A Gun for France

According to IMDB, Charles Tenney Jackson (1874-1955) wrote the novels The Golden Fetter (1917), The Show (1927), and The Eagle of the Sea (1926). Jackson also wrote hundreds of stories for magazines, including Argosy, The Popular Magazine, and Short Stories. He also penned a number of stories for Adventure, which is where I discovered his February 1943 entry "A Gun for France". I'm always in the mood for buried treasure and nautical adventure, so the illustrations by Samuel Cahan immediately spoke to me.

The story begins in Timego in the West Indies as Bill Jett stares at a sunken 65-foot yacht lying in Morani Cove. Jett was piloting the ship, along with a handful of mates, on the way up up from Trinidad. But, the engine went out and the ship was steered into the cove and then promptly disappeared under seven fathoms of water. Jett explains how the crew had picked up a Frenchman named Lenier, an escaped prisoner off the coast of a Guiana prison, and how the man had went overboard in an accident. This is important. Also, Jett's skipper is a guy named Ordel. That's important too.

Later, Jett overhears Ordel talking with a notorious rum-runner about important boxes that are still on the yacht. Apparently, the two – plus a mysterious third partner-in-crime – are arranging a dive underwater to salvage these boxes from the ship. They don't want Jett to learn of the cargo, nor do they want to reveal their nefarious doings. That's up to Jett and the readers to discover. 

At roughly 12 two-column pages, Jackson's nautical salvage-heist plays out like a grand adventure. Jett teams up with his only real ally on the island, a Malay boy that helps him discreetly uncover the plot while outwitting Ordel. The wild card is the appearance of the third partner in the trio of criminals, but as you can probably guess, it all ties back to the escaped prisoner. 

Jackson's writing did require some short note-taking, but it was a very light chore. His prose is filled with a lot of description, with the escapism reading like a tourist guide to exotic locales - 80-foot cliffs nestling the calm Caribbean and its white sands and even keels. Readers enjoy these stories because it takes them away from the dull 9-5 grind. In that regard, “A Gun for France” easily does the getaway trick. Highly recommended. 

The Island Monster

I've recently become enamored with the writings of Arthur D. Howden Smith (1887-1945), particularly his glossy magazine stories. His offering “Pirate's Lair”, published in the October 1933 issue of Blue Book, was mesmerizing as a highly-charged revenge yarn on the high seas. Thumbing through more back issues of Blue Book, I found his August 1937 novella The Island Monster and had to read it.

The first-person narrative is told by Terry O'Malley, an adventuresome newspaper reporter that globe-trots for sensational stories. While back in his office in New York, a Major Rattray walks in and introduces himself as an officer in King's African Rifles, a British Colonial Auxiliary force. With a letter of explanation, Rattray explains to O'Malley that his fiancé went to work for a man named Lipscomb Hope, a scientist that focuses on breeding different types of animals together – like pythons and crocodiles. In letters that she writes to Rattray, she happily advises him that she will continue to work for Hope and that she will need to postpone their wedding arrangement. But it is just a front. Beneath the stamps on each envelope is a small hand-written message urging Rattray to come rescue her from the hideous experiments and the psychotic Hope. She's in real danger.

Rattray and O'Malley immediately form a plan to go to the Bahamas and rescue the young woman from the dastardly Hope. In doing so, they hire a pilot and yacht captain that can navigate the scientist's well-placed fortified encampment in Nassau. The foursome discuss the base's defenses, including robot machines that spit lead from watchtowers and hideous mutant pythons that patrol the churning waters leading into the base's spacious lagoon. 

It is obvious that Smith's writing is heavily influenced by H.G. Wells' 1896 novel The Island of Doctor Moreau. But, the high-adventure adrenaline remains the same as my prior Smith reading of “Pirate's Lair”. While not a revenge yarn, this is still a hard-hitting violent affair as the group battle the monsters, bomb the camp, and ultimately attempt to rescue the vulnerable beauty in distress. Aside from some racist things that were unfortunately a product of the time, this story was just so easy to read and enjoy. It's a simple formula, but Smith seems to excel when he allows himself very little to work with. The old adage of “keep it simple stupid” works just as well in 2023 as it did in 1937. The Island Monster is a recommended read for adventure fans.

The Lantern Man

Having read four of Jon Bassoff's nine novels to date, I'm convinced he might be the most talented and thought-provoking author in the business. When writing a blog dedicated to reviewing vintage fiction, of which many of its authors are long dead, it is unusual for me to even refer to a writer as still being alive and relevant. Yes, Bassoff is alive (and well I hope) and continuing to write amazing books that defy any specific genre. He's as much a murder-mystery guy as a horror writer, as much a crime-fiction stalwart as a noir enthusiast. If Bassoff was a filmmaker, nods to David Lynch would certainly be warranted. He's that good.

