The Bastard Bannerman

By 1964, crime fiction heavyweight Mickey Spillane was pushing millions of copies for his hard-nosed detective series 'Mike Hammer'. The 1947 debut, “I, the Jury”, exceeded six-million sales alone. It's no wonder that the magazine Saga, which debuted in 1959, would feature a 1964 issue declaring “New Mickey Spillane Mystery – Mickey at his Best”. The 65-page novella was “The Bastard Bannerman”, which later appeared in the Spillane compilation book “The Tough Guys” alongside “Kick It or Kill” (1963) and “The Seven Year Kill” (1964).

The first-person narrative features the bastard Bannerman, Cat Cay, returning home after two wars and a life better led elsewhere. His family are mobsters and Cay, being born out of wedlock, was the runt of the litter. The story follows Cay's investigative work as he learns more about who his family is tying in with now. Historically the Bannermans have been a strong empire that was feared and respected. Now, the family has fallen on dire straits and conducting business with what Cay thinks are criminals of the lower echelon. 

While all of that is engaging, the heart of the story is the death of Cay's friend. Spillane's original idea is brilliant – the knife used to kill his friend has Bannerman fingerprints all over it. However, the family's new business partners snatch the knife from the murder scene before the cops arrive. Now, they want the Bannermans to pay a million-dollars or they bring it to the police. It's a cool blackmail scheme that forces Cay to help his family despite their indifference.

Spillane writes at a slower pace, heavy on dialogue and the obligatory gangster talk like “rods” and “hot”. That seems a little dated even for 1964, but easily ignored. It's a fine Spillane story that delivers the goods. It's certainly entertaining enough to interest any crime fiction fan.

Buy a copy of this book HERE

Mike Hammer #03 - Vengeance is Mine

In 1980, the top 15 list of all-time US fiction bestsellers included seven novels by Mickey Spillane. That's a true testament to the power and popularity of Spillane's iconic private-detective, Mike Hammer. As I make my way through Spillane's bibliography, I found that the Mike Hammer debut, I, the Jury (1947) left much to be desired. However, the book's sequel, My Gun is Quick (1950), was nothing short of amazing with its masterful prose soaked with realism, impending doom, and emotional anguish. Appreciating that particular masterpiece, I held off on reading another Mike Hammer novel for over a year. Now, the time has come for the third series installment, Vengeance is Mine. It was originally published in 1950 as a hardcover by E.P. Dutton and has been reprinted countless times in multiple formats. 

“The guy was dead as Hell. He lay on the floor in his pajamas with his brains all over the rug and my gun in his hand.”

That's the opener to Vengeance is Mine. Thankfully, the remainder of the book remains just as heavy and unforgiving. Throughout this violent, twisting narrative, Spillane slaps readers with Hammer's hardest case yet, one that pays with redemption instead of cash. The plot concerns Hammer awakening after a night of drinking with his friend, Chester Wheeler, dead. Hammer isn't a murder suspect because the police feel that his friend simply committed suicide. But, Hammer knows he always carried six loads in his gun, and two shots were fired. The circumstances lead to Hammer contending with the DA and using his police ally Pat to find a teardrop in the ocean. Who killed Wheeler?

Hammer's investigation leads through a swamp of political blackmail and conspiracy within the slimy walls of a sin palace called The Bowery. It is here that Hammer meets a sexy dancer named Connie and a bit player named Dinky, an old nemesis that Hammer previously shot. Connecting the dots proves to be difficult considering all roads leading to Chester Wheeler are closed. Anyone involved with Wheeler's past is wearing bullet holes or broken necks. But, Hammer is consistently moving forward as he vengefully fights for his dead friend.  

Vengeance is Mine features Hammer's secretary Velda more involved than ever in the investigation. It's also the first novel where she fatally shoots a bad guy. Both Hammer and Velda become more intimate, but Hammer is still plagued by flashbacks and memories of Charlotte Manning, a lover from the series debut, I, the Jury, that he had had to shoot and kill. Like the prior novels, Hammer is also still suffering from PTSD from his war experience. I felt that the emotional baggage added more depth to the character, making Hammer a more dynamic hero when compared to his contemporaries in Johnny Liddell and Mike Shayne.

While not as good as My Gun is Quick, Vengeance is Mine is still an absolute masterpiece and another fine example of Mickey Spillane's extraordinary storytelling. It just doesn't get much better than this. Highly, highly recommended.

Note –  Supposedly, Spillane bet his editor $1,000 that he could write a book that, if the last word was left out, would change everything in the narrative that had happened before. The editor took the bet and lost (credit to author Stephen Mertz for sharing that). 

Buy a copy of this book HERE.

Mike Hammer #02 - My Gun is Quick

Hardboiled crime novels reached a new height of popularity in the late 1940s. Many scholars and fans point to Mickey Spillane as a catalyst for this pop-culture phenomenon. His debut novel, I, the Jury, was published in 1947 and became an instant runaway bestseller. The book introduced the world to the iconic Mike Hammer, a fictional private-investigator who pursues bad guys mostly in New York City. Hammer is known for his physical rough 'n tumble, unorthodox style gained from his U.S. Army experience in WWII. Hammer's closest friend is Pat Chambers, the Captain of Homicide in the NYPD. Hammer also has a continuous, flirtatious affair with his secretary Velda throughout the series. While I struggled to fully enjoy I, the Jury and found it rather flat, I wanted to attempt another Mike Hammer novel to see if it produced a different reading experience. My selection is the second installment, My Gun is Quick.

The novel begins with Mike Hammer having coffee at a neighborhood diner. An attractive, yet homely, woman takes a seat beside Hammer and asks if he’d buy her a coffee. Hammer, never turning away female companionship, obliges despite warnings from the diner's owner. After a brief conversation Hammer learns that the unnamed woman, who Hammer later refers to as Red, was probably in the prostitution game and is in a really bad place. Hammer feels a great deal of compassion for the nice woman and offers her some money to set her life on track. Happily, she thanks Hammer and the two go their separate ways. The next morning, Hammer learns that the woman was struck and killed by a drunk driver.

