John Marshall Tanner #01 - Grave Error

Stephen Greenleaf (b. 1942) graduated from Carleton College in Northfield, Minnesota and earned a law degree from the University of California at Berkley. He enrolled in the University of Iowa's Program in Creative Writing in the late 1970s and at the age of 37 his debut book, Grave Error, was published. The novel, the first of the author's 14-book series of private-eye novels starring San Francisco resident John Marshall Tanner, was published by New English Library and The Dial Press in 1979. Since then, the book has been published by Ballantine (1982), New English Library (again in 1983), Bantam (1991), and now exists in paperback and ebook from Mysterious Press (2016).

John Marshall Tanner's brief history is recapped in this kick-off opener. Tanner is originally from Iowa and lost his parents when he was 19. He had a stint in the U.S. military, serving in the Korean War, before earning a law degree and becoming a hard-fighting attorney in San Francisco. Years ago, a client Tanner represented lost his life savings to a corrupt securities firm. When the equally corrupt Judge ruled against his client, Tanner pushed back by legally trying to oust the Judge from power. It backfired and the crooked justice system nearly jailed Tanner and forced him into a suspension of his law license. Rather than continue to fight in the courts, Tanner took to a private-eye career – a move that has mostly paid off. Tanner does well enough and has a secretary that balances his books, makes appointments, and stays out of his bed.

In Grave Error, Tanner takes an investigation to look into a client's husband, a man named Roland Nelson. Nelson is a wealthy entrepreneur that runs an equal rights and equal employer institute that brings the downfall and ridicule to public companies that break the rules. He's a power broker with a team of heavy-duty execs. But, Nelson's wife wants Tanner to look into a recent week-long disappearance Nelson experienced a few months ago. She feels that Nelson is being blackmailed and has signs of despondency and erratic behavior. 

As Tanner digs into the investigation he learns that Nelson's daughter has hired an investigator of her own, a colleague and good friend of Tanner's named Harry. Somewhere in Harry's investigation he uncovered too many secrets, a feat that earned him two fatal shots to the head. Tanner takes the murder personally and wants to learn what Nelson is hiding and also what Nelson's daughter hired Harry to investigate. It turns out they aren't necessarily related investigations. 

As the fires are lit and the tires are kicked Tanner finds himself mired in a 20-year mystery that stems from a small desert town in the valley. Here the combination of Nelson, his wife, and adopted child crash into a fiery intersection with a man who's been missing for decades, a mysterious birth, and a murder. This epic search leads to some really dark and dirty shenanigans within the Nelson family. And  death. Lots of death.

The Chicago Tribune described Stephen Greenleaf as “...the legitimate heir to the mantle of the late Ross MacDonald”. The John Marshall Tanner series generally receives positive reviews with comparisons made to the Lew Archer character, complete with the “West Coast” detective feel. I got a Loren Estleman (Amos Walker series) and Jonathan Valin (Harry Stoner series) vibe from Greenleaf's writing. One character describes Tanner as “too glib for his own good”, which is a great description. Tanner is mostly quiet and keeps to himself. He rarely discloses his purpose when interviewing suspects and he refrains from offering any key details to law-enforcement. The general theme is that Tanner pushes against authority, evident with his legal fight with the corrupt Judge and an “against-the-grain” unilateral investigation that defies a local town police force (the witty dialogue jabs with a Sergeant Cates are worth the price of admission). 

There's isn't a lot of action in Grave Error but there are other series titles that can provide more of that  (anything men's action-adventure by Belmont Tower in the 70s). Tanner and this series debut are about deep character studies and the familiar dissection of people, places, and things. If you love a great mystery and gumshoe journey look no further than Tanner and Grave Error. Greenleaf is simply awesome. 

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Chip Harrison #03 - Make Out with Murder

The Chip Harrison series by Lawrence Block is a very interesting anomaly in his career. The first two books are first-person adolescent sex romps ostensibly authored by a horny teenage boy named Chip Harrison. The novels are delightful coming-of-age narratives written in the colloquial style of J.D. Salinger’s A Catcher in the Rye.

