Bruno Fischer was born in Germany in 1908 and emigrated to the U.S. at age five. He wrote for the pulps in the 1930s and 1940s, and transitioned seamlessly into the paperback original market of the 1950s with the majority of his output published by the Fawcett Gold Medal imprint. I’ve found his writing to be reliably excellent, so I was pleased to find a ratty paperback of 1960’s “Run for Your Life,” one of his many novels that has not yet been digitized and released as an ebook.
Our narrator Willie Farrington has lived a posh life. He grew up wealthy and avoided WW2 combat because of his influential family who made their fortune in the railroad industry. Willie estimates that he’s worth around $50 million, and modern readers should keep in mind that this was in 1960 when that was a lot of dough. Willie lives on a sprawling Arizona ranch with his spoiled, cheating wife, and is visiting New York City as the novel opens.
An unusual sequence of events finds Willie dresses like a bum in Central Park in the middle of the night without any money. Mistaking him for a vagrant ruffian, a young woman named Nina solicits Willie to break into an apartment and recover a manila envelope containing documents. Willie accepts the engagement to see if he actually has the capacity to be good at something other than writing big checks.
Willie enters the apartment while Nina waits outside, and if you’ve never read a Fawcett Gold Medal crime novel before, you’ll be surprised to learn that there is a murdered body inside the place. Willie also finds the envelope he was tasked to recover, and it’s filled with what appears to be sensitive national security documents. The cops arrive, and Willie finds himself running for his life along with Nina just like the paperback’s title promised.
If you’re thinking that this all sounds a little contrived, you’d be right. The mid-novel revelation disclosing the reason for the murder and the significance of the envelope is pretty lame and as a straight-up mystery whodunnit, “Run for Your Life” fails. However, as a pursuit and survival adventure paperback, it’s pretty darn good.
By 1960, Fischer was a pro at pacing an exciting novel that keeps the pages turning, and who doesn’t like a well-told couple-on-the-run story? The obstacles Willie and Nina are forced to navigate on their road to freedom and redemption make for some genuinely-exciting reading, and by that measure, “Run for Your Life” is worth your time. Recommended.
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When it comes to post-apocalyptic and men's action-adventure, Paperback Warrior has featured a number of reviews of books featuring bikers and biker gangs. From sprawling doomsday sagas like 'The Last Ranger' and 'Outrider' to gritty vigilante novels like 'Hell Rider', the inclusion of motorcycles and their riders is a consistent aspect of the freewheeling warrior spirit. While most of our attention has been given to the 80s and 90s action paperbacks, in all actuality the motorcycle-fiction genre reached a fevered success much earlier. Between the 1950s to 1970s, men's action-adventure pulp magazines featured wild, colorful and over-the-top biker paintings and illustrations. The stories themselves ranged from harrowing military feats to Hell's Angels styled escapism for blue-collar males. It was an immensely popular and competitive market for the publishing industry.
Esteemed scholars Robert Deis and Wyatt Doyle (The Men's Adventure Library, MensPulpMags.com) have collaborated on a number of historic accounts and publishing trends in vintage Men's Pulp Adventure Magazines (MAMs). Their 2016 coffee-table archive is dedicated to the biker sub-genre within the publishing industry of the mid-20th Century. Titled “Barbarians on Bikes: Bikers & Motorcycle Gangs in Men's Pulp Adventure Magazines” (New Texture), this 130-page book chronicles hundreds upon hundreds of magazine covers, gate-fold spreads and a brief introduction that cites 1947's “cycle-rally-gone-wild” in the Northern California town of Hollister as a real-life catalyst for America's fascination with biker culture. The book also features an analysis by author Paul Bishop, a former LAPD detective and author of the terrific 'Fey Croaker' detective series.
While I enjoy book and magazine covers, my expertise is typically dedicated to the in-between pages. I love reading and reviewing great fiction, but have a soft place in my heart for the artwork adorning all of these great paperbacks. It's rewarding to find that same passion lies within Robert and Wyatt's labor of love. The astronomical prices of vintage magazines, combined with the rarity of finding intact 70-year old magazines, makes “Barbarians on Bikes” a must-have for anyone that appreciates the action-adventure culture (films, comics, magazines, paperbacks). The high-quality, full blown scans of these hard-to-find magazines is an all-you-can-devour eye candy buffet. Personally, this book is about as close as I'll ever come to holding and owning these vintage and antiquarian men's magazines.
“Barbarians on Bikes” showcases Bob and Wyatt's undying love for a time and place in history that we'll never experience again. Their dedication and hard work unearthing these historic treasures for today’s generation are an absolute delight. For readers, collectors, historians and anyone else remotely interested in men's action-adventure literature, pulp magazines and motorcycles, “Barbarians on Bikes” is mandatory for your home library or coffee-table.
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With over 30 novels in a career that spanned 1951-1970, WW2 veteran Gil Brewer is considered a cornerstone of crime-fiction. His mid-era novel, “The Vengeful Virgin”, was originally published by Fawcett’s Crest imprint in 1958. Cited as one of Brewer's strongest works, Hard Case Crime reprinted the novel in 2006 with new cover art.
Jack Ruxton is a young owner/operator of a floundering television retail and repair shop. His life drastically changes the day he meets Shirley Angela, a primary caregiver for an elderly invalid named Victor. In a combination of desperation and hot-blooded lust, Shirley asks Jack to assist her in killing Victor. The payoff? About $300,000 that's been promised to Shirley in the event of Victor's passing. With a tumultuous tuition, Jack's life becomes an education on sex, greed, jealousy and murder. Does he make the grade?
With “The Vengeful Virgin”, Gil Brewer may have hit his high-water mark. The story's placement on Florida’s Gulf Coast parallels the author's own residence in sunny St. Petersburg. Like his contemporaries in Dan Marlowe, Day Keene and John D. MacDonald, Brewer makes use of a crime-fiction staple: the Florida waterfront cabin. It's here where the book reaches its violent crescendo, the crossroads of regret and guilt through the murky haze of hard liquor. Brewer's tale incorporates all of the genre tropes but still remains remarkably engaging and timeless. The paperback showcases the downward spiral of a man's ruin, lovers on the run and the inescapable, ever-consuming law enforcement dragnet.