Hoping to help identify the woman, Hammer meets with Pat to examine the body. After finding some bruises and markings on the woman, Hammer suspects that she was actually murdered. Despite Pat's skepticism, Hammer starts investigating the woman's history and the events leading to her death after their chance meeting. The investigation takes Hammer into New York's call girl racket and a millionaire named Berin-Grotin. After Hammer learns about the girl's connection to one of Berin-Grotin's staff members, the wealthy businessman actually hires Hammer to investigate the murder further. Along the way, Hammer falls in love with a reformed call girl named Lola in some of the narrative's most effective scenes.

The first thing to know is that My Gun is Quick is a far superior novel to I, the Jury. While I'm sure Spillane and Hammer fans will disagree, Hammer is just way more dynamic in this novel. With I, the Jury, Mike Hammer is so deadpan. He's a gruff, loudmouthed detective that just came across as abrasive and crude. Further, in the series debut, Hammer really doesn't solve anything. Instead, the clues are nearly served to him on typewritten notes. Spillane's writing in My Gun is Quick provides so much texture to this character. Hammer is drawn to this unnamed woman with his client's voice is speaking to him from the grave. She's pleading for him to learn her identity and provide retribution for her death. The idea that Hammer may have caused her death by putting her back on the streets is just really clever writing. It's a brilliant, multifaceted narrative that has Hammer's pursuit of the killer as his own, personal attempt at forgiving himself.

My Gun is Quick is one of the best novels I've read of any genre. Mickey Spillane's masterful prose is saturated in gritty realism, emotional stress and a thick-laced, impending sense of doom throughout. If you read nothing else, please read this novel. My Gun is Quick is the quintessential masterpiece of hardboiled crime.

Buy a copy of this book HERE

Mike Shayne #01 - Dividend on Death

It's no secret that Mickey Spillane's Mike Hammer series was an empire. It's like the KISS of crime-fiction and by the late 1940s Spillane and Hammer boosted the genre to lofty commercial heights. Detective fiction was real cool...again. But, a decade before, a guy named Davis Dresser had done the same.

Dresser's Mike Shayne character was a media phenomenon. Beginning with the character's debut in 1939's Dividend on Death, Dresser, using the pseudonym Brett Halliday, penned fifty novels through 1958. The series forged 12 films, three decades of magazines, over 300 short-stories, comics, nine years of radio and 32-episodes of NBC television. Not that anyone is counting...but after Dresser's departure the book series continued for another 27 installments. That's remarkable considering Dividend on Death was reportedly refused by 21 publishers before finally being finding a home. Unfamiliar with the character, I chanced on a copy of Dividend on Death and spent the night with it.

While the series debut doesn't reveal much backstory, Shayne is a red-headed, Miami private-eye. Like most of his literary peers, Shayne is a heavy drinker and smoker who enjoys mingling with the ladies. Mixing business with pleasure is his M.O., and occasionally he can rely on his friendship with Miami Police Chief Will Gentry to ease him out of the most complex jams. In this first case presented to readers, Dresser creates a conundrum for Shayne and Gentry to navigate together. 

A young woman named Phyllis drops in on Shayne and asks him for a rather odd job. Phyllis' mother is arriving at the family's Miami mansion and Phyllis wants Shayne to keep her from killing her own mother. The client suffers from a fixation that makes her want to kill her own mother to keep from sharing her with her new stepfather. Shayne takes the case but later finds Phyllis wandering around in the dark mansion with blood on her nightgown. A further probe shows that Phyllis' mother has indeed been murdered and Phyllis is the likely suspect. But here's the curveball: Shayne quickly scoops up Phyllis and drops her at his own apartment - including the bloody knife! Any reader would feel Phyllis is guilty as sin, but Shayne draws a different conclusion.

Dividend on Death was excellently written for 1939. For 2020 readers, I feel that Dresser's voice hasn’t aged as well as Mickey Spillane, Frank Kane, Ross MacDonald or even Richard Prather for that matter. This early novel comes across in a pulpy style that reminded me of the Golden Age detectives. I enjoy stuff like The Avenger, Green Lama and Doc Savage because I know what I'm getting. Dividend on Death took me by surprise in its rudimentary story-telling. Shayne is beaten senseless, shot four times, hides Phyllis from the very people that want to help him and her, including the city's police chief. Shayne seemingly steers completely off-road when he doesn't have to. These things don't necessarily ruin the story, but they certainly don't elevate the hero to a heightened sense of alertness and heroic turpitude. Maybe that's the whole point – screwball clumsiness meets investigative hunches. Like Shell Scott.

As a new Mike Shayne reader, I have an entire universe to explore. I'm not going to saddle my criticism, disappointment and lack of enjoyment on the fact that Dividend on Death wasn't a fabulous book. It probably isn't a fabulous representation of Dresser's voice and the style that he attained after numerous novels. If there is a short-list of Shayne’s greatest paperback hits, I'd entertain a deeper dive. For now, I respect the character, enjoyed witnessing Dresser's developing talents and appreciate what the Shayne character has contributed to the success of the crime-fiction genre.

Buy a copy of this book HERE

Mike Hammer #01 - I, the Jury

Like my review of the treasured '87th Precinct' series, I'm going in as both a series rookie and an intimidated literary critic for 'Mike Hammer'. Mickey Spillane's gritty, violent gumshoe was perhaps the last of the pulp fiction detectives. The series debuted in 1947 with “I, the Jury”, loosely influenced by Carrol John Daly's detective Race Williams. Spillane, who cut his teeth on comic books, originally intended Mike Hammer to be comic strip detective/hero Mike Danger. After failure to find a buyer, Spillane wisely transformed Danger to Hammer and wrote “I, the Jury” in six days. By 1953, it had sold over three-million copies.

Private detective Mike Hammer fought in the Pacific campaign of World War II. At the beginning of “I, the Jury”, Hammer walks onto a crime scene to see his friend and former war buddy Jack Williams lying in a pool of blood. Williams was belly shot with a .45 and died slowly as he crawled to his nearby rod (guns are frustratingly called rods). Hammer vows to find the killer and the novel's mystery is laid out within the first chapter.

My issue is that Hammer really contributes nothing terribly productive through the entirety of the book. He interviews a few suspects, has a mattress romp with a set of twins and seriously dates a psychiatrist named Charlotte. We're introduced to Hammer's quirky secretary Velda (who's obsessed with Hammer) and a police ally named Pat. Through a plodding narrative of character introductions, the reader can already nail the killer down. But Hammer is clueless, and bumbles his way through interviews while pointing guns at elevator attendants. His threats are seemingly meaningless and by the book's ending the killer's identity is practically plastered over each locale while Hammer chases cold leads. 