Thereafter, Block resurrected the character for two more novels and a short story that fall squarely into the mystery genre. 1974’s Make Out With Murder is the the third Chip Harrison paperback, but the first Chip Harrison mystery.

The story is an overt Nero Wolfe pastiche or parody. In his quest to find “A Job with a Future,” Chip accepts an apprenticeship with a quirky armchair private investigator named Leo Haig. Chip does the legwork on the streets, and Leo connects the dots to solve the cases with his allegedly-superior mind.

The underlying mystery in this installment involves a hippie chick who dies of a heroin overdose. Chip is convinced it was a murder and sets out to solve the case with Leo directing traffic from his home.

It’s a pretty basic mystery of the “interview lots of people and get your ass kicked occasionally” variety. But analyzing this as a mystery novel misses the point: This is a Chip Harrison novel, and he’s one of the most lovable lead characters in genre fiction. He’s earnest and funny and smart and wants to get laid like a normal, young guy. He’s the kind of narrator you want to spend time with regardless of the plot.

There are lots of references to the works of other mystery authors including Rex Stout, Ross Macdonald, Arthur Conan Doyle, and Fredric Brown. Fans of the whodunnit genre will have a good time here. It’s not Block’s masterpiece, but it’s definitely a breezy, fun read. Recommended. 

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Say it was Murder

Stephen Mertz (b. 1947) is a mystery, action-adventure, and short-story writer that has contributed, or created, series titles like M.I.A. Hunter, Kilroy, Cody's Army, and the wildly successful Cody's War. He cut his teeth in the literary world as a Don Pendleton protegee, penning 12 novels in the hit series titles The Executioner/Mack Bolan from 1982-1986. He's utilized pseudonyms like Cliff Banks, Jim Case, Stephen Brett, and Jack Buchanan. But, perhaps his most descriptive name is “Mojo”, a moniker that friends and family (one in the same) use to describe Mertz through the lights, heat, and haze of a blues bar on the edges of a middle-of-nowhere Arizona town. In fact, the author's newest book is a love letter of sorts, an outlet to profess his love for the magical place he resides in.

In Say it was Murder, published in 2022 as a revised version by Rough Edges Press, Mertz describes Cochise County as Big Sky country. This slice of Southeastern Arizona paints the U.S. and Mexico border, a beautiful 100-miles stretch of open prairie and rugged mountains not to be confused with The Grand Canyon, Phoenix, or Tucson. Mertz places his private-eye protagonist, a fellow named McShan, in Bisbee, the real-life, neo-hippie small-town that he frequents. Mertz, through his fictional hero, experiences a profound connection with the area:

The desert will either chew you up and spit you out or will touch you in ways that are as deep and mysterious as they are difficult to express.

The fondness that Mertz fosters of the land and its lush beauty is only rivaled by one thing, his sincere love for crime-noir. In Say it was Murder, the author steps into the shoes filled by his literary heroes like Mike Hammer and Ed Noon. In fact, Mertz's private-eye, McShann could be a nod to private-eye Rex McBride, authored by Cleve Adams and Mike Shayne, created by Davis Dresser using the name Brett Halliday.

Like Mertz's other private-eye, Kilroy, McShan operates out of Denver, Colorado, a city that also holds a special place for the author. McShan is employed by Honeycutt Personal Services, a large agency with offices in every state specializing in detectives, cybersecurity, bodyguards, and kidnapping protection. This enterprise of ex-military and law-enforcement is ran by Miss Honeycutt, a 63-year old heavyset woman that inherited the agency from her father.

McShan's newest assignment is aiding a client named Marna, a divorced mother that hired the Honeycutt agency to find her missing daughter. When McShan arrives in Cochise County, he learns that the woman's daughter, Janine, has joined a mysterious religious sect. As McShan digs into the case, he learns more about Janine's step-father, a wealthy entrepreneur with a very violent streak. Connecting the dots, the case leads into energy and land development, illegal human-trafficking, incest, and the weird cult-like organization that has a grasp on Marna's family. 

Comparisons are made to Ross MacDonald's fantastic Lew Archer series, and that may be valid, but I felt that Mertz's characters were wilder and more diverse. McShan contends with a deadly lesbian biker and her maniacal brother, the town's barber. I also felt McShan was more reserved in his approach, keeping the dialogue, brief and more directly linked to the case. There is a sexy smoothness to Mertz's inclusion of a blonde bombshell, a potential – seemingly obligatory – love interest for the gumshoe hero. 