In its utter simplicity, “The Vengeful Virgin” is a riveting masterpiece and should not be missed. It’s absolutely essential reading for fans of the genre.
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Beginning in the Mid-20th Century, model Steve Holland found plenty of opportunities to influence the look and feel of men's action-adventure poaperbacks. Transitioning from a mediocre acting career, Holland went on to become the “Face That Launched a Thousand Paperbacks”. Collaborating with artist James Bama, Holland would be the face of pulp icons Doc Savage and The Avenger and later era heroes including Richard Blade and Mack Bolan. After Holland's immense impact on the genre from the 1950s through the 1970s, a new face began to emerge, seemingly a successor to Holland's photo-realistic throne.
That man was Jason Savas.
After years of rigorous investigation, Paperback Warrior was finally able to locate Savas. In a revealing interview, we discussed his childhood, modeling career and his current endeavors as an aspiring Hollywood screenwriter.
Jason Savas currently lives in the same New York City apartment he was born in. Surrounded by his large collection of sports memorabilia, the 65-year old explained that athletics at an early age led to his eventual introduction into the lucrative world of modeling.
“My mother put me into the dojo when I was six-years old. I studied Judo and practiced it for a long time. I was a jock and competed in Judo tournaments and then in high school I did wrestling and lacrosse. I wanted to be a jock, and jocks played college sports. I wanted to play professional sports. This was 1977 and I had long hair down to my shoulders. My girlfriend in college was with me and we were walking by a poster or sign of a model and she said you look like that guy up there.”
After graduating from the City College of New York (C.C.N.Y.), Savas found himself walking through Central Park and bumped into a former wrestling competitor from high school named Joe. Little did Savas know that this quick exchange would effect the next 11-years of his life.
“Joe told me he had become a model and said I could do it too. He gave me a name and a number. We ended up going to the beach and someone took some photos. I stumbled into fashion modeling during the summer of 1979 and was lucky enough to work almost everyday for years after signing with Wilhelmina Model Agency. My earliest work consisted of trade publications...newspaper and magazines...catalogs, designer press kits and magazine work such as G.Q. and Men's Wear doing both editorial and advertisements. I was still new to the industry and both surprised and excited by the wide variety of modeling work available.”
In December 1979, Savas began modeling for the first of several Gianni Versace ads and by 1980, he was all over the fashion world posing everywhere from cigarette ads to cosmetics. But in 1981, Savas also found himself doing a different type of modeling.
“I found myself in a studio shooting a book cover. It was very strange because I had never done illustration work and it was different. I got to wear a costume and it was over in a flash because a shoot only lasted one hour and you were done. Very simple, but fun. Then I started doing more and more book covers. I guess I took over the reins from Chad Deal [a popular 1980s cover model]. I did over 1,000 covers and interestingly, I did more romance novels than action or western. Romance was the largest market and many times we got to wear period clothes which makes it even more fun. The one-hour shoots allowed a modeling agency to slip us into several photo shoots a day and/or in between 'real modeling' jobs. Book covers were a bit like play acting. I enjoyed shooting the covers because you never worried how you looked because you would be painted.”
Savas explained that these shoots originated with the publisher contacting the modeling agency and requesting a certain type of model – rugged, blonde or dark hair. He stated that 99% of the time the illustrator was present at the shoot. Once the photos were taken, the illustrator would then paint the photo and insert various location settings. For the majority of Savas' career, he paired with photographer Robert Osonitch.
“Robert Osonitch was the king of illustration photographers. He had the operation down pat for every type of shoot: lighting, back drops, clothes. His studio had a major wardrobe collection and he was an excellent director as well.”
Savas adds, “I own one oil on Masonite, 20” x 30” without the type (pictured) that I bought from the artist Steve Assel. He used me many times for western covers, including a half-dozen Louis L'amour stories. He was an excellent artist and I enjoyed working with him. Also there is a vast difference in talent among the artists, very noticeable. It seemed to me that Harlequin used the lesser artists while Zebra, Warner, Fawcett and several other companies had more money to pay for the better artists.”
The model's painted photo can be found on a majority of Stephen Mertz's 'M.I.A. Hunter' series published by Jove. He is also featured on noteworthy action-adventure series like 'Avenger', 'Eagle Force', 'Out of the Ashes', 'Vietnam Ground Zero' and a number of stand-alone titles like “Black Moon”, “The Raid” and “Long Ride Home.”
“I have a list of over 1,000 covers and probably found close to 250 physical books mostly in airports. One of the Harlequin romance writers, who lived in Iowa, requested me several times and showed up to a shoot one day. We became friends and she gave me a book cover of myself in nine different languages.”
After his 11-year modeling career, Savas invested in a business and his passionate sports memorabilia hobby (click HERE to see videos of his vast collection). He even authored his own action-adventure novel titled “The Messenger” in 1999. These days, Savas is hard at work writing screenplays and hopes to find some Hollywood interest.
Find a paperback featuring Jason Savas? Email us a photo or the book's title at paperbackwarrior@yahoo.com.
Between 1947 and 1981, attorney-turned-author Harold Q. Masur (1909-2005) wrote 11 installments of a successful mystery series starring attorney-turned-private-eye Scott Jordan. The books come highly recommended, so I’m beginning at the beginning with the first novel, “Bury Me Deep,” originally released in the March 1947 issue of “Mammoth Detective Magazine” and then re-edited into a Pocket Books paperback in the early 1950s. The novel remains available as a $3 ebook for modern readers who like to consume their vintage paperbacks digitally.