There's no doubt that the loud mouthed, profane Hammer is a catalyst for the more violent heroes we embraced in the 60s, 70s and early 80s. Respect is intended and well earned...I just need to find a Hammer novel that reels me in. In surface research, the general consensus is that the series really takes off after this novel. I'll certainly attempt another read, but may switch my mindset to anticipate what I'm ultimately getting in a Hammer book. Chronologically, “I, the Jury” is followed by the Spillane abandoned novel “Lady, go Die”, which was written/finished by Max Allan Collins and published in 2012. 

Designing Fiction: A Richard Himmel Paperback Primer

Did one of America’s most famous interior designers have a side-hustle writing tawdry paperbacks at the advent of the new medium? Today we take a peek behind the curtain and present you with the untold story of author Richard Himmel.

Richard was born in Chicago in 1920 and called the city home for nearly all his life. The young man loved the written word and attended University of Chicago to study writing under the tutelage of his mentor Thorton Wilder, the writer of Our Town. 

“He always intended to become an English teacher. He was a voracious reader,” Richard’s son John Himmel told Paperback Warrior. “In his library, he had first editions, including a D.H. Lawrence collection. He was always drawn toward the literary arts.”

Richard’s plans to teach writing were sidelined by World War 2. When the time came to serve, he enlisted in the U.S. Army. However, an illness prevented him from being shipped overseas into the fields of battle. “The Army realized early on that he was a pretty smart boy, and he was assigned to General Patton’s staff,” John explained. “He wrote pamphlets and brochures for all sorts of things such as identifying Japanese aircraft as well as a primer on the Japanese language.”

After the war, he returned to Chicago with the intention of becoming an English teacher. While waiting for this to occur, he took a job at his sister’s housewares store in the northern suburb of Winnetka. “He began taking on decorating jobs and his career was made,” John said.

Richard’s knack for colors and spacing eventually made him one of the most sought-after interior designers in the United States with high-profile clients including boxer Mohammed Ali and Hugh Heffner’s Playboy Club. However, as his business was growing and becoming established, he never lost his love of the written word. 

Around 1950, a new outfit called Fawcett Gold Medal had plans to revolutionize the publishing industry by releasing all-new novels directly to the paperback format with salacious painted covers. For the past decade, paperbacks had just been reprints of successful hardcover literary works. The idea of releasing original material in a 25 cent paperback filled an important hole in the book market for readers after the pulp magazines had disappeared. Paperback originals were poised to be the next big thing, and publishing houses like Fawcett Gold Medal needed talented authors who could write compelling prose quickly.

At the time, Richard – and all of America – had become infatuated with the prose of Mickey Spillane and wrote a book called I’ll Find You about a hardboiled Chicago lawyer named Johnny Maguire who functions as a private eye for his clients. Richard submitted the manuscript to Fawcett Gold Medal, who released the book in 1950 as the imprint’s fifth paperback original. The book was an instant success and saw five printings through 1955 and a second life in 1962 when it was re-released as It’s Murder, Maguire. 

“He got a literary agent in New York named Sterling Lord, and they worked together to get his books published,” John said. This put Richard in good company as Lord represented some of the biggest names in 20th Century literature including Jack Kerouac, Ken Kesey, and Howard Fast. 

The second installment of the Johnny Maguire series was The Chinese Keyhole from 1951. It’s an odd sequel because there is no mention of Chicago whatsoever whereas the first novel was steeped in local Windy City sites and flavors. Another major change is that The Chinese Keyhole is a spy novel, not a hardboiled crime story. There’s a hasty explanation at the beginning of the book that Attorney Johnny Maguire was also an occasional spy for a shadowy U.S. intelligence agency. The paperback is great, but it was a weird and abrupt genre shift. My theory is that Richard wrote the book as a stand-alone spy thriller and his literary agent or publisher told him to edit the book to make it Johnny Maguire #2. Mickey Spillane taught the publishing world that there’s money to be made in series characters, and Himmel was apparently happy to oblige.

Later in 1951, Fawcett Gold Medal released the third Johnny Maguire novel, I Have Gloria Kirby and things went gangbusters. Over one million copies were sold firmly establishing Richard as one of the bestselling authors in the Fawcett Gold Medal stable. It was also a big year for Richard and his wife for another reason - the arrival of their son. They chose a familiar name for the boy: John Maguire Himmel. 

Throughout the 1950s, Richard was working during the day as an interior designer and at night as a successful writer pecking away at his typewriter with two fingers and a cigarette hanging out of his mouth. “Growing up, I still remember that sound, and I still have his typewriter” John said.

The success of the Johnny Maguire series opened the door for Richard to get his romantic and sexy mainstream novels published as well. The best of these books (The Sharp Edge, Beyond Desire) were also published by Fawcett Gold Medal while others found homes and multiple printings elsewhere. The Johnny Maguire series continued for five total installments through 1958’s The Rich and the Damned.

This was followed by a 19-year hiatus from writing and publishing. “There was a period in his life when he wasn’t really writing because his career as a designer took off,” John said. “He really didn’t have much time to write, but it was always in his mind. Eventually, he went back at it.”

Richard returned to publishing with three longer stand-alone thrillers between 1977 and 1981, each with page counts exceeding 300 pages. The novels were successful and moved the action to international settings, including Iraq, Cuba, and China. By this time, Richard was a high-profile member of Chicago society, and each subsequent paperback was greeted with increasing fanfare. John recalls the release party for his dad’s 1979 Cuba thriller, Lions at Night. Richard used a parking lot on a busy street corner of Chicago’s famed Magnificent Mile for the extravagant outdoor gala. “He rented actual lions and guys dressed in guerilla fatigues for a big-ass party there, and he sold a lot of books,” John said. “My dad was quite a showman.”

Richard’s final manuscript, a novel with a working title of The Uncircumcised Jew, failed to find a home. The book was submitted to publishers through his agent in the 1990s and just didn’t sell. Richard’s literary winning streak had ended. “I think he got a little bit discouraged,” John said. 