In The Lantern Man, originally published in 2020 by Down and Out Books, Bassoff once again takes his readers into a dark strip of American Gothic, a Bible Belt of the Devil where small-town killings somehow find a shaded pathway to a not-so-idyllic family. Like his previous novels in Corrosion and Beneath Cruel Waters, The Lantern Man is set in a small community nestled in a rural stretch of Colorado mountains. It is here that mining was once prominent, and like any mining town, there are inevitable childhood rumors of a murderous miner that steals away children in the night to feast on their flesh. This rumor of “The Lantern Man” plays a big part in the murder of a teenage girl. Did a killer miner from days gone by murder her or was it a young man named Stormy Greiner?

The book is presented in a pretty innovative way, with comparisons made to House of Leaves (Mark Danielewski) or Dracula (Bram Stoker). The book is presented as texts, but made up of diary entries that feature footnotes written by a detective. It is a form of ergodic literature where the reader is forced into a sort of game to review all of the book's passages and clues. It isn't a heavy lift and can be read seamlessly from beginning to end. 

Ultimately, the narrative is a pretty twisted venture into some really dark places. The book's protagonist, Lizzie Greiner, is immediately disclosed to the reader as a suicide victim, a young woman who burns herself to death in an old mining shack. Beside her charred body is her journal, left in a fireproof box in a way that spells out all of the events leading up to her death. 

Detective Russ Buchanan is assigned the cumbersome chore of weeding through the journal and interviewing witnesses that may hold the answer to the girl's murder. The real answer lies in the eye of the beholder – none of the evidence or witnesses provide an indisputable explanation. The author's message is purely subjective. 

The Lantern Man is an extremely rewarding reading experience. The text is a great story, saturated in family ties, mystery, and a compelling narrative. But, the presentation is equally satisfying and designed for fans of crime-fiction. No matter what genre you prefer, this novel checks off every box. Highest possible recommendation.

Buy a copy of this book HERE.

Thurlow's Christmas Story

Did you know that the Christmas season not only brings glad tidings, but also ghost stories? Sure, the easy nod here goes to the ultimate Christmas ghost story, Charles Dickens' 1842 classic A Christmas Carol. But, references to the Christmas ghost can be dated as far back as 1730 with Round about Our Coal-Fire (aka Christmas Entertainments). 

In an effort to locate a Christmas tale for Paperback Warrior, I delved through some old anthologies and found Horrors in Hiding, a 1973 Berkley Medallion paperback edited by Sam Moskowitz and Alden H. Norton. While the cover screams Halloween, the book actually features a Christmas story called "Thurlow's Ghost Story" (misspelled in the TOC), authored by John Kendrick Bangs. The story was originally published in Harper's Weekly in 1894 as "Thurlow's Christmas Story". It turns out that Bangs was the humor editor at Harper's and was assigned with writing a holiday-themed story that year. He submitted "Thurlow's Christmas Story" as a sort of morality tale/tongue-in-cheek jab at holiday publishing deadlines.

The story is presented as a mild form of ergodic literature, meaning that the text itself represents a piece of the story. You can find this meta-story in a story in other early fiction, something like Bram Stoker's Dracula where parts of the book are diary entries. Here, the story is a statement written by Henry Thurlow, an author assigned the cumbersome task of writing a holiday-themed piece for the Idler, a Weekly Journal of Human Interest. The story's text is this statement sent to George Currier, the journal's editor. 

In the statement, Thurlow attempts to explain, in detail, why the assignment hasn't been completed, why the looming deadline is in jeopardy of tardiness, and how his own mindset is being plagued by an unknown supernatural force. Thurlow advises that several nights ago he saw his doppelganger standing at the foot of the stairs. He describes this vision as, “It was then that I first came face to face with myself – that other self, in which I recognized, developed to the full, every bit of my capacity for an evil life.” A week later, Thurlow sees the person again, describing it as, “...that figure which was my own figure, that face which was the evil counterpart of my own countenance, again rose up before me, and once more I was plunged into hopelessness.” 

As the deadline looms closer, Thurlow experiences this bizarre visitation multiple times. However, the strangest visitation occurs one night when the author's fan arrives at his doorstep to present him with a manuscript. The fan explains that he spent nearly a decade writing the story and that he feels Thurlow should publish the piece as his own. Without spoiling too much, Thurlow sheepishly accepts the manuscript and dismisses the fan. Later, Thurlow reads the manuscript and deems it to be brilliant. By using his own byline, Thurlow submits the manuscript only to find a surprising response from his editor. In a clever way, the text the reader is consuming makes up the final submission to the editor. The long and short of how the text becomes a part of the story is a real thrill.