As depicted on the cover, the “Bury Me Deep” opens with narrator Scott Jordan coming home from a trip to find an unknown hot blonde in lingerie curled up on his couch drinking a brandy. After talking for a minute, Scott learns that her name is Verna, and she is very drunk. Scott dresses the girl, pours her into a cab, and sends her on her way without ever learning how she came to be there in the first place.
The next morning Scott is awakened by the police. The cops have the cabbie in tow who immediately identifies Scott as the man who put Verna into his taxi. It turns out she died a few minutes later - apparently poisoned. The police logically assume that Scott was somehow involved and bring him to the station for questioning. After convincing the police that he’s not a murderer, Scott collaborates with them to get to the bottom of the situation.
“Bury Me Deep” is an enjoyable enough mainstream mystery typical of the 1940s American output, and Masur was a decent writer who honed his skills in the pulps. The problem is that American crime fiction really hadn’t grown a set of balls by 1947 (with Dashiell Hammett’s 'Continental Op' being a rare exception). As such, Scott Jordan owes more to Perry Mason than Mike Hammer, whose debut, “I The Jury” was first published the same year. I’d be interested in reading later-era (say 1950s and 1960s) novels in the Scott Jordan series to see if the character evolves and the stories become edgier. Until then, the debut is a pleasant enough diversion but nothing more.
Addendum - The Scott Jordan Series:
1) Bury Me Deep (1947)
2) Suddenly a Corpse (1949)
3) You Can't Live Forever (1951)
4) So Rich, So Lovely, So Dead (1952)
5) The Big Money (1954)
6) Tall, Dark and Deadly (1956)
7) The Last Gamble (1958; aka The Last Breath)
8) Send Another Hearse (1960)
9) Make a Killing (1964)
10) The Legacy Lenders (1967)
11) The Mourning After (1981)
There are also over 25 short stories starring Scott Jordan that appeared in magazines including Manhunt, Alfred Hitchcock Mystery Magazine and Ellery Queen Mystery Magazine. Several of these are compiled in the collection “The Name Is Jordan” from 1962.
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Between 1950 and 1969, Louisiana native and WW2 veteran John Burton Thompson (1911-1994) authored and sold around 75 books. His paperbacks were considered to be so racy at the time that NYPD raided city bookstores and seized over a thousand copies of paperbacks written by Thompson and others. Thereafter, much of his writing was done using pseudonyms to remain marketable to skittish booksellers. By today’s cultural standards, the sex in Thompson’s work wouldn’t raise an eyebrow, and Lee Goldberg’s new publishing imprint, Cutting Edge Books recently put that to the test by reintroducing Thompson’s 1962 paperback “Kiss or Kill” back into print.
Our narrator is Jack McKnight looking back on his adolescent years when he was raised by his evil mother and his wicked half brothers from his mom’s previous relationship. His mother and siblings are bitter that dad left half the estate to Jack, his only biological heir, before dad’s early demise. His teen years are filled with disdain from mom and savage beatings from the brothers.
Young Jack has an ally in his late father’s best friend, Mr. Palmer, who explains the birds and the bees to Jack and seems genuinely invested in the young man’s well-being. As Jack pursues a variety of romances while moving into adulthood, there’s a lot of great fatherly advice that Mr. Palmer bestows upon Jack about life and women. I can’t remember a more satisfying “young man and adult mentor” relationship in any book I’ve read in ages.
However, there’s an real air of menace lurking in the background of this paperback. Jack’s mother and half-brothers become increasingly unhinged, and Jack worries with good reason that they are plotting to murder him to take over his half of his father’s estate. The violence - real and threatened - escalates throughout the novel building to a bloodbath of a climax.
“Kiss or Kill” is a really odd book. There are scenes of shocking violence, but it’s not an action novel. There are hot scenes of seduction, but it never felt like a graphic sleaze novel. There are a few genuinely romantic storylines, but it’s certainly not a romance novel. And so on. It’s really a fictional autobiography of a compelling character overcoming a difficult upbringing and becoming a man. In that sense, it’s a very mainstream novel masquerading as a tawdry 50-cent paperback.
Although this is pretty far afield from the classic crime-adventure novels we normally cover here at Paperback Warrior, I can enthusiastically recommend “Kiss or Kill” to anyone who enjoys a good vintage coming-of-age tale. Thompson is a way better writer and storyteller than either iteration of the novel’s packaging would lead you to believe, and I look forward to exploring his body of work in greater depth. Recommended.
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Popular crime-fiction author Wade Miller was actually a collaborative pseudonym utilized by two writers – Bob Wade (1920-2012) and Bill Miller (1920-1961). While the two mostly concentrated their efforts on stand-alone titles, they did launch a successful six-book series in 1947 starring private-eye Max Thursday who works cases in and around San Diego, California. The series debut, “Guilty Bystander”, was adapted to film in 1950 and switched the location from San Diego to New York City. I've always enjoyed the Wade Miller brand, so I'm sampling this series with the third installment, “Uneasy Street”, published by Signet in 1948.
It's December 23rd and our private-eye protagonist wants a quick job before the Christmas break. Instead, an older client named Syliva Wister engages Thursday to transport a music box for her. However, after being told where to deliver the goods, Wister is murdered and Thursday immediately becomes the prime suspect. Teaming with series ally Lieutenant Clapp, Thursday hopes to clear his name while also determining what's so special about the music box. Who wants it? What secrets does it contain?
As much as I hoped to enjoy this novel, I found it incredibly dull. The authors incorporate dozens of characters and involve them with a handful of crimes. By page 80, I was dumbfounded by PI fiction's two important elements – the client and the mission. These should be easily defined but in this case it's a moving target. The plot becomes a confusing chain-reaction of bribery for nude photos, a stolen painting, international smuggling and murder. It was so dense I couldn't tell the murdered from the murderer. I think the authors were flying by the seat of their pants – winging it all the way.
If you are a Wade Miller completest, maybe this is worth owning. It’s also available as a cheap ebook. However, be prepared: “Uneasy Street” was a quite uneasy read. You may just want to leave it alone.