Aging and dealing with health issues, Richard’s career as a novelist ended, but he never fully retired from the decorating business. According to John, his father was sick for a long time at the end of his life. “He was a heavy smoker and obviously a workaholic. He also didn’t get much exercise.” Heart problems lead to his death in 2000 in Florida.

Today, Richard is mostly remembered as a visionary in the field of interior design. John took over the business and has continues in the field keeping the Himmel name alive as the go-to brand for upscale decorating clients. 

The Johnny Maguire series, one of the most successful side-jobs of the paperback original era, was almost lost to the ages until Lee Goldberg’s Cutting Edge Books started reprinting the books in 2019 as trade paperbacks and affordable ebooks. John is thrilled that his father’s literary work has found a new audience in a new century. “There was very little that he put his mind to that didn’t excel. My dad was a generic genius.”

Richard Himmel Bibliography:

1950 I’ll Find You / It’s Murder, Maguire (Johnny Maguire #1)

1950 Soul of Passion / Strange Desires / The Shame

1951 The Chinese Keyhole (Johnny Maguire #2) 

1951 I Have Gloria Kirby / The Name’s Maguire (Johnny Maguire #3)

1952 - The Sharp Edge 

1952 - Beyond Desire 

1954 Two Deaths Must Die (Johnny Maguire #4)

1955 Cry of the Flesh

1958 The Rich and the Damned (Johnny Maguire #5)

1977 The Twenty-Third Web

1979 Lions at Night

1982 Echo Chambers

Footnote  

Thanks to Paperback Confidential: Crime Writers of the Paperback Era by Brian Ritt for providing information used in this feature. 

Killer Mine

After a string of remarkable 1940s and 1950s bestsellers, author Mickey Spillane became a Jehova's Witness and took a long hiatus from writing. Upon his return, Spillane continued his popular Mike Hammer installments. However, he also started writing stand-alone novels and novellas like 1965's Killer Mine. This 80-page work was packaged with the stand-alone novella Man Alone in 1968 and published by Signet under the title Killer Mine. After nearly a year of reading full-length novels, I decided to tackle the Killer Mine novella for a change of pace.

The story is set on a seedy side of Chicago and introduces readers to Lieutenant Joe Scanlon, a tough-as-nails cop who grew up in the area before joining the fight in World War 2. Post-war, Scanlon worked his way up the ladder and moved on to a less crime-ridden part of the city. However, after four homicides are found to have a common thread, the brass ask Scanlon to return to his old stomping ground to find the killer.

Like any good police procedural, the narrative incorporates interviews with eye-witnesses, friends and peers that appear hazy when it comes to morals, ethics and doing the right thing. Scanlon's partner is surprisingly a female cop who works juvenile delinquents, but she's brought into the case as a disguise to allow Scanlon to appear that he is married and returning back home. Once Scanlon's dives into the details, he learns that all four murdered men were once his childhood friends. To solve the mystery, Scanlon recounts portions of his childhood to the reader in a race to find the killer.

At 80-pages, Killer Mine works well as a brisk police procedural. Like Mike Hammer, Scanlon is quick to violence, throwing his hefty girth around mobsters, hoodlums and whores to gain clues and information about the victims and the killer. Ultimately, whether any of it is interesting is probably based on your love of procedural books. While Killer Mine isn't a run 'n gun action extraordinaire, it's still compelling enough to turn the pages. As a good afternoon distraction, you could certainly do much worse.

Buy a copy of this book HERE

Skin

Before his death in 2006, Mickey Spillane told his wife to give all of his unfinished manuscripts to Max Allan Collins with the assurance, “He’ll know what to do.” Since then, Collins has polished, edited, and completed several of these novels and stories for publication. “Skin” is a 36-page Mike Hammer story that Spillane began in 2005 and was finally published in 2012 after completion by Collins.

The novel opens with Mike Hammer driving back from instructing at an upstate New York Police Academy with his best friend, NYPD Officer Pat Chambers. Interestingly, the authors have aged Mike and Pat and placed the old men in a modern setting with cell phones and computers.

While driving home, Mike notices the remains of a dead body along the side of the road. He stops and sees that the body is completely pulverized with nothing but a human hand intact. It’s almost as if the body fell out of an airplane or was gnawed into pulp by wild animals.

The hand in the pile of guts begins Mike’s journey to find the killer - even finding a sexy, nightgown-clad client in the hunt. As Mike approaches the truth, the authors employ some fairly terrifying horror-fiction elements. The climax is a bloodbath of brutal violence and street justice - the most exciting conclusion I’ve read in ages.

“Skin” is an edge-of-your-seat suspense thriller starring a famous aged detective still capable of making the pages fly by for the reader. As a fan of Collins’ work, I definitely saw his fingerprints all over the prose, and I’m genuinely curious what the division of labor was between these two crime fiction legends in this unlikely collaboration.

Leaving aside the mystery of primary authorship, “Skin” is one of the most satisfying pieces of ultra-violent fiction I’ve read this year. It’s an easy entry-point for those unfamiliar with Mike Hammer, yet there are plenty of series Easter eggs for long-time fans to enjoy. “Skin” is simply a masterpiece of short crime fiction. I promise you won’t be disappointed. Highest recommendation. 

Buy a copy of this book HERE.

Johnny Liddell #04 - Bullet Proof

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.

Buy a copy of this book HERE

The DaVinci Rose

Jim Henaghan (1919-1984) was a well-known columnist for The Hollywood Reporter with a reputation for bluntness and candor that often rustled the feathers of the showbiz industry’s establishment. He also worked as a rewrite man for Paramount and was an executive for John Wayne’s production company. Under the pseudonym of Archie O’Neill, he authored a five-book adventure series starring Jeff Pride that earned the admiration of Mickey Spillane. The first novel in the series was 1973’s The DaVinci Rose.

Jeff Pride is a former international private investigator turned travel agent (back when that was a thing) who bounces around the world with his sexy Asian-American secretary-sidekick Cherry. Cherry wants to get romantic with Jeff, but he thinks that would be unwise for a number of valid reasons that I’ll let Jeff explain to you when you read the book. Cherry’s flirtation with her boss is a running gag in the novel and presumably the series. In any case, she’s a perfect sidekick character for a novel like this.

