Ed McBain, a pseudonym of Evan Hunter, found the pinnacle of his literary success in his 87th Precinct series of police procedural mysteries. The fictionalized version of NYC, the chatty omniscient narrator, and the ensemble cast of worldly-wise police detectives are all ingredients that make the series a lot of fun to read. I’ve been enjoying the thinner early novels in random order, so today we join the series with the eigth installment, 1958’s Lady Killer.
It’s a suffocating summer in the 87th Precinct, and a someone is threatening to kill a lady tonight at 8:00. The threat came to the police station in an anonymous letter. Is the letter legit or the work of a crank? With not much to go on and only 12 hours until 8pm, the cops use the letter itself for leads. Fingerprints? Identification of the delivery boy? And who’s the lady?
Detective Cotton Hawes takes the wheel as lead investigator of the death threat. Hawes is a hard-nosed interrogator who really leans into every interview like he’s shooting for a one-punch knockout. Series mainstay Steve Carella plays second fiddle in the case. Steve is the best detective in the 87th, and a recurring hero in the series. He’s also the smartest mind in the 87th, and his scenes tend to be the best. Watching Cotton and Steve evolve as new friends and partners was a joy to read.
The mystery itself is really two-pronged as the detectives need to identify both the would-be murderer and his intended victim. There are some great action sequences as the cat and mouse game intensifies and bullets start to fly.
To date, Lady Killer is my favorite of the 87th Precinct novels. McBain tightened up his storytelling and let the cast of detectives focus on one important case. There are no significant subplots or a b-story crime to solve, and the final solution was logical, plausible, and satisfying. This one’s a total winner.
Note:
Newer editions of Lady Killer contain an insightful introduction by the author explaining how the novel came to be. The paperback was written over nine days during the summer of 1957 at a rate of 20 pages per day.
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Loren D. Estleman (b. 1952) is a Detroit native and award-winning author. Cutting his teeth on westerns, Estleman has written over 25-westerns including a series starring U.S. Deputy Marshal Page Murdock. In the mid-80s, the author launched a series of high-octane action novels about a mob hit-man named Peter Macklin. However, Estleman's most praised literary work is his Amos Walker mystery series. The character was first introduced in 1980's Motor City Blue and has remained a highly-regarded character through 28-books. Unfamiliar with Walker, I started at the beginning.
Motor City Blue introduces readers to Amos Walker, a three-year veteran of the Vietnam War who experienced intense action in and around Cambodia. After Vietnam, Estleman became an MP and then later joined a Detroit police academy as a civilian. After being fondled in the shower by another trainee, Walker defensively beat-up the man and was booted from the academy. His next career choice was simply a private-eye gig which he does well. In the series debut, Walker is 32-years old and will age as the series progresses.
The novel's opening pages finds Walker working an assignment for an insurance company. Armed with a camera and a Smith & Wesson, Walker is photographing a man who may be faking an injury for claim money. But while working the assignment, Walker witnesses his old Army Captain being thrust into the backseat of a sedan by two burly men. Walker calls his best friend, Police Lieutenant John Alderdyce, to report the incident. It's an early, key event that plays a large role in the story's finale.
Later, Walker is summoned to meet a former mob boss named Ben Morningstar. The elderly retired gangster hires Walker to track down and locate a young woman named Marla. Morningstar raised Marla and had been financing her college expenses only to learn that she abruptly dropped out. Since then, she's seemingly disappeared and Morningstar doesn't trust the police to search for her. Morningstar shows Walker a photo of Marla that indicates that she has entered the sleazy world of pornography – either voluntarily or against her will. It's up to Walker to find Marla and determine just how she finds herself working in the smut industry.
Motor City Blue is an enthralling mystery that features many of the private-eye tropes that have been utilized since the 1940s. Estleman isn't reinventing the genre and never proclaimed to be. He's just presenting readers the traditional PI formula, a procedural investigation done by a valid, sarcastic hero who uses a police friend and ally for tips and tricks. Estleman's placement of the entire series in Detroit is fitting considering the author's scholarly knowledge of the city and its history. Using the cold, blue-collar city streets, Estleman has a wide canvas on which to draw. In Motor City Blue, the author submerges readers into the porn industry, complete with smut shops, adult theaters, sleazy trailers and the criminal elements often found on that side of the tracks.
Amos Walker may be the best of the 1980s private-eye characters. As an early introduction to the character (and author), readers unfamiliar with the series should start here. With a spiraling mystery, action fans should still appreciate the gun-play and fisticuffs employed by the hero. It's an absorbing read that has gained acclaim for good reason.
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In the Cutting Edge Books reprint of the 1959 paperback Killer Take All, readers learn that author Elmer Merle Parsons (1926-1970) was as untamed as the criminals he fictionally fabricated. Born in Pittsburgh, Parsons was first convicted of burglary and grand theft auto at the age of 23. After serving three years in prison, Parsons began passing stolen checks. His freedom was short-lived, and Parsons was sentenced to San Quentin Prison for five years. While inside, Parsons discovered a dexterous ability to write, becoming the editor of the prison newspaper and crafting his first novel, Self-Made Widow (1958), which he sold to Fawcett Gold Medal for $3,500 under the pseudonym Philip Race.