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It’s time for Paperback Warrior Podcast Episode 35. In this episode, we discuss the meaning of noir fiction as a jumping off point for a career retrospective on Bruno Fischer. We discuss the weird menace subgenre of pulp fiction, and Eric reviews “Crime Commadoes by Peter Cave. We are on all podcast platforms or you can stream below. Download directly HERE
Listen to "Episode 35: Bruno Fischer" on Spreaker.
“After the success of “I Killed Stalin”, Sterling Noel (1903-1984) settled into a niche of writing international espionage and crime-noir fiction with a distinct emphasis on atomic energy and its protection from various Communist regimes. “Few Die Well”, published in 1953 by Dell, continues that same trend.
The book introduces Jeff English, an American spy who's employed by a defense contractor named Bureau X, the same agency Noel utilized in his “I Killed Stalin” narrative. English's leash is long when it comes to not only defending US intellectual property, but seeking and destroying Communist cells throughout the world. In one unfortunate mix-up in Teheran, English, posing as a Frenchman, kills two Soviet agents and is placed on a hit list by the Russians. The assassin is a man named Constantine Bardor, a determined Russian who never forgives or forgets.
English's most recent assignment is to assume the identity of a U.S. Army Captain named Randall McCarey and infiltrate an atomic laboratory in New Jersey. His mission is to kill a scientist who is collaborating with the Russians and spilling state secrets. To do this, he must contend with a number of Russian informants who have been implanted among the facility's 900 residential laborers. Noel's harrowing narrative has English essentially living with the enemy while locating the leaks and attempting to make the facility more impenetrable in the future. Once Bardor appears to settle the old score, English and a few allies are caught between the proverbial rock and a hard place. It's a fun position for the readers, but a rough ride for the good guys.
“Few Die Well” is an absolute treasure. Without giving away too many spoilers, Noel's slower character development regarding a love interest is effective. It's this element that adds a personal touch to what is otherwise a violently cold, calculated mission to fight Russian agents and Communist sympathizers. It's certainly a period piece, explicitly reflecting the heightened Cold War era in a methodical, action-oriented way. Noel knows his audience, loves this style of writing and delivers another top-notch spy entry.
Note – In one humorous parody of Noel's newfound success, he describes English reading a “rip-snorting and impossible spy-chiller called ‘I Killed Stalin’ by somebody by the name of Sterling Noel.” It's enjoyable to see authors have fun with their fans.
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After the third Dirty Harry film, “The Enforcer”, star actor Clint Eastwood announced he would no longer contribute to the film franchise. The studio, Warner Brothers, decided that fans of these flicks would still be willing to shell out cash for more of the character's adventures. Under their publishing brand of Men of Action (S-Com, C.A.T.S.), the studio licensed 12 paperbacks starring Dirty Harry himself, Lieutenant Harry Callahan. The house name was Dane Hartman, but in reality the books were authored by Richard S. Meyers (1953- ) and Leslie Alan Horvitz (1948- ). Strategic marketing created striking, illustrated book covers to lure men's action-adventure readers like myself. I happened upon the series second installment, “Death on the Docks”, published in 1981.
A San Francisco labor union called Local 242 of the Brotherhood of Longshoremen has found itself in a political upheaval. The union is led by a vile criminal named Braxton. A candidate to the union's presidency, Tuber, hopes to wrest control from Braxton, but those attempts are quickly flushed in the novel's opening pages. In a violent crescendo, Braxton has hitmen kill Tuber and his family. Problem solved...until Callahan is called in to lead the murder investigation.
In what becomes a familiar pattern, Callahan is handed various clues in haphazard fashion from shallow characters that have a one or two chapter lifespan. The author doesn't attempt to create a mystery or develop a story in which Callahan, and readers, slowly solve the crime. Instead, the chapters just feature Callahan being directed to various locales – bar, dock, store, house - and shooting a criminal. When the action is exported to a small Caribbean island, where Braxton has fled, the climax comes in baby steps that fail to deliver an explosive, plausible or satisfying conclusion.
In short, “Death on the Docks” is like one of those dives located south of the Mason-Dixon Line that swears they have real New York pizza. After a few bites you realize it's just a soggy, messy imitation. No validity. It's just not authentic. On sample size, these novels aren't of the same quality as the film franchise. They won't "make your day"...only ruin it.
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After enjoying a trio of crime-fiction novels by Clifton Adams (1919-1971), my first look at the author’s prolific western sagas was the 1969 novel “Tragg's Choice”, winner of a coveted Spur award. Appreciating his unorthodox approach to traditional western storytelling, I was excited to test another of his genre works, 1962's “Day of the Gun”.
Sam Engels is an elderly, widowed man and a former Field Marshal in and around the boomtowns of the Oklahoma Territory. I could immediately sense that Engels had a few hills he chose to die on, but miraculously survived all of those battles. Through brief backstories it's conveyed that his wounds and age, combined with the approach of the 20th Century, has led Engels to the twilight of his career. Now unemployed, Engels has arrived in the small town of Guthrie, Oklahoma in hopes of obtaining a U.S. Marshal job.
After departing the stagecoach, Engels has a brief, violent encounter with three young cattlemen after they push the “old-timer” into the dust. Afterwards, Engels meets the local Marshal and learns that his application was denied due to age. Later that night, the dejected Engels is once again attacked by the three cattlemen. After three broken ribs and a vast array of bruises and cuts, Engels is left in the dirt to die. He awakens to find a woman named Kit tending to his wounds in a makeshift doctor's office. After talking with the young woman, he learns that Kit is actually an orphan that he saved years ago.
Kit explains to Engels that a deranged killer named Elsey has victimized her for a number of years by murdering her husband and anyone else who attempts to befriend her. Fearing that Elsey will now target Engels, she urges him to heal up and leave town. But in an odd twist of fate, the man who won the U.S. Marshal job asks Engels if he can ride as a posse-man (the lowest tier of 1800s law enforcement) to capture Elsey. Engels must then decide to either swallow his pride and accept the lowly servitude or simply leave town and pursue his next career choice as a cattleman.