As the paperback opens, Jeff is in his Israeli hotel room when he awakens to find the corpse of a guy in a suit lying on the ground next to his bed. An altercation in the room brings Israeli police into the picture. The cops take Jeff’s passport pending further investigation. For his part, Jeff figures that the situation arose from his heroic past rather than his benign current job as a travel consultant.

The killing, violence and skullduggery all concerns a missing art piece - a ceramic rose hand-crafted by Leonardo da Vinci. Dangerous people think that the dead guy in the hotel delivered it to Jeff who actually knows nothing about the damn thing. One thing leads to another and Jeff agrees to get back into the investigation game and find the ceramic rose.

I really enjoyed The DaVinci Rose primarily because Jeff Pride is such a great narrator. The action took the character all over Israel balancing a treasure hunt adventure with a hardboiled mystery. I’m looking forward to reading the next installment. Recommended.

Buy a copy of this book HERE

Jerry Long #01 - Code Three (aka Dead Shot)

James M. Fox was actually Johannes Matthijs Willem Knipsheer, a Dutch author born in 1908. He moved to Los Angeles after WWII and started writing mystery novels. His best known work is the Johnny and Suzy Marshall series, published between 1943-1957. My first experience with Fox is his three book series of police procedural novels starring Detective Sergeant Jerry Long. To test the waters,  I tried the series debut, Code Three, originally published in hardcover by Little Brown in 1953. It was published as a paperback in 1955 by Bantam under their Pennant Mystery brand (P79). At some point the book was also published as Dead Shot. 

Jerry Long, and his partner Chuck Conley, are called to the scene when a dead body is found under a tree in the park. The dead guy's gruesome appearance suggests he had been given the boots by some tough guys and then dumped. The only identification is a tattoo, which prompts Long to call his buddy at the precinct's records department to inquire about it. 

The dead guy is identified as a local bookie, so Long pursues the guy's ex-wife, a fleeing woman named Jenny, to get some answers. When he drives up to her apartment, guns explode and the woman runs for safety. Later, Long connects the clues that lead to a powerhouse mobster named Manny. Where the book gets really interesting is that Long, who's a city detective, collides with the county sheriff's office. The tug-of-war is one of those “you're traipsing on our turf” territorial disputes. However, Long finds evidence that Manny is controlling the county cops, which forces him on the outside of the investigation. 

Code Three reminded me of a 1958 paperback called City Limits, the second installment of the Mike Macauley series written by Richard Deming using the pseudonym Nick Marino. The central plot of the city versus county law enforcement is similar, complete with the mobster and the hero colliding. Typically, these story elements are often found in crime-fiction detective novels. Adding to the gritty, hardboiled style, I found Fox's writing similar to Mickey Spillane – blood and guts, tough guy talk with fisticuffs, babes, and cold steel. 

My major drawback to Fox's Code Three is the story seems jumbled, fragmented, and often dense in the details. I had a very hard time understanding what was happening, and couldn't quite comprehend the flow of events. Even at a relatively short 120 pages, I struggled to finish this book. I found myself counting pages, which is a surefire signal that I'm completely lost. I love the main character, found his tactics compelling, but the plot development and presentation was jarring. I'm not giving up on Fox with just a small sample size. But, surely you can do better than Code Three if you want to sample the author's work. Buy a copy of this book HERE.

Jerry Long Series

1. Code Three (aka Dead Shot) 1953
2. Free Ride (1957)
3. Dead Pigeon (1967)

The Devil's Daughter

We really have gained some mileage out of Stark House Press's Lion Trio 3. This recently released omnibus features new editions of three rare, long out of print Lion paperbacks. We covered Sin Pit (Lion Book #198, 1954) by Paul Meskil HERE and HERE. Also, we covered Dark the Summer Dies (Lion Book #138, 1953) by Walter Untermeyer Jr. HERE. This review is for the third and final book in the collection, The Devil's Daughter. It was authored by Peter Marsh, a pseudonym for Alan Williams (1890-1945), and published as Lion Book #16, 1949. The omnibus is prefaced with an insightful article by Paperback Parade's Gary Lovisi detailing the history of these novels and reasons that they remain classics of dark crime-noir. 

The Devil's Daughter is a unique book, told in a conversational way between two people, Michael Perry and Laura. This storytelling style isn't something new, most recently having been used by Stephen King for the Hard Case Crime novel Colorado Kid (2005). Generally speaking, one would think reading a conversation shouldn't be an edge of the seat thrill-ride. However, if done well, the characters in the present day – the mood, emotions, character development – should progress to match the dark history, suspense, excitability of the past events they are presenting. In that regard, Williams is an absolute scholar and creates two dynamics, the mysteries unfolding in the past through this conversation and also the two characters adapting to each other's account as they slowly begin to change emotionally. It's a superb reading experience. 

Michael Perry runs a nightclub and resides in a posh apartment above it. He's a corrupt character that routinely uses cameras to spy on the women's restroom and microphones to listen to patron's conversations at the bar and nearby tables. While the reader can speculate that Michael is into a lot of bad stuff, on paper he is mainly just a drug dealing pervert. Laura, a stunning beauty, catches his eye and eventually he invites her upstairs to his apartment. It's here that Laura discovers mirrors on the ceiling, different types of cigarettes for drug “moods”, and the not so discreet cameras and microphones. Michael, wrought with desire for Laura, confesses he likes to have a good time. 

Before Laura agrees to fool around, she wants Michael to hear a story. Taking the bait, Michael agrees and this is how the reader is submerged into both characters' histories. Through the course of the conversation, Michael realizes he does know Laura, and that she was a part of his shady criminal past. When Laura explains that she has systematically seduced and murdered many of Michael's former allies, the novel takes a bleak, but enjoyable, turn into some really violent events. It is a race to the end as the body count stacks (in Laura's tale). Will Michael suffer the same fate?

The Devil's Daughter is a unique book for all of the storytelling techniques I've alluded to already. However, as a reading experience, the author pulls no punches. There are a lot of elements in this novel that are somewhat uncommon for 1949. The time-period was a pivotal point in crime-fiction. The 1940s was the birth of the paperback original, but also as the decade came to a close, Mickey Spillane's 1947 smash hit I, the Jury really pushed the boundaries of what writers could say and do within the context of their story. 