While in prison, Parsons authored two novels starring a craps dealer named Johnny Berlin – 1959's Killer Take All and 1960's Johnny Come Deadly (published by Hillman Books). Both were published under the pseudonym Philip Race. Using the name E.M. Parsons, the author wrote a suspenseful romance novel called Dark of Summer (1961) as well as three western originals – The Easy Gun (1970), Fargo (1968) and Texas Heller (1959). Later, the talented writer went to work for Hollywood, writing scripts for a number of television shows like Bonanza, The Dakotas, The Virginian and Sea Hunt. I've always enjoyed the proverbial “small town drifter” story, so the synopsis of Killer Take All peaked my interest.
Review: Killer Take All
Johnny Berlin flees the bright lights of Las Vegas due to a love gone bad. When readers first meet Berlin, he's driving a fog-shrouded highway in rural Oregon in an effort to start a new life in Portland. After becoming lost on the midnight highway, Berlin is aided by a man named Donetti who directs him to spend the night in a small town called McKaneville. Surprisingly, when Berlin rolls into the tiny hamlet, he discovers it's a booming lakeside village ripe with gambling clubs.
Parsons' novel puts Berlin back behind the craps table for a struggling club owner named Dan Gurion. After meeting an old flame, Berlin agrees to assist Gurion in an effort to rekindle the business and keep his new boss from being forced to join a pushy racket called the Gambler's Protective Association. With the mob running a number of gambling halls throughout the area, Gurion is one of the last few holdouts to join the association. Partnering with Berlin, Gurion goes against the grain to defy the odds and beat the rackets. But, when Berlin is nearly murdered and the premier head of the Protective Association is killed, things aren't quite as black and white as readers might think.
The first thing to know about Parsons' writing style is that he introduces over a dozen characters in the narrative's opening half. It's a large cast to contend with, a habit that threw me off of the author's similar novel, Dark of Summer. Both paperbacks feature lakeside communities that are mired in business transactions, lover quarrels and a penchant for violence. Dark of Summer was a dense romantic fling whereas Killer Take All is more of a violent crime-noir complete with painted ladies and jaded faces.
While Berlin isn't the stout heavyweight crime-fighter that readers typically associate with these types of stories, the vulnerable protagonist enhances the overall concept – a flawed human fighting a flawed system complete with flawed justice. Where the characters are sometimes subdued and emotionally wilted, it's the author's storytelling talents that truly blossom.
Parsons wasn’t a remarkable writer as his saturation of characters can, at times, make for a burdensome read. However, he's a solid writer with a knack for great stories. With just a handful of published novels in his career, Killer Take All's affordability as a used paperback and digital reprint is well worth the price of admission. You won't be disappointed.
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On Episode 54 of the Paperback Warrior Podcast, we unmask author Philip Race and tell you about the mystery man behind the pseudonym. We also review novels by E.M. Parsons and Tedd Thomey plus a used bookstore excursion to Appalachia. Listen on your favorite podcast app or at paperbackwarrior.com. Download directly HERE.
Listen to "Episode 54: Philip Race" on Spreaker.
Jim Thompson (1906-1977) authored over thirty novels from the 1940s through the 1950s. Considered a legendary hardboiled crime writer, his most notable works often employ an abstract style of storytelling. His violent, often disturbing novels are typically devoid of any admirable, noble protagonists for readers to support or cheer. Instead, crime-fiction traditionalism is replaced with characters that typically range from the vile deviant to the casual wrongdoer. Nothing underscores these tropes more than The Kill-Off, Thompson's 1957 Lion Books release. The novel was adapted into film in 1990 and reprinted by Black Lizard in 1999.
The book takes place in the fictitious town of Manduwoc, a small coastal village in Northeastern New York. Due to economic hardship, this community has been downgraded from lavish resort community to a washed-up skeleton of despair and neglect. Thompson uses individual characters to tell their stories in alternating first-person narrations. The overall concept is a murder mystery slowly disclosing to the reader who killed an older woman named Luane Devore.
The robust cast of characters includes Luane's younger husband, the local doctor, the doctor's son and a real-estate contractor among others. Each chapter's account is a testimony to the shifting narrator's weakness, complete with shady histories, corruptible events, financial disruptions and, of course, sex. Hot, wild, untamed, interracial sex. But considering the number of historical accounts of these characters and their arms-length relationship with Luane, none of it is particularly interesting.
The Kill-Off is a slowly-developing story, and not particularly engaging. The presentation is unique, but the overall plot development was unexciting - robbing the reader of anything resembling a pleasurable experience. If you are a regular blog reader or podcast listener, you know that Jim Thompson isn't a Paperback Warrior favorite. The consensus here is that he’s overrated and saddles his novels with plodding and often senseless narratives. There’s nothing about The Kill-Off to change our minds.