Once again, Clifton Adams approaches the western genre with an abstract method of storytelling. In the same way that “Tragg's Choice” was so compelling, Adams creates an aging, experienced character who has reached the end of his career. It's a familiar formula, the elderly striving to stay relevant in an age dominated by youth and change, but Adams is able to incorporate outside elements to distance himself from just an average retelling. The narrative focuses on a number of conflicts, primarily Engels contending with a younger, more resilient partner while tracking a killer. Engels' mysterious past is purposefully left unexplored, allowing readers to come to their own conclusions on his murky history. These are just small nuances that help create a unique reading experience even for seasoned western fans.
Like Clair Huffaker and Lewis B. Patten, Clifton Adams isn't a mainstream name within western fiction. While fans flock to talents like Louis L'Amour, Zane Grey, Luke Short and Max Brand, it is perhaps this second tier of talent makes up some of the genre's best literary works. “Day of the Gun” is another excellent western tale from an author that mastered the genre. At some point I would like to sample his “Amos Flagg” series, but with so many excellent stand-alone titles, it may take some time to properly evaluate that series.
Purchase your copy of “Day of the Gun” HERE.
Harlan Ellison (1934-2018) is mostly known for his work as a science fiction author and essayist. While going through U.S. Army basic training in 1957, Ellison wrote his first published novel called Web of the City that was initially released under the title of Rumble in 1958 when juvenile delinquent novels were a hot property. Hard Case Crime reprinted the novel in 2013 while also adding three of Ellison’s street-gang short stories to the volume.
Web of the City is a novel about a fictional New York street gang called The Cougars. Ellison claimed that he researched the book by going undercover in a Brooklyn street gang called The Barons using a fake name, and he served as “war counselor” for ten weeks before leaving. For the record, I think that story is somewhere between wildly exaggerated and complete bullshit. Nevertheless, he wrote a memoir about his supposed street gang internship called “Memos from Purgatory,” a 1961 release before fact-checking of outlandish claims was a thing.
In the novel, 17 year-old Rusty Santora declares that he wants to leave his position as president of The Cougars, but his former street gang members have other ideas. In order to prevent his desertion, gang members stomp Rusty down, and convince him that he’s good as dead if he doesn’t fall in line. Meanwhile, tensions are mounting between The Cougars and their arch-enemies, The Cherokees (the Brooklyn variety, not the Native Americans). As you may have guessed, a rumble is inevitable.
The juvenile delinquent genre tropes come at the reader fast and furious in this thin novel. You have the high school shop teacher with the heart of gold encouraging Rusty to leave the street life behind and pursue a career as an industrial designer. Rusty’s sister is following in his footsteps as an up-and-comer in The Cougars Girls Auxiliary (“The Cougie Cats”), and he’s terrified that she might never see adulthood. Some of the tropes are quaint - much of the drama takes place in soda shops and the gangbangers use switchblades and broken bottles when violence explodes at the teen dances.
Eventually, an actual plot emerges when gang activity hits close to home for Rusty. His sense of grief and street honor compel him to seek revenge, and Ellison treats the reader to a compelling vendetta storyline that keeps the tension mounting until the final climax. It’s nothing you haven’t read before, but this iteration is extremely well-crafted.
The fight scenes - and there are many - are vividly drawn and offset the corniness of the story. It’s a fun read if you’re looking for a throwback to a simpler time when guys were guys and dolls were dolls. I’m sure it was written as a serious sociological peek behind the curtain of an grim urban subculture devoid of hope. These days, it’s just a bit overwrought and a mostly entertaining time capsule.
With 1984's “My Way”, the four-book 'Wasteworld' series comes to an abrupt end. Authored by a combination of Laurence James and Angus Wells, this post-apocalyptic series centered on U.S. military veteran Matthew Chance and his perilous endeavors to reach his ex-wife and kids in Utah. Beginning in New Orleans, each book showcases Chance's road to survival through warlords, mutants and dictators in the same manner that popular doomsday series titles 'The Survivalist', 'Doomsday Warrior' and 'The Last Ranger' also did.
In the ‘Wasteworld’ third installment, “Angels”, Chance had seemingly met his match with a vicious gang of Hell's Angels bikers. Thankfully, a female Apache warrior named Kathi saved the day in the book's grandiose finale. “My Way” is a seamless continuation as Kathi and Chance head north into Nevada. After a couple of quick run 'n gun battles, Kathi's part of the narrative concludes and Chance arrives in Las Vegas to begin another adventure.
After meeting a nice mechanic and his hospitable family, Chance learns that Vegas is now controlled by two brothers, Al and Tony Clementi. Like a 1950s crime-noir paperback, the two brothers control the city's gambling venues and drinking halls. When they target the mechanic's young daughter, Chance is thrust into a war with a doomsday crime syndicate. After killing Al, Tony's faction declares war on Chance. While that narrative comes to fruition, a side-story develops with three bounty hunters from Texas hunting Chance through the Vegas rubble.
Despite the book's exciting premise, “My Way” fails to deliver a pleasant reading experience. Far too often the authors digress from the narrative to explain a minor character's history or to inform readers of an outlaw's infamous history. For example, there's a whole segment on Billy the Kid. While the action was enthralling, I felt it was misplaced and untimely. When key scenes required gunplay, the reader was served dialogue. But when a descriptive scene analysis is required, the characters just shoot it all to Hell.
While publisher Granada probably had a limited circulation (UK and New Zealand only), the sales numbers just didn't produce a commercially-successful series. Unfortunately, “My Way” wasn’t written as a series finale, so invested readers aren't provided a proper conclusion to Matthew Chance's epic struggle. This novel's poor execution ensured that interest in a proper ending likely dwindled among readers. Looking at the series as a whole, the first and fourth books were lukewarm while the second and third installments were very enjoyable. Having read the Wasteworld saga once, I'm not terribly interested in ever reading it again. It might be worth the time and effort to track down the series, but there are certainly far better books to pursue.