With its sturdy, well crafted plot, vivid locale, surprise twist, and shocking ending, Say it was Murder is a brisk, highly-satisfying crime-thriller by one of the genre's best storytellers. 

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Inspector Sands #02 - The Iron Gates

Along with her contemporaries like Dorothy B. Hughes, Charlotte Armstrong, Dolores Hitchens and Helen Nielsen, California native Margaret Millar helped solidify the presence of talented female mystery authors in the 1940s and 1950s. She wrote over 25 original novels, mostly as stand-alone works. However, her first three novels starred a Canadian sleuth named Dr. Paul Prye and she repeated that creation with another Canadian detective, Inspector Sands. 

The Toronto homicide detective starred in Wall of Eyes (1943) and The Iron Gates (1945), as well as a short story called "The Neighbors Next Door" in a 1954 issue of Ellery Queen Mystery Magazine. I chose to read the latter novel based on an article by Curtis Evans (via Stark House Press) praising the book. It has been reprinted multiple times in hardcover, paperback, and most recently as an audio book. It was also printed in the U.K. as Taste of Fears.

In The Iron Gates, Millar's prose is pure psychological suspense. In the book's opening chapters, Lucille Morrow is mourning the unusual death of her friend Mildred. These scenes are beautifully written and drape the imagery in a white pane of frosted glass reflecting Lucille's loss and mental anguish. It's a hazy precursor to what eventually occurs later in the book as a historical flashback or retelling. 

Later, readers learn that Lucille is now married to a retired physician named Andrew, Mildred's previous husband. She is the stepmother of his two adult, but childish, kids and the in-law to his worrisome sister, all of which reside in the same house. Due to the death of Mildred, and Andrew's replacement of her with Lucille, there are strict dividing lines in the household based on suspicions and shifting judgments. These alliances and strategic family placements play into the novel's central themes of jealousy and lust.

Inspector Sands becomes involved in the narrative when Lucille goes missing. There's early discussion between characters about a nearby park where a grisly murder took place. There's a cautionary tale told about a wandering ax-man preying on park guests. The idea that Lucille is missing, the nearby murder, Mildred's prior death and this strange ax-man all play into the mystery. Sands doesn't know what to believe and finds the family obtuse about Lucille's whereabouts. Only Andrew seems genuinely concerned about her well-being, opening up a string of guesses on which family member committed murder.

The book takes an interesting twist for the second half. Without spoiling the plot development, a major character ends up in a mental asylum behind “iron gates”. Her reason for being there is cloudy, leaving Sands and a detective to investigate the events surrounding her confinement in the asylum. Most of the book's second half does take place in the asylum as the character interacts with other mental patients and the hospital's staff. I enjoyed these parts of the story, but felt it was a little distracting at times. The behavior of the patients and their involvement in the main character's psyche definitely contributes to the story's development, but it's a marathon. 

As a psychological suspense novel, Millar conveys a lot of emotion in her writing. I enjoy the shading she provides as she draws out each character for the reader to suspect. As I learn more and more about female mystery authors of the 20th century, my research always leads to Millar. She was a a real talent and sadly isn't as relevant now. Her work is mostly forgotten aside from a few reprint houses still preserving her novels. Her spouse, Ross MacDonald, the creator of the California detective Archer, is in more abundance, but honestly Millar may have been the one to read all along. 

The Iron Gates was optioned for film to Warner Brothers and allegedly Millar wrote the screenplay. It was to star either Bette Davis or Barbara Stanwyck, but the film never came to fruition. This novel remains rather timeless and would make for a great modern film with it's real world complexity. My vote is for director David Bruckner (The Night House, The Ritual). Anyone have his number? 

