer is simply awesome.

The Avenger #02 - The Yellow Hoarde

Publisher Street and Smith used their own pulp heroes Doc Savage and The Shadow as the prototype for their series of pulp adventures starring Dick Benson, the man known as The Avenger. The hero first appeared in magazines from 1939-1943 authored by Paul Ernst using the house name Kenneth Robeson. While always a likable hero, The Avenger became odd man out in a very crowded pulp market. The series of adventures ended after a brief run in The Shadow Magazine. Like the Doc Savage novels, The Avenger stories were reprinted in paperback format beginning in 1972. After thoroughly enjoying the series debut, Justice, Inc., I was anxious to begin the second installment, The Yellow Hoard.

The story begins as Benson's two teammates Smitty and Mac (introduced in Justice, Inc.) witness the explosive destruction of a four-story building in New York City. After determining that the culprits were after some mysterious “Mexican Bricks,” Smitty and Mac chance upon a young, diminutive woman named Nellie Gray. While the two watch, Nellie uses martial arts to overcome her captors and eventually become freed. Impressed, the two introduce Nellie to Benson.

Benson learns that Nellie's father, Professor Gray, recently led an expedition to Mexico to study Aztec ruins. Connecting the mysterious bricks to Gray's expedition plunges the team into a murder mystery. I won't ruin the shock for readers, but Nellie becomes an active member of the team to find the killer(s). In a way, this is her origin story just as the series' third volume introduces Josh and Rosable Newton.

Ernst's narrative focuses on Benson and his colleagues discovering the whereabouts of five Mexican bricks that display a treasure map when placed together. It's the 'ole “one ring to control them all” bit as the search runs through banks, bombed out buildings, warehouses and, of course, Mexico's Aztec ruins. While pulpy, it isn't an overly zany, suspicious spectacle of weird characters. The action is more of a procedural hardboiled crime mystery that asks the readers to suspend their disbelief during the obligatory hypnosis segments. Benson is still the chameleon as he changes his facial features to infiltrate criminal gangs, but at least he gets caught to prove he's a flawed hero.

The Yellow Hoard should appeal to fans of The Shadow, Doc Savage and other likable pulp heroes from this place in time. I thoroughly enjoyed it, and I'm anxious to learn where the team's next mission takes them. Purchase a copy of this novel HERE.

Killer in the House

Borden Deal (1922-1985) was born in Mississippi and died in Florida. Between those two events, he attended University of Alabama and wrote 21 books under his own name as well as pseudonyms including Loyse Deal, Lee Borden, Leigh Borden, and Michael Sunga. Most of his work was mainstream fiction depicting the New South, but he delved into the world of crime fiction in a 1957 Signet paperback original titled, “Killer in the House.”

Paul and Karen are a married couple - very much in love - living an idyllic rural life with their young daughter when their world gets turned upside-down by an unexpected houseguest. The guest is fresh-out-of-prison Syd, and while Paul greets him warmly, he’s not excited to see his old friend. You see, Paul has a checkered past of his own involving a period of incarceration and successful parole. He’s been honest with Karen about his criminal history, and he’s a new man now - one with a job, a house, and a family.

While in the joint, Syd helped Paul to survive, one day at a time, without going nuts or getting killed during his decade behind bars. By anyone’s estimation, Paul owes Syd a favor, and Syd is back in Paul’s life to collect. As you can imagine, Karen is not thrilled about Paul’s prison mentor staying in their house for any amount of time, but Paul insists and here we are.

It doesn’t take long before Syd pitches Paul on a heist opportunity with a sizable payday. Paul can provide for his family, and Syd can skate off to Mexico to live comfortably forever. Of course, Paul wants to straighten up and fly right, but Syd is a menacing fellow who can be quite persuasive. As the novel progresses, secrets are revealed that make it harder and harder for Paul to decline Syd’s offer.

Aside from a double-barreled, climactic ending there’s not much action throughout the paperback, but the tension and suspense run thick. You’ll need to suspend your disbelief that law enforcement officers are willing to defer tactical police decisions to civilians on several occasions in the book, but that shouldn’t be a deal breaker. After all, this is fiction.

“Killer in the House” is a terrific suspense thriller, and the author does an admirable job of turning up the heat slowly. Two strong characters locked into a test of wills made for an extremely tense page-turner. I’d you like crime novels with a sizable dose of moral dilemma, you’ll love this one, too.

Fun Fact:

My Hollywood sources inform me that Borden Deal’s “Killer in the House” was adapted into a TV episode of “The Dick Powell Theater” airing on October 10, 1961. It was episode three of the first season, and it started Earl Holliman and Edmond O’Brien as the two jailbirds. The TV script changed the characters into brothers. 

Buy a copy of this book HERE