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Of the 20-or-so crime novels written by Robert Colby in the 1950s and 1960s, the overall consensus is that “The Captain Must Die” is his masterpiece. The book began as a Fawcett Gold Medal paperback original from 1959 and has been reprinted several times thereafter, so you should have no problem landing yourself a copy - particularly if you open your heart to reading vintage fiction on a Kindle.
Fawcett packaged the paperback as a WW2 novel, but that’s not the case at all. The story takes place in the 1950s - at least a dozen years after the main characters left the war behind. Three former platoon-mates meet in Louisville, Kentucky with a load of guns to deal with some unfinished business from the war. The title of the paperback betrays their plan to murder a former U.S. Army captain, but it’s way more involved than you’d think.
The former captain is named Gregory Driscoll, and he’s a successful local businessman in Louisville. Most of his wealth was inherited, but he’s made the most of his head start by living with servants and a trophy wife on a sizable estate. As we meet Driscoll, he is being harassed with 3am phone calls, vandalism to his car, and the shutting off of his utilities. He’s also got a secret in his basement that he keeps from his the world. The three ex-soldiers’ awareness of the basement’s secret - coupled with seething hate and a lust for revenge - drive the action forward towards a violent confrontation.
The author dishes out the revelations of “The Captain Must Die” in drips and drabs. Why do the guys want to kill Driscoll after all these years? What’s the captain hiding in his basement? How does his lusty wife fit into all this? Revealing too much would spoil many satisfying surprises, and the “The Captain Must Die” is a treasure trove of twists and turns worth experiencing without too much foreknowledge. It’s a vendetta story, a heist novel, and a tough-guy story of graphic violence rolled into 180 pages of 1959 paperback perfection.
If you’re looking for the type of war story depicted on the cover, look elsewhere. However, if you want a brilliantly-layered novel of crime and revenge, you can’t do much better than “The Captain Must Die.” Highly recommended essential reading.
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Parallel to crime-fiction staples like Mike Shayne and Shell Scott, Johnny Liddell was a no-nonsense private-eye operating under the bright lights of The Big Apple. The series was authored by Frank Kane and consisted of 29 novels over a 20-year period between 1947 and 1967. Arguably, the series most defining moments are in the early 1950s era, so I decided to explore fan recommendations and try "Bullet Proof", originally published in 1951 by Dell.
The novel begins with Liddell receiving a phone call from a woman named Jean Merritt. She wants a second opinion on her father's death by suicide. Fearing that he was murdered, Merritt requests to meet Liddell on a lone cross-street at 10:30 PM to discuss pertinent facts about the case. Only Merritt doesn't show, instead she is replaced by a black Cadillac filled with hardmen. In an explosive opening chapter, Liddell dives for cover as Tommy guns eradicate a phone booth and nearby store. During the firefight, Liddell is able to kill one shooter but the man's identity leads to a number of questions and an intense interrogation inside the police precinct.
Learning that Merritt wired a $500 retainer for his services, Liddell is determined to learn what happened to the woman and her father. With the help of a wise medical examiner and a tenacious reporter named Muggsy (a series mainstay similar to Mike Shayne's Lucy Hammilton), Liddell delves into the Merritt family's history and their early ties to organized crime. When Liddell gets too close to the truth, he becomes a running target for a number of assassins. With riveting gunfights in the streets and hotel corridors, the aptly titled “Bullet Proof” delivers the goods in grand fashion.
While I enjoyed the 1947 Liddell debut, “About Face” (aka “Fatal Foursome”), I found it to be mired in mystery mud with very little action. Kane takes a cue from Mickey Spillane's red-hot character of that era, Mike Hammer, and adds a prevalent edginess to this book. There's even a scene with Liddell punching a beautiful prostitute in a hotel suite. The author uses the familiar genre tropes – hazy cigarette smoke, copious amounts of alcohol – to provide a seedy, darkly lit nightlife for the hero to operate. The atmosphere, engaging investigation and intense action sequences contribute to what is essentially the best Liddell novel I've read. “Bullet Proof” excels on all levels.
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Author Steve Frazee (1909-1992) began selling his stories to the western and adventure pulps in the late 1940s. After a successful run of frontier storytelling, Frazee would later serve as president of the prestigious Western Writers of America. Using his experience as a heavy construction and mine worker, Frazee would often include elements of the mining industry into his writing style. Novels like “Ghost Mine” and “Hidden Gold” exhibit those characteristics while offering high adventures in Northwestern America. However, one of his most successful mining-adventure works was the novel “High Cage”, originally published by MacMillan in 1957. The theatrical adaptation, titled “High Hell”, was released by Paramount in 1958. Crest Books, an imprint of Fawcett Gold Medal, reprinted the novel as “High Hell” to coincide with the film.
The book is presented in first-person by Craig Rhodes, an experienced miner and heavy machinery operator. Craig is hired by an investor to run a mining expedition in the frozen Canadian Rockies. To assist with the drilling, Craig hires four experienced miners – his brother Danny, Luke, Frank, and Charley. But much to Craig's surprise, he ends up with one unexpected guest. It's this character reveal that sets the tone for “High Hell”.
These five rugged men ascend the snowy slopes and begin setting up the mining operation that will run through the winter. I won't spoil it for you, but there's an ordeal that ends up placing a woman named Lenore in the mining camp as the sixth laborer. As the snow begins to fall, the men understand that there is no descent until the Spring thaw. It doesn't take a psychic to see where this is going.
As the five hard-working, frozen workers contend with drills and pick-axes in endless snowstorms, Lenore busies herself by making warm meals for the men. As the weeks roll on, the men begin to have cabin fever that's elevated with their sexual desires for Lenore. Danny is still in love with her, yet she's married to Frank. Craig finds himself fighting his brother as both of them are lustfully eyeing Lenore. It's this burning temptation that allows the author plenty of creative space to work his magic.