Williams injects the gritty, violent determination of prohibition era bootleggers and the extreme nature of their business practices smoothly into the book's narrative. It is punctuated by a captivating, unforgettable scene that is written in a tremendously violent way. It's nearly an unprecedented chapter that wasn't typical of a consumer “everyday” paperback. This culmination into ruthless aggression was an obligatory portion of the plot's development, another staple that binds these characters together in a turbulent way. 

If you enjoy clever, well-written novels that stray from the path of least resistance, then The Devil's Daughter will certainly be an entertaining, worthwhile investment. Combining this novel into a collection with the exceptional Sin Pit makes the price of admission an easy expenditure. Stark House Press has outdone themselves again. 

Buy a copy of this book HERE.

Everybody's Watching Me

“Manhunt Magazine” was a hardboiled crime fiction digest that first hit the shelves in January 1953. The first four issues featured a serialized short novel by Mickey Spillane called “Everybody’s Watching Me” that was also reprinted by Manhunt in 1955. The story runs about 100 pages and was brought back for yet another Manhunt encore in 1964 under the new title, “I Came to Kill You.” It exists today as an affordable eBook and a paperback reprint.

“Everybody’s Watching Me” isn’t a Mike Hammer story but instead is told by a young laborer named Joe who delivers a threatening message to a local gangster named Renzo from an enigmatic killer named Vetter. The mobster is a “kill the messenger” kinda guy who beats young Joe unconscious for the audacity of simply delivering the note.

The note is from the mysterious Vetter is taken seriously since he recently knocked off a mob underboss and has everyone in the underworld on edge. What is Vetter’s agenda? Is he a rival godfather looking to take over the local rackets? Renzo suspects that Joe knows more than he’s admitting regarding Vetter, and he has Joe followed by surveillance goons hoping that the kid will lead the mobster to Vetter.

Joe has no information to provide anyone about this “assassin of mobsters,” and he - along with a sexy showgirl he meets along the way - finds himself in the middle of underworld tensions and the police. All these concerned parties are hoping that the naive Joe will lead them to Vetter.

Despite a cool setup, the story of Joe running around both manipulating and being manipulated at the eye of a mafia storm isn’t all that compelling. However, the last scene of this novel is just awesome and features a plot twist that I never saw coming. Ultimately, I suppose it was worth the hundred pages of my attention.

Buy a copy of the book HERE

Johnny Killain #03 - Doom Service

Before his popular Earl Drake series of heist adventures, Dan J. Marlowe authored a five-book series of hotel detective novels. Beginning with the 1959 debut, Doorway to Death, Marlowe introduced Johnny Killain, a brawny WW2 veteran who works nights at the Hotel Duarte in New York City. The author's consistent cast of characters includes Sally, the building's switchboard operator who also serves as Killain's main squeeze. I was thrilled with the series first two installments and I have been anxious to read the third entry, Doom Service (1960).

In the book's opening chapter, Killain receives a call from a bartender at the Rollin' Stone Tavern asking for him to pick up “his boy”. Readers quickly learn that the boy is Sally's brother Charlie, a young and successful boxer. Earlier in the night, Charlie experienced his first loss in a high-profile bout. Many think the match was fixed and that getting knocked-out in the sixth round was actually a high-priced dive. Killain finds Charlie nearly dead drunk at the bar and offers to take him home. However, two armed thugs barge into the bar and Charlie is fatally shot.

Readers follow Killain as he backtracks the events leading up to Charlie's boxing loss. In doing so, Killain stumbles upon the lucrative gambling circuit and a high-roller named Manfredi. Killain learns that Charlie was supposed to lose in the fourth round and that Manfredi had lost a fortune on the fight. Adding to the confusion is Sally's discovery that Charlie was holding over $100K in his bank deposit book. Was this a payout to lose in the fourth or sixth round? Did someone “re-fix” the fight for the sixth round to throw Manfredi? The answer is buried in a cast of boxing characters from referees to fight veterans, from ringside doctors to journalists. By attempting to solve Charlie's murder, Killain exposes the city's core of corruption.

Despite its silly name, Doom Service was an iron-fisted, hardboiled crime novel that should appeal to fans of the “no nonsense” approach of Mickey Spillane. There's crooked guys, shady ladies and a lot of tough guy, knuckle-up negotiations. Marlowe spends a few chapters revealing the intricacies of Sally's inheritance in terms of IRS regulations, estate taxes and monetary penalties. I'm guessing that Marlowe wrote this in the midst of settling his wife's estate – she died in 1957 – or this was simply an exercise to reveal what he learned from the experience. It felt a little out of place, but eventually circles back to the central story and ties in to Charlie's possession of the funds.

Doom Service is on par with the first two Johnny Killain novels although I would be remiss if I didn't criticize the author's setting of the story. I enjoyed the prior books due to Killain working inside of the hotel, not out of it. This novel puts more emphasis on Killain as a private-eye, including romps with a sexy secretary and a lounge act singer. I think I prefer Killain solving mysteries involving dead guests or murder inside the hotel. Nevertheless, Doom Service delivered high-quality goods right to my doorstep.

Buy a copy of this book HERE

Paperback Warrior Unmasking: Who Is Jack Baynes?

Jack Baynes was a pseudonym employed by Fawcett Crest for four paperback original crime novels starring Chicago private eye Morocco Jones published between 1957 and 1959. Recent eBook reprints of the novels brand the books as the War Against the Mafia series, a name that rings more than a few bells for us. Neither the original 1950s paperbacks or the 21st century eBook reprints answer the critical question:

Who the hell was Jack Baynes?

Bertram Baynes Fowler (1893-1981) was an editor and writer at the Christian Science Monitor with an interest in history and economics. He was also a popular public speaker on social science topics in the 1930s and 1940s. He wrote several non-fiction works advocating the formation of cooperative institutions such as credit unions and food co-ops as an alternative to the top-down approach of corporatism. Fowler viewed cooperative organizations as a way to split the difference between cutthroat capitalism and centralized government socialism at a time when America was struggling with those questions in the wake of the Great Depression and World War 2.

In the world of fiction, Fowler left only a few footprints behind. He sold two short stories to the pulps in 1936 using the pen name B.B. Fowler. In August 1936, Dime Mystery Magazine published his novelette School for Madness. He also delved into horror fiction with his story Huntress from Hell published in the October/November 1936 issue of Horror Stories magazine.