You can read this story, including a neat write-up on Christmas ghost stories, at the Library of America's Story of the Week blog HERE.

The Adventures of Red Sonja - Volume 01

In the pulp magazine pages of Magic Carpet’s January 1934 issue readers will discover Robert E. Howard’s sword-mistress Red Sonya of Rogatine. She is the star of Howard’s short story “The Shadow of the Vulture”, described as a tall Russian warrior woman who fights with a dagger, two pistols, and a sabre. While writing for Marvel, Roy Thomas obtained a copy of the story from Glenn Lord, the literary agent for Robert E. Howard’s estate. Thomas, collaborating with artist Barry Smith, modified the story to introduce a new red-haired swordswoman, Red Sonja, in the pages of Marvel’s Conan the Barbarian #23 and #24 (1970). The rest is history.

To celebrate the early era of Red Sonja, Dynamite Entertainment acquired the rights to some of the character’s appearances in Marvel. These appearances are collected in a three-volume set titled The Adventures of Red Sonja. I borrowed a digital copy of Vol. 1, which collects the character’s appearances in Marvel Feature #1-#7, all published in 1975, plus the “Red Sonja” story from Savage Sword of Conan the Barbarian #1 (1974). Up until the Marvel Feature issues, the character had only appeared nine total times – five in Conan the Barbarian (1970), twice in The Savage Sword of Conan the Barbarian (1974), and twice in Kull and the Barbarians (1975). So, in essence, this collection feels like a terrific landing spot for new Red Sonja readers.

The collection begins with a three-page introduction written by Roy Thomas explaining how he created the character from Howard’s original “The Shadow of the Vulture” story. This intro is a great timeline of the early appearances of Red Sonja and Roy’s collaborations with artists like Neal Adams, Barry Smith, Ernie Chan (Ernue Chua), Dick Giordano, and of course, Frank Thorne. 

Roy’s commentary is followed by the eight-page story “Red Sonja”, which was originally published in Savage Sword of Conan the Barbarian #1 (1974). The original story was black and white (reprinted in color in Marvel Feature #1), and this new version is colorized by Glass House Color Design. I like all three presentations, but I find myself enjoying this new colorized version (why do I feel guilty though?). The artwork by Esteban Maroto, Neal Adams, and Ernie Chan is really something special. The story has Red Sonja on a mission to earn money working for King Ghannif in a teeming city state in Hyrkania. But the King wants to add the fiery-haired She-Devil into his harem, which backfires in a big way. Sonja is also forced into a fight with the King’s albino musclebound bodyguard. 

Marvel Feature #1 follows with Thomas using an unfinished Robert E. Howard manuscript called “The Temple of Abomination” to frame his eponymous Red Sonja story. That story, originally published in the 1974 Donald M. Grant hardcover Tigers of the Sea, featured Howard’s Conan-like hero Cormac Mac Art. But, Thomas’s version has Red Sonja in a rural stretch of Nemedia forest when she stumbles upon an abandoned temple. Inside, she frees an old man chained to the wall and battles a small army of man-goats (yes man-goats!) that are sacrificing people to a slithering monstrosity in a pit. The art was created by Dick Giordano, which according to Thomas, was a guy who loved drawing women.

Some of Red Sonja’s best presentations are through the creative hands of artist Frank Thorne. He collaborated with Bruce Jones on Marvel Feature #2 “Blood of the Hunter”, #3 “Balek Lives”, #4 "Eyes of the Gorgon”, and #5 “The Bear God Walks!”. Of these stories, I found “Eyes of the Gorgon” to be the best of the bunch. Thomas returned for #6 “Beware the Sacred Sons of Set” and that story's continuation in #7 “The Battle of the Barbarians”. This last story features Red Sonja competing with Conan and Belit on a quest to recover a page from the coveted Book of Skelos.

The major complaint this volume receives is that the last story, “The Battle of the Barbarians”, ends with a cliffhanger. The story isn’t continued in this volume because Dynamite didn’t have printing rights to Conan the Barbarian. The story was continued in Conan the Barbarian #68, published by Marvel in 1970. That story, which also featured Howard’s hero King Kull (and Brule), wrapped up the arc introduced by Thomas in Marvel Feature #6. So, it’s quite a letdown to get this far into the volume and discover it unfinished. But the second volume of The Adventures of Red Sonja features a written recap of those events.  

Overall, I’m delighted with his volume and found it a nostalgic and enjoyable romp through the ages with Red Sonja. If you are interested in more, The Adventures of Red Sonja Volume 2 features Red Sonja #1-#7 (1977) and Volume 3 features issues #8-#14. Dynamite also released a volume titled The Further Adventures of Red Sonja which features more appearances of her in later issues of The Savage Sword of Conan the Barbarian.