Set in the 1800s, “High Hell” works like a western adventure with burly men fighting (and dying) for a sultry woman. Craig is the iron-fist, no-nonsense leader that demands as much from himself as his men. Yet, his will is the first to break. From that point, it's a high-tension game with plenty of danger and intrigue to propel the pace. The author's brilliant placement of Lenore in the ranks of snowbound men was captivating. I read this enthralling paperback in one sitting.
“High Hell” should appeal to fans of snowbound action. While it can be a slow burn at times, the payoff was well worth the price of admission. Despite my failed attempt to embrace Steve Frazee's writing, “High Hell” was certainly a redeeming use of my time. Frazee is the real deal.
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By the late 1960s, successful crime-noir novelist Gil Brewer was battling many personal demons. His bouts with alcoholism and severe depression both contributed to the shortening of his superlative literary career. After a successful run of Fawcett Gold Medal paperbacks, Brewer experienced a downward spiral through the publishing world, drifting to mid-echelon publishers like Monarch and Lancer. Aside from his three “It Takes a Thief” television tie-ins published by Ace in 1969 and 1970 and some house-name series work, Brewer's penultimate original novel in his own name was “The Tease,” published by Banner in 1967.
The book introduces readers to Wes McCord, a realtor and married man living in a shoreline house in Tampa, Florida. Wes is married to his very patient wife Lucille, who has lived with his lying and unfaithfulness for years. In the book's opening chapter, Lucille and Wes have a heated argument over their financial woes and Wes's sexual misbehavior at a neighborhood party. In the heat of the moment, Lucille flees to her sister's house with the solemn vow that she wants to dissolve the marriage.
That same evening, just hours after the fiery exchange with Lucille, Wes spots a half-naked vixen running along the beach. Rushing to her assistance, Wes meets Bonnie and brings her home where she claims she was assaulted by an elderly man at gunpoint in a nearby motel. While defending herself, the assailant’s gun discharged and shot the man in the chest. Fleeing the scene, she escaped down the beach and into the arms of Wes. Is that the story she maintains throughout Brewer's pulsing narrative? Thankfully, no.
With his wife out of the house, Wes finds a place in his home to hide this beautiful, sexually-charged 18-year old. When the cops arrive to ask about the footprints in the sand, Wes panics and covers for his new houseguest. The next morning, Wes reads in the local newspaper that a man from Jacksonville, Florida (fun fact: world headquarters of Paperback Warrior) named Joseph Vito was found dead in a Tampa motel. He was the prime suspect in a $325,000 bank robbery a month ago and his accomplices, including an unknown woman, were still being sought by authorities.
As Wes's emotional distress is elevated, he's faced with a number of life-altering choices. Does he defy the law and continue hiding Bonnie in hopes that she's holding $325,000 and is willing to share? Does he pursue his estranged wife and attempt to salvage their devastated marriage? Should he give into his desires and ravage this young woman in the sexual prime of life? It’s these questions that add fuel to the burning fire created by Brewer's compelling prose.
“The Tease” exhibits all of the vicious, savage tones that made Gil Brewer the crime-noir kingpin of his time. Like 1958's “The Vengeful Virgin,” the author melds sizzling lust with raw criminal intent. It's the perfect combination of hot, spirited passion and fervent greed. Bonnie's pleas for help – both mentally and physically – lead Wes into a spider-web of lies and treachery by forfeiting his career, marriage and lifestyle.
When presented with sex, money and power, what does the everyman do? It is amazing that despite Brewer's myriad of personal problems, he was still able to orchestrate an exhilarating story in the twilight of his career. While it has yet to be reprinted, don't let the expensive second-hand price deter you from obtaining a copy of this entertaining crime-noir paperback. “The Tease” is simply excellent.
A Private Message:
Hey Stark House Books, you’ve reprinted almost everything Gil Brewer touched including his grocery lists and appointment calendars. It’s time to give “The Tease” a resurrection. Chop-chop!
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Shepard Rifkin was a New Yorker born in 1918 whose writing career began in 1956 as the author of several Western paperbacks. He shifted gears in 1969 to pen a grizzly police procedural mystery called “Ladyfingers” that remains available today as a $3 ebook. After much searching, I could find no record of Mr. Rifkin’s death, so my hope is that he is enjoying a spry and fulfilling life somewhere at age 101.
Rifkin’s best-known novel is his 1970 mystery (later reprinted by Hard Case Crime) titled “The Murderer Vine” set in the shadow of the American civil rights movement. The publication of “Ladyfingers” preceded “The Murderer Vine” by about a year and also displayed Rifkin’s interest in the American minority experience by casting our narrator and hero as NYPD Detective Pablo Sanchez, an American of Puerto Rican descent. After orchestrating a large heroin bust in East Harlem, Detective Sanchez is summoned to his boss’ office for a new assignment.
The Police Commissioner (a position historically held by Teddy Roosevelt) has received two small packages each containing a severed finger of an unknown woman. The quality of the manicure makes it unlikely that the digits were from indigent corpses used as med school cadavers. Where is the rest of the woman? Why send the fingers to the Police Commissioner without any demands? Despite a successful, but unremarkable, history as a narcotics officer, Sanchez is assigned the case, and he immediately feels that he’s over his head. His narration concerning his frequent missteps are quite funny.
Sanchez’s humble narration is a total joy to read and is in direct contrast with the cocksure heroes most of these novels feature. He’s a funny, self-deprecating narrator, and Rifkin’s excellent prose makes it all come together quite nicely. The supporting cast is filled with colorful New York characters, and every scene really pops. The investigative steps that Sanchez takes seem credible and realistic while still being entertaining. Fans of Ed McBain’s 87th Precinct police procedurals will feel right at home with “Ladyfingers.” Recommended.