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Do Evil in Return

Margaret Ellis Millar (born Margaret Ellis Sturm, 1915-1994) was a mystery writer originally from Ontario, Canada. In 1938, Margaret married Kenneth Millar, the author who used the pseudonym Ross Macdonald to create and write the bestselling Lew Archer character. Margaret Millar authored over 25 novels, including series titles like Paul Pry, Inspector Sands and Tom Aragon. My first experience with Millar is her 1950 Dell paperback Do Evil in Return. In 2006, Stark House Press reprinted the book as a double along with the author's 1957 novel An Air That Kills.

Charlotte Keating is a private-practicing physician who lives and works in a small town in the Pacific Northwest. One evening before close she receives a young woman named Violet. Desperate for help, Violet tells Charlotte that she is a married woman from Oregon who had an affair with a married man and is now four months pregnant. The purpose of her visit is to request Charlotte to perform an abortion. Charlotte rejects and explains that the term of pregnancy is too advanced while reminding Violet that abortions are illegal. Charlotte learns that Violet rents a one-bedroom apartment in town. While offering to bring her there, Violet runs away. 

Afterwards, readers learn about Charlotte's emotional problems. She has an extended relationship with a married man named Lewis. Her mental barriers are thick with a sense of insecurity, self-doubt and vulnerability. She wants Lewis to divorce his spouse or just have the internal fortitude to end their own long affair. With all of these underlining conditions, Charlotte somehow feels as if she has failed Violet.

On the other side of the city, Charlotte speaks with one of Violet's neighbors and has the impression that they are not pleasant people. After her visit, Charlotte shockingly learns that Violet’s body has washed ashore and all signs point to a suicidal drowning as the cause of death. 

Charlotte's brief participation in the young lady's life has now become rather dangerous and complex. Violet’s violent uncle and conniving husband break into Charlotte’s house and attempt to extort her for money. She refuses and things quickly become grim when a skeptical police detective starts asking questions about Charlotte's role in Violet's suicide. When Violet's husband and uncle are discovered with bullet holes in the head, Charlotte finds herself in a whirling nightmare.

Millar's plot was structured as a suspenseful mystery with a handful of characters who might have turned out to be a killer. I liked the author's inclusion of extramarital affairs and the way these characters viewed themselves and their marriages. Except for Charlotte, nearly all the characters were married and had difficult relationships. Millar’s unmarried characters "survive" the ordeal. It seems to me that Millar's suggestion is that two people can find independent happiness. 

While Millar is considered a mystery writer, I also like to think of Do Evil in Return as a stylish crime-noir. It has some detective procedural elements, the concept of an average citizen thrust into extreme circumstances and the alarming idea that an innocent person could find themselves guilty of a crime they didn't commit. These are all genre tropes that adapt uniformly to most of these crime novels of the mid-20th century. As a short read, I found it to be an entertaining experience. 

Note: There is an informative biography HERE that discusses Millar’s fascinating life, influences and her superb writing style. 

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Virgil Tibbs #01 - In the Heat of the Night

New York native John Ball (real name John Dudley Ball Jr., 1911-1988) worked as a newspaper and magazine reporter, a part-time Los Angeles deputy and a book review columnist for Mike Shayne Mystery Magazine. In addition to his three Talon police procedural novels, Ball also authored a seven-book series of novels starring African-American homicide detective Virgil Tibbs. The author is memorialized for the series' debut title, 1965's In the Heat of the Night. The Edgar Award-winning book was adapted to cinema in 1967, capturing five Oscars including Best Picture. After enjoying Ball's first Talon novel, 1977's Police Chief, I was anxious to read what is considered his finest work.

The book begins by introducing readers to Wells, South Carolina. It's the proverbial 1960s Southern small town where they can still smell the Civil War powder burning and probably always will. It's here where young cop Sam Wood patrols the city's streets on the graveyard shift. After a midnight lunch break, Wood discovers a dead body lying in the highway. After notifying police chief Bill Gillespie, Wood is instructed to immediately prowl the area for strangers. In a dark and cavernous train station, Wood finds a black man casually reading a paperback book. After discovering the black man has a wallet of cash, Wood hauls him in as the prime murder suspect.