Diving into inconsequential paperback crime fiction during the late 1950s must have been a fun diversion for the writer, particularly with the commercial success Mickey Spillane was achieving at the time with his Mike Hammer stories. Recall that in the 1950s, paperback originals were lowbrow pop culture for the masses. As such, a writer and thinker whose ideas were often cited in economics journals would understandably want to publish his violent and tawdry fiction under the veil of anonymity that the Jack Baynes pseudonym provided Fowler.

The copyrights were never renewed on the Morocco Jones series which created an opportunity to bring these now public domain books back to digital life for an enterprising reprint house called Deerstalker Editions. The publisher is owned by Jean Marie Stine, a former editor at Leisure Books and assistant to Star Trek creator Gene Roddenberry. On her blog, she says that she changed the titles of the Morocco Jones series because the originals “seem to have been created by an inattentive editor.”

The order and title variations of the Morocco Jones series are:

1. Meet Morocco Jones (1957). Reprinted as Morocco Jones and the Syndicate Hoods
2. Hand of the Mafia (1958). Reprinted as Hand of the Syndicate
3. The Peeping Tom Murders (1958). Reprinted as The Syndicate Murder Cult
4. The Case of the Golden Angel (1959). Reprinted as The Syndicate’s Golden Angel

Buy the books HERE

Fannin #1: Epitaph for a Tramp

Before experimental, avant-garde novelist David Markson (1927-2010) became a highly-regarded Greenwich Village literary figure, he wrote two hardboiled noir paperbacks for Dell starring private investigator Harry Fannin. The novels were “Epitaph for a Tramp” (1959) and “Epitaph for a Dead Beat” (1961). The books have been reprinted several times and even compiled together, but neither have been legally digitized for Kindle as of this writing.

“Epitaph for a Tramp” (also released as “Fannin” for a 1974 Unibook reprint) is narrated by Fannin, a former University of Michigan halfback, former newspaperman, former U.S. Army soldier and current private detective living a sweaty and lonely existence in a Manhattan fleabag apartment with his books. One sleepless night at 3:30 a.m., Fannin is greeted to his door buzzer ringing. The uninvited guest is his estranged ex-wife Cathy, whom he hasn’t seen in a year. Upon arrival, she collapses into his arms and dies moments later from a stab wound in her chest. Client or no client, Fannin now has a murder to solve.

We quickly learn that Cathy was no angel during their marriage. She was, in fact, the kind of tramp you’d mention in a paperback book title. I won’t spoil the details but the flashback chapter detailing the trajectory of the marriage between Fannin and Cathy was a helluva ride unto itself and makes the reader want to know more about this girl. The good news is that Fannin also wants the facts, and the reader is along for the ride.

Fannin is a thinking-man’s hardboiled private eye. He makes with the funny wisecracks (like Shell Scott) and genre tough guy talk (like Mike Hammer), but he’s also smart as hell and drops a lot of literary references along the way - T.S. Elliot and Dashiell Hammett among them. The good news is that none of this gets overly pedantic, nor does it get in the way of a great story.

Some of the characters Fannin encounters are drawn with some rough stereotypes that likely wouldn’t fly today. I always enjoy those moments in classic fiction because they help measure the passage of time and the changes in attitude over the past 60 years. If consumed correctly, books like this can be a valuable time capsule of social norms. However, if you require contemporary politeness to fictional characters in vintage paperbacks, “Epitaph for a Tramp” probably isn’t for you.

It’s also a violent read. A character gets tied to a chair in and burned with a lit cigarette. There are quite a few graphic beatings as Fannin stalks the New York streets in search of the bad decisions that led to Cathy’s fatal stabbing. The author clearly took the template of Mickey Spillane’s successful Mike Hammer series and turned the volume up to 11 with an extra twist at the end. It’s both a mystery and a vendetta story, and it’s one of the finest novels I’ve read this year - a highly recommended, absolute must-read.

Buy a copy of this book HERE

Ed Rivers #04 - Start Screaming Murder

One of the best parts of reading vintage paperbacks from the Mid-20th Century is bearing witness to how societal norms of behavior have changed. From the expression of brutal racial stereotypes to slapping women when they become hysterical, we’ve come a long way as a culture over the past 60 years. So, when I read the back cover of Talmage Powell’s “Start Screaming Murder” from 1962 and saw that the story finds hardboiled private eye Ed Rivers “consorting with midgets and freaks,” I needed to know more.

Between 1959 and 1964, Powell wrote five paperbacks starring Rivers, one of the many hardboiled fictional heroes that arose in the wake of Mickey Spillane’s commercial success with his Mike Hammer series. The Ed Rivers novels can be enjoyed in any order, and the series is now available as affordable eBooks for today’s readers.

Rivers is a wisecracking agent for the Tampa office of the Nationwide Detective Agency. After coming home one evening to find a sexy, three-foot woman named Tina in his apartment, Rivers explains to the reader that Tampa is a winter home for many carnival workers, so the town has a lot of “little people” waiting for their employers to get back on the road in the Spring. Anyway, Tina is a hot little dish who hires Rivers to protect her from a sap-wielding admirer - a former carny - who won’t take no for an answer. Tina can’t go to the police because she’s worried about negative publicity affecting her ability to give up the carny life and segue into Hollywood productions.

To his credit, the author resists the impulse to make Tina into a cartoonish joke because of her size (the way, say, classic pro-wrestling always did). Instead, Tina is a fully-realized character with intelligence, feelings, and aspirations. She’s a woman who needs the help of a protector, and Rivers is there to play that role for her.

“Start Screaming Murder” begins as a classic manhunt tale with a stalwart, but flawed, hero hunting a villain for the purpose of kicking his ass and delivering a warning to stay away from little Tina. It pretty quickly becomes a murder mystery - the kind where the hero needs to solve it himself to clear his own name and reputation. The action later evolves into part maritime adventure infused with some Cuba intrigue.

Overall, what we have here is a better-than-average private eye novel consistent with the genre conventions of 1962. It’s not going to be the best book you’ve ever read, but it’s an enjoyable diversion for a few hours. I’d even re-visit more Ed Rivers novels if in the mood for a straight-up P.I. story. Recommended.