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American author Norman Daniels (real name Norman Danberg, 1905-1995) is best known for re-introducing pulp hero Black Bat in 1939. Daniels authored a number of short stories featuring the character for Black Book Detective. Arguably, Black Bat was the catalyst for DC Comics' iconic Batman. Along with Black Bat, Daniels contributed stories for dozens of pulp magazines like Shadow, Gangster Stories, Thrilling Publications and All Detective. The author's post-pulp career was immensely successful as Daniels utilized a number of pseudonyms to write crime-noir and adventure paperbacks for a variety of publishers. My introduction to Daniels is the 1959 Avon paperback “The Captive”.
Jeff Castle is a WW2 veteran who now lives a quiet life in Africa as a big-game hunter. Upon hearing that his estranged grandfather is dying, Castle arrives on New York's East Side to pay his respects. After stopping in at a local bar for a drink, Castle is seduced by a sultry woman named Alma. After an afternoon of lovemaking at the woman's apartment, Castle steps out to buy a few drinks. Upon his return he discovers that Alma has been strangled to death. In my crime-noir experiences, “The Captive” was shaping up as a stereotypical “innocent man flees the corpse” novel. Thankfully, Norman Daniels had some interesting variations in store for the reader.
After fleeing the scene, Castle vows to find Alma's murderer. But Castle's quest for vengeance is sidelined when his grandfather advises him that he's the sole heir to his vast fortune. The heart of the estate is 60 small hotels and inns scattered throughout the state. As if it was a dire warning, Castle's grandfather, on his deathbed, pleads that nobody will take the fortune and asks Castle to fight for what is his. Questioning his grandfather's dying wish, Castle begins investigating the hotels he now owns. Shockingly, he discovers that all of the properties are full-staffed brothels.
Digging into the accounting ledgers, Castle discovers a complex earning schedule of rental income and the proceeds from properties' illegal affairs. After attempting to remove prostitutes from one of the larger hotels, Castle is brutally tortured and beaten in a cold dark basement. The Syndicate warns Castle that he may own the properties, but they control and operate all of the affairs. As the plot thickens, Castle learns that Alma's murder may have ties to the Syndicate's warning. In his quest to avenge Alma's murder, Castle finds that he's fighting the mob head-on.
First and foremost, Normal Daniels is an average writer. When compared to mid-20th century contemporaries like Charles Williams, Gil Brewer or John D. MacDonald, there is an obvious shortfall in the prose’s quality. Daniels' dialogue sequences are the heaviest casualty. With that being said, “The Captive” is still an engaging, thoroughly enjoyable literary work. The pace is brisk and both Castle and a few side characters are really engaging. I particularly enjoyed the author's connection from mobsters to the big-game hunting that Castle is familiar with. In a way it reminded me of the 1951 novel “The Killer” by Wade Miller (Robert Wade, Bill Miller). The narrative's twists and turns through Castle's new estate left me curious and wholly surprised. Further, I was ecstatic to find Daniels flesh out a familiar opening concept.
With “The Captive”, Norman Daniels pulls no punches – this is a violent crime yarn from cover to cover. Sadly, like many stellar crime novels of this period, the book has yet to be reprinted for new generations. Do yourself a favor and track down a copy. You can buy a used copy of the book HERE.
Oklahoma native Jim Thompson (1906-1977) began authoring his brand of violent, hardboiled crime-fiction in the late 1940s. His 1952 novel, “The Killer Inside Me”, is regarded as a mid-century genre classic. Often the author's work was written in a fast-paced, unbridled style rich with anti-heroes, sociopaths and violent criminals who serve as story protagonists. In his efforts to push the boundaries of the average paperback, Thompson's craftsmanship is widely respected by literary critics yet is often criticized for his abstract delivery. Case in point is the 1953 novel “Recoil” originally published by Lion Books.
The story's protagonist, Patrick Cosgrove, is first introduced to readers on his last day of a fifteen year prison sentence at Sandstone State Reformatory. In flashback sequences, it's explained that Patrick had a wild bank robbing accident while deer hunting (gives new meaning to chasing bucks). As a product of the 1950s, the law of that era specifically required someone to mentor or accept the responsibility of taking a reformed prisoner under their wing. Without it, the prisoner stays confined. Patrick doesn't have any friends or family, so he wrote to hundreds of companies asking for employment. After months of silence, Dr. Luther, a psychologist and political lobbyist, responds to Patrick's letter in the form of a job proposal. After his release, Patrick goes to work for Dr. Luther and that's where things become unusual.
Unconditionally, Luther provides free room, food and a car to Patrick. Additionally, he pays him $250/month to be a town surveyor...but provides no real instruction. Confused, Patrick drives around all day and attempts to avoid the seedy side of town. Later, Luther's sexy and flamboyant wife throws herself at Patrick. Instead of restricting the behavior, Luther encourages it! It's as if Thompson just purposefully defies the genre's traditions despite the overall absurdity of the situation. When Patrick hires a private investigator to learn more about Luther and Lila, smoking guns, car chases and corpses begin populating Thompson's otherwise flat, one-dimensional prose.
I wasn't sure what to make of “Recoil”. My first impression was to fling the book across the room, but then realized I had hardwood floors and the Kindle version. Jim Thompson proves that everyone should do a short, preliminary search to obtain a book's general public reception. “Recoil” is mostly panned by readers, and I'm only contributing to that consensus. Like an old, rusty Volkswagen, I start and stop repeatedly when I venture into this author's lane. Artistically, there's nothing to celebrate in this paperback. It is filled with awkward scenes that not only fail to entertain, but are just confusing to the reader. Yet somehow I stuck around like some interstate rubbernecker just wanting carnage satisfaction.
In closing, here's a scene summary that is indicative of everything wrong here:
Patrick finds a dead body in an office building late at night. Fearing that he himself will be a suspect in the murder, he attacks the night guard and attempts to stuff the corpse in the backseat of his car.
It's this kind of stuff that brings “Recoil” ridiculously close to the Paperback Warrior Hall of Shame. Steer clear of this book at all costs.
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