Buy a copy of this book HERE.

Ki-Gor - And the Stolen Empire

I enjoyed my first experience with pulp jungle hero Ki-Gor in his debut appearance, “King of the Jungle”, from the Winter 1938 issue of Jungle Stories. This story is captured in a large omnibus containing the first six Ki-Gor stories, Ki-Gor the Complete Series Volume 1, published by Altus Press. Returning to the African jungles, I swung into the action again with the second Ki-Gor story “Ki-Gor and the Stolen Empire”. It was published in the Summer 1939 issue of Jungle Stories under the house pseudonym of John Peter Drummond. It remains unclear to me who the real author was. 

“King of the Jungle” was a slower-paced origin story explaining that Ki-Gor was brought to the African jungles as a young boy by his Scottish missionary father. Unfortunately, his father was killed by a tribe of natives and the Ki-Gor grew into manhood by surviving in the jungle. A woman named Helene crashed her plane in the jungle, so Ki-Gor comes to her aid and the two become friends.

“And the Stolen Empire” is a much different story, heavy on action and heroics while speeding by a rapid pace. While clearly a Tarzan imposter, that doesn’t necessarily mean this story was inferior. I loved it just as much as the Tarzan novels I’ve read.

In the story, Ki-Gor and Helene are taken captive by a white dictator named Julio. Through a variety of criminal empires, Julio has amassed a great deal of wealth and power. In expanding his business operations, the crime-lord created a huge African military complex aptly called Africopolis. From this central point, Julio and his fanatics can conquer huge swaths of territory while strongarming numerous tribes to join his growing army. 

Like an Edgar Rice Burroughs page-turner, the action centers around catch and rescue as both Ki-Gor and Helene are captured twice by Julio’s military might, both times escaping into the jungle to find support. Their allies arrive in the form of hundreds of chimpanzees led by an Egyptian who established a secret paradise in Africa known as Memphre. It all sounds rather confusing, but ultimately it is two factions – one peaceful in Memphre and another more hostile and savage in Africopolis.

There’s not much more a pulp fan can ask for as the heroes (Helene every bit the hero as Ki-Gor) are thrust into lightning-quick adventures in rugged mountain fighting, firefights, prison breaks, and animal attacks. I love that Helene shows off her shooting skills with the Lee-Endfield, creating an enjoyable dynamic duo. Ki-Gor’s physical fighting prowess is complimented well with the more modern efficiencies of Helene’s sniper attack. The addition of the chimpanzee army was a lot of fun, as well as the mystery surrounding the hidden jungle city of Memphre. In some ways it reminded me of Tarzan discovering Opal. 

As if I needed more motivation in devouring these Ki-Gor stories, “And the Stolen Empire” just launched me into the realms of Ki-Gor superfan mania. I can’t wait to jump into the next installment, “Ki-Gor and the Giant Gorilla-Men”!

Buy a copy HERE.

The Time of Terror

The kidnapping-heist crime novel The Time of Terror by Lionel White (1905-1985) was first published as a hardcover in 1960 and later abridged to fit the page count as an Ace Double paperback in 1961. The original text of the novel has been reprinted by Stark House Press and paired with 1958’s Too Young to Die.

Long Island, New York couple Christian and Elizabeth (“Call me, Bet!”) are living the suburban American dream. Christian has a good job with an electronics business he helped found, and Bet spends her days raising her two little kids with the help of a live-in nanny and housekeeper.

We also meet 38 year-old Frank Mace, a downtrodden guy in a downscale New York suburb. Frank is a laid-off factory worker whose family has left him. Frank feels that the only answer to turning his life around is an immediate influx of cash. As such, Frank decides to rob a supermarket without formulating much of a coherent plan.

Upon arrival at the grocery store, Frank encounters an unattended little kid - Bet’s kid - and snatches the boy up concocting a kidnapping-for-ransom scheme on the fly. And away we go with a wild paperback crime yarn.

In the opening chapters of The Time of Terror, the author adopts the conversational narration style employed in Ed McBain’s 87th Precinct novels where the third-person omniscient narrator has personality and provides commentary - even acknowledging that there is a reader to whom he’s speaking. It makes for a fun read, and White has the chops to do it well.

The perspective shifts between the police, the local newspaper, the FBI, the victim family, and our kidnapper are quick and well-executed. The plot developments are of the forehead-slapping, one-damn-thing-after-another variety and you’ll have a hard time looking away from this slow-motion noir trainwreck of a crime story.

Overall, it was a pretty great book. The first half a stronger than the second half, but White never disappoints. If you enjoy heists-gone-wrong paperbacks, you can safely add this one to your reading list.

Buy a copy of this book HERE.