Perhaps one of Hollywood's most treasured movie quotes is found in the book's fourth chapter - “They call me Mister Tibbs.” After the police question the black man, they learn that he is Virgil Tibbs, a veteran homicide detective from Pasadena, CA. As the narrative tightens, readers learn that Tibbs was trained in martial arts with a specialty in karate, judo and aikido. In addition, he's a veteran of the Pasadena police force, becoming a homicide detective after five years of patrol. It's also hinted that he may have attended an FBI school. Tibbs is a polymath, like Ball's favorite literature hero Sherlock Holmes. He is astute at problem solving with an almost supernatural attention to detail. But in the deep South of the 1960s, Tibbs finds he's in a different world.

As one can imagine, Ball explores the line between racial hostility and small-town justice. After learning that Tibbs is a highly regarded detective, Gillespie asks for his assistance with the corpse. Through character interviews, Tibbs learns more about the case despite the town's opposition that a colored man is leading the investigation. Tibbs, knowing that Gillespie and Wood are both inexperienced, is extremely humble and complacently accepts his role as a victim of racism. This is where Ball absolutely shines as a storyteller. Tibbs doesn't particularly care about the injustice, the racial hostility or Gillespie's browbeating. He's far above all of that, never in the ditch but up on the road. Tibbs is consumed by the murder mystery. Through the book's 150-pages, I don't recall Tibbs stopping for rest. Instead, he ascends to a plane of existence that only contains him, the murdered and the murderer. Thankfully, Ball doesn't make readers rest in this headspace. Instead, he presents the story by centralizing Wood and Gillespie. Readers rarely ride with Tibbs but instead are presented his findings just like Wood and Gillespie.

I'm probably off base here, but for some reason I couldn't help but think of Ross MacDonald's Lew Archer character. Tibbs isn't Archer, but the narrative's twists and turns reminds me of MacDonald's writing style. Or, it could just be that I'm aligning two West-Coast detectives. Nevertheless, In the Heat of the Night is a masterpiece of police procedural fiction. If you are a fan of the film, there are key differences in the novel. The film has Tibbs from Philadelphia, the murdered man as someone quite different and the suspects having different professions and roles. Most notably is that the film version presents Tibbs as an angered individual when faced with racism. As I alluded to earlier, the novel is the opposite. Thankfully, the old adage applies here: The book is better than the movie (or television show).

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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.

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Paperback Warrior Podcast - Episode 41

Paperback Warrior Podcast Episode 41 features an in-depth discussion of Ross Macdonald, including a review of the first Lew Archer novel.  We also talk about Robert B. Parker’s Spenser series, Lawrence Block, Frederick Lorenz, Harry Whittington, and much, much more! Stream the show on any podcast app, paperbackwarrior.com, or download directly HERE.

Listen to "Episode 41: Ross Macdonald" on Spreaker.

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

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

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

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

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

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

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

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

Meet Me at the Morgue (aka Experience with Evil)

Kenneth Millar (1915-1983) is a popular crime novelist better known as Ross Macdonald. The author wrote the highly regarded ‘Lew Archer’ detective series for three decades. To break the constraints of the detective model, he wrote a stand-alone novel entitled “Experience with Evil” in 1954, later reprinted as “Meet Me at the Morgue”. 

The author's concept was to create an everyman hero that solved crimes in California, paralleling Madonald's Archer character only this time using a parole officer in lieu of detective. I'm not sure the idea sparked any new ideas for Macdonald. Apparently the publisher couldn't find enough variation to create another series. Hence “Meet Me at the Morgue” is a stand-alone novel that should satisfy the author's fans.

The book places parole officer Howard Cross into the mix of a complex ransom plot involving a wealthy family's son. Cross's client, Fred Miner, is the prime suspect and his last known appearance was with the child. However, Cross primarily wants to defend the man despite Miner's prior conviction of manslaughter. When a ransom note arrives asking for the payout, Cross teams with the FBI and police in trailing the money. When the ransom funds are stolen from the instructed destination, the crime splits into two sections – finding the kidnapper and discovering who stole the ransom money from the kidnapper/family. 

At the standard 170ish pages, this crime novel works well despite it's robust cast of characters. It can be dense in spots, provoking me to use a pad and pen to notate how the characters related to each other. I found Cross a capable, well-suited problem solver but there's a messy point in the finale that left me a little bitter. Despite those flaws this is an excellent novel and a great introduction to Macdonald's writing.

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