Buy a copy of this book HERE

Vendetta

Joseph Gilmore's biggest contribution to the men's action-adventure genre is the Nick Carter: Killmaster series. Beginning with Strike of the Hawk, Gilmore authored eight series installments from 1980 through 1985. According to Glorious Trash, Gilmore also wrote Operation Nazi – USA under the name James Gilman. My only experience with the author is his 1973 vigilante-styled paperback Vendetta, published by Pinnacle. The novel was re-printed in 1976 with the pictured cover art.

New York patrolman Alex Braley is on a mission to knock off key players in the illegal drug distribution game. While most 70s vigilante novels begin with the protagonist's loved ones being murdered, Gilmore takes an abstract approach. Instead, there's a brief explanation that one year ago Gilmore's wife got hooked on drugs and died from a poisonous batch. There's not a single individual or crime ring to avenge, so Braley starts with the top drug distributors and works his way down. Thus, the book begins with Braley hogtying a higher echelon gang leader before delivering the brutal kill shot to the cranium.

Like Robert Lory's Vigilante series, Braley conducts himself like a straight-laced citizen to his friends, peers and co-workers while secretly planning mob hits. He utilizes a local book shop to purchase mystery and crime novels. In one hilarious scene the store owner condemns the Perry Mason novels and proclaims that Mickey Spillane and Don Pendleton are far superior. Braley normalizes his everyman persona. He plays golf and racquetball, and as the narrative becomes a bit more dynamic, Braley even delivers a West Coast hit while portraying to co-workers that he was on a much-needed vacation in Bermuda. That's ballsy.

During the the Los Angeles killing, Braley falls in love with a single mom. This relationship begins clouding Braley's vigilante mentality. While delivering fatal blows to the Syndicate, it is Braley's love interest that starts to align his fake persona with reality. Soon, the NYPD begins sniffing Braley's trail to determine if he is the mob assassin. Gilmore takes the action from the West Coast, into Seattle, New York, Vermont and even Europe in a grand globe-trotting pursuit.

But is any of it really original or engaging?

Not particularly. In fact, this is like Pendleton's Bolan without the originality. As the pages turned, I was reminded again on how good Don Pendleton's The Executioner novels are and the direct, albeit phony, comparison Gilmore makes to that innovative series. Vendetta isn't a terrible novel. Depending on how many 70s men's action-adventure novels you read in a year, this novel may perform better than expected. For me, I'm averaging 10-12 books per month and understand there are far better novels of this variety.

Buy a copy HERE

The Fifth Grave

The legend of Jonathan Latimer’s 1941 novel The Fifth Grave is likely more famous than the book itself. Here are the facts:

In 1940, Chicago journalist and crime fiction author Jonathan Latimer (1906-1985) wrote a hardboiled novel called The Fifth Grave with lots of sex and violence. It’s about a hard-drinking private eye seeking to rescue a woman from a bizarre religious cult. Because of the era, no one cared about the boozing or considerable violence, but the sex (tame by today’s standards) made U.S. publishers nervous. As such, they declined to make the book available to American readers.

British publishers were more forward-leaning and released the novel in 1941 under the title Solomon’s Vineyard, and it became a minor literary hit. In 1950, a censored version retitled The Fifth Grave (the author’s preferred title) was released for U.S. audiences with the juicy and scandalous stuff about the narrator’s sex drive (he’s drawn to female butts) removed. When cheap paperbacks became the rage, U.K.’s Great Pan books reprinted the original version - along with other Latimer books - to the further delight of British readers. Meanwhile, the uncensored version of Solomon’s Vineyard never received a U.S. printing until 1983.

In all fairness, it’s more likely that the novel merely slipped through the cracks rather than continued censorship by shadowy puppet masters. The publishing world can, at times, have short memories and resurrecting a novel that had been a hit in England four decades earlier just wasn’t anyone’s priority. It’s fun to say that The Fifth Grave was “banned in the U.S. for 42 years,” but the truth is more benign. It wasn’t until 1983 before it occurred to a wise reprint house to release the unexpurgated original manuscript.

Several different versions of the book have been published over the years. The new edition from Black Gat Books is the definitive, uncensored version reprinted under the author’s preferred title.

The Review:

Karl Craven is The Fifth Grave’s narrator, and he’s a private detective cut from the same cloth as Dashiell Hammett’s Sam Spade or the Continental Op. Think of this generation of fictional characters as Hardboiled 1.0 before Mickey Spillane redefined the genre.

As the novel opens, Craven arrives by train into the fictional town of Paulton from his hometown of St. Louis, Missouri during the sweltering summer heat. On his way to the hotel, he notices a distant set of buildings around a temple surrounded by green fields and grapevines. He’s told that the compound belongs to a religious colony known as Solomon’s Vineyard populated by a thousand crazies awaiting the resurrection of their dead founder, an alleged prophet named Solomon.

Craven was summoned to Paulton by his business partner, Oke Johnson, who was in town working a case. When Craven arrives at Oke’s rooming house, he’s greeted by the local police advising him that his partner has been murdered. Oke was trying to recover a missing girl from the nearby religious cult, and he died without leaving behind any notes or reports. As such, Craven needs to recreate the entire investigation himself, snatch the dame, and get away safely while solving Oke’s murder in the process.

What follows is quite a journey of sex, violence, and corruption. Paulton is a town under the control of a gangster named Pug with the police serving as his toadies. There’s a possible relationship between the local mob and the cult that may provide Craven the leverage he needs to rescue the girl living at the Vineyard. The adventure finds Craven descending into a series of real binds without an obvious path to success. Also, if you like a violent fight scene, the one at the end is total aces.

I have a general bias against crime fiction of the 1940s, but The Fifth Grave is the exception. This book is awesome - even if it owes quite a bit to Dashiell Hammett’s Red Harvest. Craven is such a badass main character (he even reads Black Mask Magazine in his hotel) that I wanted to spend more time with the guy. Unfortunately, the author never developed Craven into a series character, but Latimer wrote several unrelated novels throughout his career. I look forward to exploring Latimer’s body of work more fully. The Fifth Grave is a close-to-perfect novel. Highest recommendation. 

Buy a copy of this book HERE.