Admittedly, Thompson is a good writer with a penchant for unusual characters. However, The Kill-Off showcases inept storytelling populated by uninteresting and unlikable characters. Even in death, Thompson has a rabid bunch of fans who come to his aid every time Paperback Warrior pans another one of his overrated, overwritten novels. I can’t help but wonder how they will defend trash like The Kill Off. The hate mail we’ll receive will certainly be more compelling than the solution to the book’s central murder. For the uninitiated, don’t bother.
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Paperback Warrior recently covered Louis L'Amour's quartet of books focusing on the early days of the fictional Sackett family. The first two of these books, Sackett's Land and To the Far Blue Mountains, focused on Barnabas Sackett and his journey from Europe to America circa 1599-1620. The Warrior's Path featured Barnabas' sons Kin-Ring and Yance in the 1630s. The last of the four books took readers to America's far west with Barnabas' wayward son Jubal during the 1630s. Prior to L'Amour's passing in 1988, the author had hoped to tell more of these early origin stories, possibly bridging the gap between the 1600s and more dominant 1800s, where most of the Sackett series takes place.
Chronologically, the next installment in the Sackett series is Ride the River, originally published in 1983. While L'Amour's hopes of telling more of the Sacketts' origins never came to fruition, this novel is one of the only bridges in the series. The main character is Echo Sackett, a 16-year old young woman who becomes the aunt to three of L'Amour's most popular Sackett characters – Tell, Orrin and Tyrel. Echo is a fourth-generation Sackett living on the family's Tennessee home in 1840. After receiving a written notice of an inheritance, the book follows Echo's journey into Philadelphia and a subsequent frenzied trip back home.
L'Amour's novel is fairly basic in plotting and presentation. It’s a classic fish out of water story – the farm girl experiencing the hustle and bustle of city life. After a recent discovery of gold, a will proclaims that Barnabas has left the small fortune to his next of kin. This will is read and delivered to Echo by a shady attorney and his bully henchmen. On the precipice of being robbed of her inheritance, an aging attorney named Finian Chantry comes to Echo's aid. After assessing the situation and providing legal support, Echo gains the family funds and sets off for home. But, knowing that the wrongdoers and criminal cohorts will follow Echo, Finian sends his nephew Dorian to accompany Echo on the return trip.
Many readers may recognize the Chantry name. Like the Talons and Sacketts, Chantry was another family that L'Amour often covered with the first Chantry novel being Fair Blows the Wind taking place circa 1590. Combining an aging Chantry with a young Sackett was clever, including the small piece of action dedicated to Chantry's impressive fencing skills in a dockside skirmish. There are also a few other Sackett characters that make brief cameos throughout the narrative.
The end result makes Ride the River an adventurous road trip that combines country roads and urban streets with a coming of age story-line. While the quality falls well below L'Amour's stellar western storytelling, I found it to be a serviceable read that offered a unique female viewpoint.
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Michael Brett (1921-2000) was the author of the ten-book Pete McGrath detective series in the 1960s and a regular contributor to Alfred Hitchcock’s Mystery Magazine. It’s a little confusing because there were other mystery writers from the same era who utilized the name Michael Brett as a pseudonym, but the guy who wrote the Pete McGrath books was actually Michael Brett, the genuine article.
Before the success of his flagship series, Brett authored two crime novels starring a bald bookmaker named Sam Dakkers. Both were published in 1959 as Ace Doubles (inconveniently not paired together) under the name Mike Brett. Same guy, I promise. The first was titled Scream Street and the second was The Guilty Bystander, reviewed below.
Review:
Sam Dakkers is an sports bookmaker, a convicted felon, and a rather funny first-person narrator. One night he meets a loopy chick in a bar and winds up at her place. Right as he’s closing the deal, her apartment buzzer goes starts frantically buzzing. She says it’s probably her violent mobster boyfriend, and Sam makes for the fire escape. As he’s working his way down to the alley, he hears the gunshots from the girl’s apartment.
So, we’re dealing with a pretty basic and commonplace murder mystery setup here. The cops initially suspect Sam. The real killer is trying to kill Sam. Sam needs to save his hide by solving the case. This dire setup doesn’t prevent the author from thrusting Sam into several comedic set pieces with mistaken identities, sexy babes, and the like. Nothing hilarious, but often amusing. The central mystery is wrapped up tidily in a little more than a hundred pages with no heavy lifting involved for the reader.
Some books are fine dining. Others are cotton candy. The Guilty Bystander was the latter. The writing was simple and straightforward - never flashy but serviceable. The narrator was a lovable oaf surrounded by archetypes you’ve seen before in better novels. Despite its lack of distinction, I genuinely enjoyed the little book. It was an easy read to pass the time between more substantial novels. Sometimes cotton candy does the trick.
Reprint:
Both of the Sam Dakkers novels have been reprinted as trade paperbacks by Armchair Fiction (again, as doubles) for modern audiences. I enjoyed The Guilty Bystander just enough that I ordered Scream Street. Watch this space for a review sometime this decade.
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